... Open Art Data ...: Probst and expanded network: explorations in provenance

Starting from Probst and expanding out to see the other names that appeared together with Probst in provenances

		NAMES THAT APPEARED WITH PROBST IN PROVENANCES IN RED
Wikidata Museum	Count	Provenance
		the artist (1923–d. 1940, on consignment in 1928 to the Galerie Neumann Nierendorf, Berlin, on consignment 1928–32 to the Galerie Neue Kunst Fides [Rudolf Probst]), his widow, Lily Klee, Bern (1940–46, sold in 1946 to Cooper), Douglas Cooper, London and Argilliers (1946–56, sold in November 1956 to Berggruen), Heinz Berggruen, Paris and Berlin (1956–84, his gift to MMA) Title: Q160236_1984.315.35 Source Url: https://www.metmuseum.org/art/collection/search/483153 the artist, Weimar and Dessau (1923–28), [Galerie Neue Kunst Fides (Rudolf Probst), Dresden, 1928–30], [Galerie Alfred Flechtheim, Düsseldorf and Berlin, 1930], [J. B. Neumann, New York, 1930, sold to Barr], Mr. and Mrs. Alfred H. Barr, Jr., New York (1930–80), [E. V. Thaw & Co., New York, ca. 1980–81], Heinz Berggruen, Paris and Berlin (1981–84, his gift to MMA) Title: Q160236_1984.315.36 Source Url: https://www.metmuseum.org/art/collection/search/483154
		the artist, Dessau (1927–33, on consignment to Galerie Neue Kunst Fides [Rudolf Probst], Dresden, 1928, on consignment to Galerie Alfred Flechtheim, Berlin, 1928–probably until 1933, sold in 1933 to Galerie Simon), [Galerie Simon (Daniel Henry Kahnweiler), later called Galerie Louise Leiris, Paris, 1933–ca. 1950, sold ca. 1950 to Berggruen], [Berggruen & Cie, Paris, from ca. 1950], Heinz Berggruen, Paris and Berlin (1973–84, his gift to MMA) Title: Q160236_1984.315.48 Source Url: https://www.metmuseum.org/art/collection/search/483167
Q160236	60	the artist (1928–44, on loan to the Museum Folkwang, Essen until confiscated on August 25, 1937 as "degenerate art" by the Reich Ministry of Public Enlightenment and Propaganda, Berlin, EK inv. no. 3670, consigned on June 3, 1939 to Karl Buchholz, Berlin, returned in 1939 to the artist, sold by the artist in July 1944 to Sprengel), Bernhard Sprengel, Hannover (1944–49, sold in 1949 to Vömel), [Galerie Vömel, Düsseldorf, from 1949], private collection, Germany, [Kleemann Galleries, New York and Curt Valentin Gallery, New York, owned jointly until 1955, stock no. K5106, sold by Kleeman in 1955 to Roman Norbert Ketterer, of Stuttgarter Kunstkabinett], (sale, Stuttgarter Kunstkabinett, Stuttgart, May 24–27, 1955, no. 1778, as "Grosse Sonnenblumen I," sold to Reinemann), Walter J. Reinemann, New York (1955–d. 1970, his bequest to MMA) Title: Q160236_1.970.213 Source Url: https://www.metmuseum.org/art/collection/search/480725 the artist (1933–38, on consignment to Alex Vömel, Düsseldorf, 1934, on consignment to Daniel Henry Kahnweiler, Paris, sold in April 1938, for SFr 250, to Buchholz Gallery), [Buchholz Gallery (Curt Valentin), New York, 1938–43, stock no. 453, sold on June 1, 1943, for $353.50, to McKim], Mr. and Mrs. William McKim, Palm Beach, Fla. (1943–73, their gift to MMA) Title: Q160236_1.973.213 Source Url: https://www.metmuseum.org/art/collection/search/481134 [Galerie Simon, Paris, until 1922, sold in September 1922, through the Galerie Flechtheim, Berlin, to Thayer], Scofield Thayer, Vienna and New York (1922–d. 1982, on extended loan to the Worcester Art Museum, Worcester Mass., as part of the Dial Collection, 1939–82, his bequest to MMA) Title: Q160236_1.984.433.157 Source Url: https://www.metmuseum.org/art/collection/search/483298 [Galerie Alfred Flechtheim, Berlin, until 1923, sold on March 26, 1923, to Thayer], Scofield Thayer, Vienna and New York (1923–d. 1982, on extended loan to the Worcester Art Museum, Worcester, Mass., as part of the Dial Collection, 1968–82, his bequest to MMA) Title: Q160236_1.984.433.262 Source Url: https://www.metmuseum.org/art/collection/search/483402 [Galerie Alfred Flechtheim, Berlin, until 1922, sold in July 1922 to Thayer], Scofield Thayer, Vienna and New York (1922–d. 1982, on extended loan to the Worcester Art Museum, Worcester, Mass., as part of the Dial Collection, 1939–82, inv. 39.1950, his bequest to MMA) Title: Q160236_1.984.433.271 Source Url: https://www.metmuseum.org/art/collection/search/483411 [Galerie Alfred Flechtheim, Berlin, until 1922, sold in July 1922 to Thayer], Scofield Thayer, Vienna and New York (1922–d. 1982, on extended loan to the Worcester Art Museum, Worcester, Mass., as part of the Dial Collection, 1939–82, inv. 39.1701, his bequest to MMA) Title: Q160236_1.984.433.273 Source Url: https://www.metmuseum.org/art/collection/search/483413 [Galerie Alfred Flechtheim, Düsseldorf and Berlin, by 1913–1923, his private collection by February 1913, later Berlin gallery stock, sold in May 1923, for $1,000, to Thayer], Scofield Thayer, Vienna and New York (1923–d. 1982, on extended loan to the Worcester Museum of Art, Worcester, Massachusetts, as part of the Dial Collection, 1931–1982, inv. 31.765, his bequest to MMA) Title: Q160236_1.984.433.274 Source Url: https://www.metmuseum.org/art/collection/search/483414 [Galerie Alfred Flechtheim, Düsseldorf and Berlin, until 1921, sold on October 19, 1921, for $120, to Thayer], Scofield Thayer, Vienna and New York (1921–d. 1982, on extended loan to the Worcester Art Museum, Worcester, Mass., as part of the Dial Collection, 1939–82, inv. 39.1928, his bequest to MMA) Title: Q160236_1.984.433.275 Source Url: https://www.metmuseum.org/art/collection/search/483415 [Galerie Alfred Flechtheim, Berlin, until 1922, sold on July 21, 1922 to Thayer], Scofield Thayer, Vienna and New York (1922 d.1982, on extended loan to the Worcester Art Museum, Worcester, Mass., as part of the Dial Collection, 1934 82, inv. 34.73, his bequest to MMA) Title: Q160236_1.984.433.278 Source Url: https://www.metmuseum.org/art/collection/search/483418 [Galerie Alfred Flechtheim, Berlin, until 1921, sold on September 22, 1921 to Thayer], Scofield Thayer, Vienna and New York (1921–d. 1982, on extended loan to Worcester Art Museum, Worcester, Mass., as part of the Dial Collection,1934–82, inv. 34.77, his bequest to MMA) Title: Q160236_1.984.433.280 Source Url: https://www.metmuseum.org/art/collection/search/483421 [Galerie Alfred Flechtheim, Berlin, 1922, sold on July 21, 1922, for Mk. 25,000, to Thayer], Scofield Thayer, Vienna and New York (1922–d. 1982, on extended loan to the Worcester Art Museum, Worcester, Mass., as part of the Dial Collection, 1931–82, his bequest to MMA) Title: Q160236_1.984.433.327 Source Url: https://www.metmuseum.org/art/collection/search/483471 the artist's brother, Émile Seurat, Paris (until about 1900), Alexandre Natanson, Paris (about 1900–at least 1909), [Bernheim-Jeune, Paris], Otto von Waetjen, Paris, Barcelona, and Düsseldorf (by 1914–about 1919), [Galerie Alfred Flechtheim, Berlin and Düsseldorf], Kocherthaler (in 1935), Kenneth Clark, Lord Clark of Saltwood, London (by 1937–d. 1983, his estate, 1983–85, sold through E. V. Thaw to MMA) Title: Q160236_1.985.237 Source Url: https://www.metmuseum.org/art/collection/search/437655 Frédéric (Frédé) Gérard, Paris (1905–12, acquired from the artist in 1905, sold in 1912), Alfred Flechtheim, Düsseldorf (1912–14, sold in August 1914 for 7,000 marks, through Nils Dardel, to de Maré), Rolf de Maré, Hildesborg, Sweden, and Paris (1914–52, sold on June 10, 1952, for $40,000, to de Hauke and Brame), [César Mange de Hauke, New York and Hector Brame, Paris, 1952, sold on August 5, 1952 to Knoedler], [Knoedler and Co., New York, 1952, sold in September 1952, reportedly for $60,000, to Payson], Joan Whitney (Mrs Charles Shipman) Payson, Manhasset, New York (1952–d. 1975), her daughter, Mrs. Vincent (Lorinda) de Roulet, Manhasset (1975–89, sale, Sotheby's, New York, November 15, 1989, no. 31, sold to Annenberg), Walter H. and Leonore Annenberg, Rancho Mirage, California (1989–92, owned jointly with MMA, 1992–his d. 2002, his bequest to MMA) Title: Q160236_1.992.391 Source Url: https://www.metmuseum.org/art/collection/search/486162 [Moderne Galerie Heinrich Thannhäuser, Munich], [Galerie Alfred Flechtheim, Berlin], possibly Morris Hillquit, New York (d. 1933), Mrs. Morris Hillquit, New York (until 1948, her sale, Kende Galleries at Gimbel Brothers, New York, April 1, 1948, no. 38), James Johnson Sweeney, New York (until 1959, sold in December 1959, for $6,000, to Knoedler), [M. Knoedler & Co., Inc., New York, 1959–60, stock no. WCA 2376, sold on April 7, 1960 to Berggruen], Heinz Berggruen, Paris and Berlin (1960–84, gift to MMA) Title: Q160236_1984.208.1 Source Url: https://www.metmuseum.org/art/collection/search/483043 the artist (1921–d. 1940), his widow, Lily Klee, Bern (1940–46), Paul Klee Society, later Paul Klee Foundation, Bern (1946–47, sold in 1947 to Nierendorf), [Karl Nierendorf, New York, 1947], Dr. and Mrs. Eric Ponder, New York (in 1951), Gustav Kahnweiler, London, Heinz Berggruen, Paris and Berlin (1962–84, his gift to MMA) Title: Q160236_1984.208.5 Source Url: https://www.metmuseum.org/art/collection/search/483047 the artist (1920–d. 1940), his widow, Lily Klee, Bern (1940–46), Paul Klee Society, later Paul Klee Foundation, Bern (1946–probably until 1953, on consignment 1950–probably until 1953, as "Ohne Titel", to Buchholz Gallery [Curt Valentin], New York), Benjamin Baldwin, New York, Chicago, and East Hampton (from 1953), [Donald Young Gallery, Chicago], [Xavier Fourcade, New York, from 1982], Heinz Berggruen, Paris and Berlin (1983–84, his gift to MMA) Title: Q160236_1984.315.21 Source Url: https://www.metmuseum.org/art/collection/search/483138 the artist (1920–d. 1940), his widow, Lily Klee, Bern (1940–46), Paul Klee Society, later Paul Klee Foundation, Bern (1946–50, on consignment 1948–50 to Buchholz Gallery [Curt Valentin], New York, 1950, consignment no. 10870, sold by Buchholz in February 1950, for $1,200, to Rockefeller], Nelson A. Rockefeller, New York (1950–78, sold on May 16, 1978 to Diamond), [Harold Diamond, New York, 1978], Heinz Berggruen, Paris and Berlin (1978–84, his gift to MMA) Title: Q160236_1984.315.25 Source Url: https://www.metmuseum.org/art/collection/search/483142 [Galka Scheyer, Los Angeles, by 1925–d. 1945, her bequest to Lily Klee], Lily Klee, Bern (1945–46), Klee Gesellschaft, Bern (1946–47), [Karl Nierendorf, New York, 1947, his estate, 1947–48, sold in 1948 to Guggenheim], Solomon R. Guggenheim Museum, New York (1948–71, in November 1971 to Beyeler), [Galerie Beyeler, Basel, 1971–72, sold in 1972 to Plouvier], G. Plouvier, Paris (from 1972), Heinz Berggruen, Paris and Berlin (1974–84, his gift to MMA) Title: Q160236_1984.315.28 Source Url: https://www.metmuseum.org/art/collection/search/483145 Paul Klee Society, Bern (from 1946), Rolf and Catherine E. Bürgi, Bern (by 1950–54, on consignment to Buchholz Gallery [Curt Valentin], New York, 1950–54, no. 12579, sold by Buchholz in November 1954, for $1,800, to Perls), [Frank Perls Gallery, Beverly Hills, Calif., from 1954], Mr. and Mrs. Donald McNeil, Los Angeles (sold to Feldman), [Ronald Feldman, New York], Heinz Berggruen, Paris and Berlin (1973–84, his gift to MMA) Title: Q160236_1984.315.29 Source Url: https://www.metmuseum.org/art/collection/search/483146 the artist (1922–d. 1940), his widow, Lily Klee, Bern (1940–46), Paul Klee Society, later Paul Klee Foundation, Bern (1946–50, on consignment 1949–50 to Rosengart), [Galerie Rosengart, Lucerne, 1950, stock no. 5222], [J. B. Neumann, New York, 1950], [Buchholz Gallery (Curt Valentin), New York, 1950, sold in 1950 to Schang], Frederick C. Schang, South Norwalk, Conn. and New York (1950–at least 1959), Heinz Berggruen, Paris and Berlin (1963–84, his gift to MMA) Title: Q160236_1984.315.30 Source Url: https://www.metmuseum.org/art/collection/search/483148 the artist (1922–d. 1940), his widow, Lily Klee, Bern (1940–46), Paul Klee Society, later Paul Klee Foundation, Bern (1946–50, on consignment from July 1950 to Buchholz Gallery [Curt Valentin], New York), Victor Babin, Cleveland and Santa Fe (until d. 1972, his estate, 1972–79, sold in 1979 to Sabarsky), [Serge Sabarsky, New York, 1979], Saul P. Steinberg, New York (from 1979), [Serge Sabarsky, New York, until 1981), Heinz Berggruen, Paris and Berlin (1981–84, his gift to MMA) Title: Q160236_1984.315.34 Source Url: https://www.metmuseum.org/art/collection/search/483152 the artist (1924–40, on loan August 1924–February 1940 to the Pauline Grebe family, Jena, in 1940 to Bürgi), Rolf Bürgi, Bern (1940), Lily Klee, Bern (1940–46), Paul Klee Society, later Paul Klee Foundation, Bern (1946–47, sold to Nierendorf), [Karl Nierendorf, New York, 1947, his estate, 1947–48, sold in 1948 to Guggenheim], Solomon R. Guggenheim Museum, New York (1948–73, on long term loan to various U. S. institutions, 1954–61, sold on December 7, 1973 to Haftmann), [Roswitha Haftmann (Galerie Modern Art), Zurich, from 1973], Heinz Berggruen, Paris and Berlin (1974–84, his gift to MMA) Title: Q160236_1984.315.39 Source Url: https://www.metmuseum.org/art/collection/search/483157 [Galerie Vavin-Raspail, Paris, 1928–33], Lily Klee, Bern (1940–46), Paul Klee Society, later Paul Klee Foundation, Bern (1946–50, on consignment from July 1950 to Buchholz Gallery [Curt Valentin], New York), Edgar Kaufmann, Jr., New York (until 1975, sold in November 1975 to Saidenberg and Sabarsky), [Saidenberg Gallery and Serge Sabarsky, New York, 1975–76, sold in January 1976 to Berggruen], Heinz Berggruen, Paris and Berlin (1976–84, his gift to MMA) Title: Q160236_1984.315.44 Source Url: https://www.metmuseum.org/art/collection/search/483163 the artist, Dessau (1925–30, on consignment with Galerie Alfred Flechtheim, 1930–probably until 1933, on consignment with Galerie Simon [Daniel Henry Kahnweiler], Paris, probably 1933–34, no. 11408, sent by Kahnweiler on October 4, 1934 to J. B. Neumann, New York, sold by Neumann to Wiener), Paul Wiener, New York (in 1940), [Buchholz Gallery (Curt Valentin), New York, sold after 1945 to Katzenellenbogen], Estella Katzenellenbogen, Los Angeles (after 1945–76, sold in 1976 to Feilchenfeldt), [Galerie Feilchenfeldt, Zürich, 1976], Heinz Berggruen, Paris and Berlin (1976–84, his gift to MMA) Title: Q160236_1984.315.46 Source Url: https://www.metmuseum.org/art/collection/search/483165 the artist, Dessau (1926–28, on consignment in June 1928 to Scheyer), [Galka Scheyer, San Francisco, Los Angeles, and Carmel, Calif., 1928–30, sold in 1930 to Furthman], Jules Furthman, Los Angeles (1930–46, sold in February 1946 to Vigeveno), [James Vigeveno Galleries, Los Angeles, from 1946], [Karl Nierendorf, New York, until d. 1947, his estate 1947–48, sold in 1948 to Guggenheim], Solomon R. Guggenheim Museum, New York (1948–71, sold in November 1971 to Beyeler), [Galerie Beyeler, Basel, 1971–72], McCrory Corporation, New York (1972), [Ronald Feldman, New York, from 1972], Heinz Berggruen, Paris and Berlin (1974–84, his gift to MMA) Title: Q160236_1984.315.47 Source Url: https://www.metmuseum.org/art/collection/search/483166 the artist (1929–37, on consignment to Galerie Alfred Flechtheim, Berlin, 1929–32, on consignment to Galerie Simon [Daniel Henry Kahnweiler], Paris, probably 1933–until 1937, in 1937 to Nierendorf), [Karl Nierendorf, New York, 1937–38, sold in 1938 to Mies van der Rohe], Ludwig Mies van der Rohe, Chicago (1938–50, gift on December 24, 1950 to Georgia van der Rohe), his daughter, Georgia van der Rohe, Munich (from 1950), Heinz;Berggruen, Paris and Berlin (1980–84, his gift to MMA) Title: Q160236_1984.315.51 Source Url: https://www.metmuseum.org/art/collection/search/483171 the artist (1931–d. 1940), his widow, Lily Klee, Bern (1940–46), Paul Klee Society, later Paul Klee Foundation, Bern (1946–47, sold in 1947 to Nierendorf), [Karl Nierendorf, New York, 1947, his estate 1947–48, sold in 1948 to Guggenheim], Solomon R. Guggenheim Museum, New York (1948–79, on long term loan to various U. S. institutions, 1953–61, sold on March 30, 1979 to Sabarsky), [Serge Sabarsky, New York, 1979], Heinz Berggruen, Paris and Berlin (1979–84, his gift to MMA) Title: Q160236_1984.315.53 Source Url: https://www.metmuseum.org/art/collection/search/483173 the artist, Bern (1935–d. 1940, on consignment, 1937–40, to Galerie Simon [Daniel Henry Kahnweiler], Paris), his widow, Lily Klee, Bern (1940–46), Paul Klee Society, later Paul Klee Foundation, Bern (from 1946), Hermann and Margrit Rupf, Bern, [Galerie Louise Leiris, Paris, in 1949], [J. B. Neumann, New York, in 1952, sold to Schang], Frederick C. Schang, South Norwalk, Conn. and New York (by 1953–at least 1968), Heinz Berggruen, Paris and Berlin (1981–84, his gift to MMA) Title: Q160236_1984.315.55 Source Url: https://www.metmuseum.org/art/collection/search/483175 the artist, Bern (1937–d. 1940), his widow, Lily Klee, Bern (1940–46), Paul Klee Society, later Paul Klee Foundation, Bern (1946–at least 1950, on consignment 1948–at least 1950 to Buchholz Gallery [Curt Valentin], New York, no. 10331], [J. B. Neumann, New York], Frederick C. Schang, South Norwalk and New York (by 1951–at least 1952), [Berggruen et Cie, Paris, in 1956], G. David Thompson, Pittsburgh, Rolf E. Stenersen, Oslo and Bergen (by 1958–at least 1964), sale, Galerie Wolfgang Ketterer, Munich, May 17–18, 1968, no. 583, sale, Sotheby's, London, April 30, 1969, no. 96, sold to Beyeler, [Galerie Beyeler, Basel, 1969–70, sold in 1970 to Modorati), Dr. Modorati, Monza, Italy (from 1970), (sale, Sotheby's, London, December 5, 1979, no. 61, sold to Berggruen), Heinz Berggruen, Paris and Berlin (1979–84, his gift to MMA) Title: Q160236_1984.315.56 Source Url: https://www.metmuseum.org/art/collection/search/483176 the artist, Bern (1938–d. 1940), his widow, Lily Klee, Bern (1940–46), Paul Klee Society, later Paul Klee Foundation, Bern (from 1946), [Galerie Louise Leiris, Paris, until ca. 1948], [Berggruen && Cie, Paris];Emil G. Bührle, Zurich (1948–49), [Marlborough Fine Art Ltd., London, 1967–68, sold in December 1968 to Saidenberg], [Saidenberg Gallery, New York, 1968, sold in December 1968 to Hulton], Lady Nika Hulton, London (1968–at least 1975, on longterm loan to Kunsthaus Zürich, 1969–75), [Reid & Lefevre, London], [Marlborough Fine Art Ltd., London, 1981], Heinz Berggruen, Paris and Berlin (1981–84, his gift to MMA) Title: Q160236_1984.315.57 Source Url: https://www.metmuseum.org/art/collection/search/483177 the artist (1912–13, sold in November 1913 to Flechtheim), [Galerie Alfred Flechtheim, Berlin, from 1913, sold to Moll], Oskar and Margarete (Greta) Moll, Berlin, Paris, and Breslau (by 1920–23, sold in May 1923 for $2,000 through Galerie Lutz and Alfred Flechtheim to Thayer), Scofield Thayer, New York (1923–d. 1982, on extended loan to the Worcester Art Museum, Worcester, Mass., as part of the Dial Collection, 1931–82, his bequest to MMA) Title: Q160236_1984.433.16 Source Url: https://www.metmuseum.org/art/collection/search/483301 [Galerie Flechtheim, Berlin, until 1923, sold on March 26, 1923 to Thayer], Scofield Thayer, Vienna and New York (1923–d. 1982, on extended loan to the Worcester Art Museum, Worcester, Mass., as part of the Dial Collection, 1936–82, his bequest to MMA) Title: Q160236_1984.433.37 Source Url: https://www.metmuseum.org/art/collection/search/483491 [Galerie Flechtheim, Berlin, until 1923, sold on March 26, 1923 to Thayer], Scofield Thayer, Vienna and New York (1923–d. 1982, on extended loan to the Worcester Art Museum, Worcester, Mass., as part of the Dial Collection, 1936–82, his bequest to MMA) Title: Q160236_1984.433.38 Source Url: https://www.metmuseum.org/art/collection/search/483492 [Galerie Flechtheim, Berlin, until 1923, sold on March 26, 1923 to Thayer], Scofield Thayer, Vienna and New York (1923–d. 1982, on extended loan to the Worcester Art Museum, Worcester, Mass., as part of the Dial Collection, 1936–82, his bequest to MMA) Title: Q160236_1984.433.39 Source Url: https://www.metmuseum.org/art/collection/search/483493 Alfred Flechtheim Probably Alfred Flechtheim, Berlin, until 1922, sold in July 1922, to Thayer, Scofield Thayer (1922-d.1982, on extended loan to the Worcester Art Museum, Worcester, Mass., as part of the Dial Collection, ca.1931-1982, his bequest to MMA)., Worcester Art Museum, Donor: Scofield Thayer Title: Q160236_1984.433.46 Source Url: https://www.metmuseum.org/art/collection/search/334777 the artist (1922–d. 1940), his widow, Lily Klee, Bern (1940–46), Paul Klee Society, Bern (1946–47, sold in 1947 to Nierendorf), [Karl Nierendorf, New York, 1947, his estate, 1947–48, sold in 1948 to Guggenheim], Solomon R. Guggenheim Museum, New York (1948–73, on long term loan to various U. S. institutions, 1954–61, sold on December 7, 1973 to Haftmann), [Roswitha Haftmann (Galerie Modern Art), Zürich, from 1973], Heinz Berggruen, Paris and Berlin (1974–87, his gift to MMA) Title: Q160236_1987.455.10 Source Url: https://www.metmuseum.org/art/collection/search/484860 [Galerie Neue Kunst Hans Goltz, Munich], Lily Klee, Bern (1940–d. 1946), Paul Klee Society, later Paul Klee Foundation, Bern (from 1946), Hans and Erika Meyer- Benteli, Bern (until 1950), Rolf and Catherine E. Bürgi, Bern (1950, on consignment in December 1950 to Buchholz Gallery [Curt Valentin], New York, sold in 1950 by Buchholz to Schang), Frederick C. Schang, South Norwalk, Conn. and New York (1950–at least 1957), [Berggruen et Cie, Paris], [Galerie Jacques Benador, Geneva, in 1959], Iginio Sambucci, Rome (in 1960), Heinz Berggruen, Paris and Berlin (1978–87, his gift to MMA) Title: Q160236_1987.455.13 Source Url: https://www.metmuseum.org/art/collection/search/484863 the artist (1924–d. 1940, on consignment 1924–25 to the Bildungsanstalt, Hellerau, on consignment 1926–27 to the Galerie Neue Kunst Fides [Rudolf Probst], Dresden, 1926–27), his widow, Lily Klee, Bern (1940–46), Paul Klee Society, later Paul Klee Foundation, Bern (1946–47, sold in 1947 to Nierendorf), Karl Nierendorf, New York (1947, his estate, 1947–48, sold in 1948 to Guggenheim), Solomon R. Guggenheim Museum, New York (1948–71, sold in November 1971 to Beyeler), [Galerie Beyeler, Basel, 1971–72], Heinz Berggruen, Paris and Berlin (1972–87, his gift to MMA) Title: Q160236_1987.455.15 Source Url: https://www.metmuseum.org/art/collection/search/484865 the artist (1930–at least 1936, on consignment 1932–33 to the Galerie Neue Kunst Fides [Rudolf Probst], Dresden), Hans and Erika Meyer-Benteli, Bern (until 1938, sold in July 1938, through the artist, for $100, to Buchholz), [Buchholz Gallery (Curt Valentin), New York, 1938–ca. 1940, sold by 1940 to Speyer], A. James and Dorothea Speyer, Pittsburgh and Chicago, (by 1940–at least 1973), [Harold Diamond, Inc., New York], Heinz Berggruen, Paris and Berlin (1977–87, his gift to MMA) Title: Q160236_1987.455.18 Source Url: https://www.metmuseum.org/art/collection/search/484868 the artist (1932–38, on consignment to Galerie Simon [Daniel Henry Kahnweiler], Paris, sent by Kahnweiler in 1938 to Nierendorf), [Karl Nierendorf, New York, 1938–at least 1939], [J. B. Neumann, New York, until 1940, sale, Plaza Art Galleries, Inc., New York, May 8, 1940, no. 97, as "Head of an Athlete," sold for $145 to Shulman], Herman Shulman, New York and Stamford, Conn. (1940–at least 1941), [Harold Diamond, New York, until 1974], Heinz Berggruen, Paris and Berlin (1974–87, his gift to MMA) Title: Q160236_1987.455.20 Source Url: https://www.metmuseum.org/art/collection/search/484871 the artist (1921–d. 1940), his widow, Lily Klee, Bern (1940–46), Paul Klee Society, later Paul Klee Foundation, Bern (1946–52), Rolf and Catherine E. Bürgi, Bern and Belp (1952–probably at least 1956), Heinz Berggruen, Paris and Berlin (1957–87, his gift to MMA) Title: Q160236_1987.455.9 Source Url: https://www.metmuseum.org/art/collection/search/484878 the artist (1921–d. 1940), his widow, Lily Klee, Bern (1940–46), Paul Klee Society, later Paul Klee Foundation, Bern (1946–at least 1952, on consignment 1949–at least 1952 to Buchholz Gallery [Curt Valentin], New York), William Benenson, New York (until 1991, his gift to MMA) Title: Q160236_1991.402.10 Source Url: https://www.metmuseum.org/art/collection/search/485815 possibly the sitter, Dresden and Chile (1922–d. 1965), private collection, Berlin (by 1995–96, sold through the Galerie Nierendorf, Berlin to MMA) Title: Q160236_1996.375ab Source Url: https://www.metmuseum.org/art/collection/search/486736 the artist (to Rosenberg), [Paul Rosenberg && Co., Paris;stock no. 963], Gottlieb Friedrich Reber, Lugano and Lausanne (by 1926–37, sold in 1937 to Cooper), Douglas Cooper, London and Argilliers, France (1937–80, sale, Sotheby's, London, July 1, 1980, no. 72, as "Guitare, Fruits, Pipe, Cahier de Musique," to private collection), private collection, Madrid (1980–86, sold on December 12, 1986 to Kasper), [Sandra Canning Kasper, Inc., New York, 1986, sold on December 30, 1986 to Gelman], Natasha Gelman, Mexico City and New York (1986–d. 1998, her bequest to MMA) Title: Q160236_1999.363.12 Source Url: https://www.metmuseum.org/art/collection/search/489967 the artist (until d. 1940), his nephew, Jacques Roussel, Paris (from 1940, sold to Renou et Colle), [Galerie Renou et Colle, Paris, sold ca. 1950 to Mayor?], [Mayor Gallery, London]?, [Sam Salz, New York, until 1951, sold on February 9, 1951 to Gelman], Jacques and Natasha Gelman, Mexico City and New York (1951–his d. 1986), Natasha Gelman, Mexico City and New York (1986–d. 1998, her bequest to MMA) Title: Q160236_1999.363.85 Source Url: https://www.metmuseum.org/art/collection/search/490035 the artist, Berlin (1924–25, in January 1925 to Flechtheim), [Galerie Alfred Flechtheim, Berlin, from 1925], [E. Weyhe Gallery, New York, until 1984, sold in 1984 to private collection], private collection, United States (1984–2006, sale, Sotheby's Olympia, London, March 23, 2006, no. 112, sold to MMA) Title: Q160236_2.006.184 Source Url: https://www.metmuseum.org/art/collection/search/494930 [Nierendorf Gallery, New York, possibly by 1936–at least 1945], Josef von Sternberg, Los Angeles (by 1946–49, his sale, Parke Bernet Galleries, New York, November 22, 1949, no. 93, as "Les Amoureux dans les fleurs," sold to Zeisler), Richard S. Zeisler (1949–d. 2007, his bequest to MMA) Title: Q160236_2007.247.2 Source Url: https://www.metmuseum.org/art/collection/search/494302 the artist, Paris (1917, sold on December 5, 1917 as "Nature morte" for Fr 50, to Rosenberg), [Galerie L’Effort Moderne (Léonce Rosenberg), Paris, 1917–37, possibly inv. no. 5094, 5095, or 5096, sold in December 1937 for £4, to Cooper], Douglas Cooper, London (1937–d. 1984, estate no. DC 84/85, his bequest to McCarty Cooper), his partner and adopted son, William McCarty Cooper, London (1984–86, sold in November 1986 to Lauder), Leonard A. Lauder, New York (1986–13) transferred on April 8, 2013 to the Leonard A. Lauder Cubist Trust, New York), The Leonard A. Lauder Cubist Trust (2013–16, gift to MMA) Title: Q160236_2016.237.19 Source Url: https://www.metmuseum.org/art/collection/search/490617 the artist, Paris (1914–at least 1935), [Galerie Renou et Colle, Paris, until 1937, sold in June 1937, for £12, to Cooper], Douglas Cooper, London (1937–d. 1984, inv. no. 38, estate no. DC 9/8, his bequest to McCarty Cooper), his partner and adopted son, William McCarty Cooper, London (1984–86, sold in November 1986 to Lauder), Leonard A. Lauder, New York (1986–13, transferred on April 8, 2013 to the Leonard A. Lauder Cubist Trust), The Leonard A. Lauder Cubist Trust, New York (2013–16, gift to MMA) Title: Q160236_2016.237.32 Source Url: https://www.metmuseum.org/art/collection/search/490610 [Galerie Kahnweiler, Paris, 1912, inv. no. 1127, photo no. 1083, sold to Uhde], Wilhelm Uhde, Paris (sequestered Uhde collection, February 13, 1915–21, Uhde sale, Hôtel Drouot, Paris, May 30, 1921, no. 69, as "Le compotier," sold for Fr 200, to Galerie L'Effort Moderne), [Galerie L’Effort Moderne (Léonce Rosenberg), Paris, from 1921, inv. no. 7480], André Breton, Paris (by mid 1920s, by 1931 to Collinet), his former wife, Simone Breton (née Simone Kahn, later Simone Collinet), Paris (1931–46, sold in 1946 to Cooper), Douglas Cooper, London (1946–d. 1984, inv. no. 156, estate no. DC 5/5), his bequest to McCarty Cooper), his partner and adopted son, William McCarty Cooper, London (1984–86, sold in November 1986 to Lauder), Leonard A. Lauder, New York (1986–13, transferred on April 8, 2013 to the Leonard A. Lauder Cubist Trust), The Leonard A. Lauder Cubist Trust, New York (2013–16, gift to MMA) Title: Q160236_2016.237.33 Source Url: https://www.metmuseum.org/art/collection/search/490612 the artist, Paris (1912–at least 1935), [Galerie Renou et Colle, Paris, 1936, sold in February 1936 for £10, to Cooper], Douglas Cooper, London (1936–d. 1984, estate no. DC 37/36, his bequest to McCarty Cooper), his partner and adopted son, William McCarty Cooper, London (1984–86, sold in November 1986 to Lauder), Leonard A. Lauder, New York (from 1986–13, transferred on April 8, 2013 to the Leonard A. Lauder Cubist Trust), The Leonard A. Lauder Cubist Trust, New York (2013–16, gift to MMA) Title: Q160236_2016.237.34 Source Url: https://www.metmuseum.org/art/collection/search/490608 the artist (from 1918–19, sold on October 2, 1919 as "Nature morte" for Fr 33,33, to Rosenberg), [Galerie L’Effort Moderne (Léonce Rosenberg), Paris, from 1919, inv. no. 6140], [Galerie Jeanne Bucher, Paris, 1925 or later–1938, sold in February 1938, for £10, to Cooper], Douglas Cooper, London (1938–d. 1984, estate no. DC 11G 279, his bequest to McCarty Cooper), his partner and adopted son, William McCarty Cooper, London (1984–86, sold in November 1986 to Lauder), Leonard A. Lauder, New York (1986–2013, transferred on April 8, 2013 to the Leonard A. Lauder Cubist Trust), The Leonard A. Lauder Cubist Trust, New York (2013–16, gift to MMA) Title: Q160236_2016.237.5 Source Url: https://www.metmuseum.org/art/collection/search/490613 the artist, Paris (1918, sold on May 21, 1918 for Fr 80, to Rosenberg), [Galerie L’Effort Moderne (Léonce Rosenberg), Paris, 1918, inv. no. 5777, probably sold before 1939 to Cooper], Douglas Cooper, London (before 1939–d. 1984, estate no. DC 18/17, his bequest to McCarty Cooper), his partner and adopted son, William McCarty Cooper, London (1984–86, sold in November 1986 to Lauder), Leonard A. Lauder, New York (1986–2013, transferred on April 8, 2013 to the Leonard A. Lauder Cubist Trust), The Leonard A. Lauder Cubist Trust, New York (2013–16, gift to MMA) Title: Q160236_2016.237.6 Source Url: https://www.metmuseum.org/art/collection/search/490618 the artist's brother, Theo van Gogh, Paris (1890–d. 1891, sent to him by the artist on April 29, 1890), his widow, Johanna van Gogh-Bonger, Amsterdam (1891–1905, sold in October with six other works for fl. 4,731.60 to Osthaus, deposit recorded in Van Gogh-Bonger's account book in February 1906), Karl Ernst Osthaus, Hagen (1905–17, sale, Paul Cassirer and Hugo Helbing, Berlin, March 8, 1917, no. 38, for DM 36,000 to Thannhauser), [Justin K. Thannhauser, Lucerne, Paris, and New York, from 1917], [?Alfred Flechtheim, Düsseldorf, not before 1919], Willy Russ-Young, Serrières (until 1924, consigned to Vallotton by July 1923 and sold on December 31), [Galerie Paul Vallotton, Lausanne, 1924–26, sold to Oppenheimer on July 31, 1926], Julius Oppenheimer, New York (1926–d. 1937), his son, Frank Oppenheimer, San Francisco (1937–at least 1949, sold to Dalzell Hatfield), [Dalzell Hatfield Galleries, Los Angeles, until 1955, sold to Richard], Mr. and Mrs. George N. Richard, New York (1955–64) Title: Q160236_64.165.2 Source Url: https://www.metmuseum.org/art/collection/search/436526 Baron Shigetaro Fukushima, Paris and Tokyo, [Galerie Alfred Flechtheim, Düsseldorf and Berlin, by 1932], Adelaide Milton de Groot, New York (by 1933–d. 1967, on extended loan to MMA, from 1936 [inv. L.3346.33], her bequest to MMA) Title: Q160236_67.187.91 Source Url: https://www.metmuseum.org/art/collection/search/489645
Q188740	45	On consignment from the artist to Alfred Flechtheim (1878-1937), Berlin, 1931 [1]; on loan to the Kunsthalle Basel, October 1935 [2]; acquired by Richard Doetsch-Benzinger (1877-1958), Basel, November 1935 [3]; Estate of Richard Doetsch-Benzinger, 1958; [Kurt Delbanco, London/New York] [4]; acquired by Lady Nika Hulton, London, by 1961 [5]; acquired by Galerie Beyeler, Basel, by 1973 [6]; Fondación Juan March, Madrid, 1976 [7]; acquired by The Museum of Modern Art, New York 1982 (Sidney and Harriet Janis Collection Fund).[1] Paul-Klee-Stiftung, Kunstmuseum Bern, eds. Paul Klee: catalogue raisonné. Bern: Benteli and New York: Thames and Hudson, vol. 6 (2002), no. 5557. Included in the exhibition Paul Klee: Neue Bilder und Aquarelle, Galerie Alfred Flechtheim, Berlin, November 5-December 10, 1931 (no. 16)[2] Offered for sale at the exhibition Paul Klee, Kunsthalle Basel, October 27-November 24, 1935 (no. 47: Schlossgarten). Title: Q188740_1.061.982 Source Url: http://www.moma.org/collection/works/78806 1913, Franz Marc, Munich, Germany.July 6, 1913 - at least 1940, Willem Wolff Beffie (1880-1950), Amsterdam/Brussels/Brooklyn, purchased from the artist.1940 (?) - 1946, Nierendorf Gallery, New York, probably acquired from Willem Wolff Beffie.1946 - 1988, Solomon R. Guggenheim Museum, New York, purchased from Nierendorf Gallery.1988, The Museum of Modern Art, New York, acquired by exchange with Solomon R. Guggenheim Museum. Title: Q188740_1.181.988 Source Url: http://www.moma.org/collection/works/78879 Galerie Goltz,f Munich. September 23, 1920Galerie Alfred Flechtheim (d.1937)Mayor Gallery, London. From Alfred Flechtheim, December 21, 1933[Leicester Gallery, London. From Mayor Gallery, March 5, 1936]Auction sale, Estate of Alfred Flechtheim, Mak van Waay, Amsterdam, February 1-2, 1938, no. 335[Brandt, Amsterdam. Purchased at auction, February 1938]Dr. Tannenbaum, Amsterdam, 1939Dr. William Landman, Toronto, Canada. Purchased from Dr. Tannenbaum, 1939 – 1946The Museum of Modern Art, New York. Purchased from Landman, February 1946 Title: Q188740_1.201.946 Source Url: http://www.moma.org/collection/works/34169 Galerie Nierendorf, Berlin [1]. Karl Buchholz, Berlin; on consignment to Buchholz Gallery (Curt Valentin), New York, August 18, 1937 [2]; seized by the Alien Property Custodian, New York, May , 1944; acquired by The Museum of Modern Art, New York, November 1945 [3].[1] Artist"s questionnaire, n.d., Collection files, Department of Drawings, The Museum of Modern Art, New York. [2] Inventory no. 530 (Otto Dix, Two Heads). "Objects of art owned by Karl Buchholz," Vesting order no. 3711, NARA, Washington, DC.[3] Sale of property vested by Alien Property Custodian, lot #23. Title: Q188740_1.241.945 Source Url: http://www.moma.org/collection/works/34237 Graphisches Kabinett J.B. Neumann (Karl Nierendorf), Berlin [1]; sold to Kunstverein Halle, 1925 [2]. Richard L. Feigen, New York; given to The Museum of Modern Art, New York, 1957.[1] Artist"s questionnaire, Collection files, Department of Drawings, The Museum of Modern Art, New York. [2] Inscription on verso. Kassa-Buch des Halleschen Kunstvereins 1913-1915, Stadtarchiv Halle, Germany. Title: Q188740_1.421.957 Source Url: http://www.moma.org/collection/works/34693 On consignment from the artist to Rudolf Probst, Galerie Neue Kunst Fides, Dresden, 1928 [1]; on consignment from the artist to Galerie Alfred Flechtheim, Berlin, 1928 [2]; on loan to The Museum of Modern Art, New York, 1930 [3]; on consignment from the artist to Alex Vömel, Düsseldorf, by 1934 [4]; to Mayor Gallery, London, by 1934 [5]; to Daniel-Henry Kahnweiler (Galerie Simon), Paris, by 1935 [6]; on loan to the Kunsthalle Basel, 1935 [7]; acquired by Karl Nierendorf, New York, by 1939 [8]; sold to Helen Resor (1886-1964), New York, by 1940 [9]; sold through Karl Nierendorf, New York to The Museum of Modern Art, 1945 (Abby Aldrich Rockefeller Fund and by exchange).[1] Paul-Klee-Stiftung, Kunstmuseum Bern, eds. Paul Klee: catalogue raisonné. Bern: Benteli and New York: Thames and Hudson, vol. 5 (2001), no. 4233.[2] Ibid. Included in the following exhibitions: Paul Klee, Galerie Flechtheim, Berlin, March 18-Easter 1928, no. 33 (Pastorale); Paul Klee, Galerie Flechtheim, Berlin, October 20-November 15, 1929 (no. 85); Title: Q188740_1.571.945 Source Url: http://www.moma.org/collection/works/79012 Nierendorf Gallery, New York; to The Museum of Modern Art, 1945 Title: Q188740_1.621.945 Source Url: http://www.moma.org/collection/works/63327 By 1917 - 1940, Herbert von Garvens-Garvensburg, Hanover, Germany and Bornholm, Denmark.1940, The Museum of Modern Art, New York, purchased from Herbert von Garvens-Garvensburg through Karl Nierendorf. Title: Q188740_1.642.194 Source Url: http://www.moma.org/collection/works/80683 Acquired from the artist by Daniel-Henry Kahnweiler (1884-1979), Galerie Kahnweiler, Paris, 1911 [1]; sold to Wilhelm Uhde (1874-1947), Paris, before 1914; seized during the war by the French government as enemy property and sold through Hôtel Drouot, Paris, May 30, 1921 [2]. Marcel Fleischmann, Zurich, [c. 1924] [3]; sold through Paul Drey, New York to The Museum of Modern Art, New York, 1945 [4]. [1] Douglas Cooper and Gary Tinterow, The Essential Cubism: Braque, Picasso, and their Friends, 1907-1920, exh. cat. London: The Tate Gallery, 1983, no. 16: "The artist to Galerie Kahnweiler, Paris (photo no. 1019), 1911."[2] Vente de biens allemands ayant fait l"objet d"une mesure de séquestre de guerre. Collection Uhde: Tableaux modernes, Hôtel Drouot, Paris, May 30, 1921, no. 4: Figure. Buyer not known.[3] See Douglas Cooper and Gary Tinterow, The Essential Cubism: Braque, Picasso, and their Friends, 1907-1920 Title: Q188740_1.751.945 Source Url: http://www.moma.org/collection/works/79048 [Galerie Bernheim-Jeune, Paris. 1908 - ][Galerie Vildrac, Paris. By 1913]Galerie Alfred Flechtheim, Düsseldorf. By January 1922Private collection, Hannover. By 1922[Galerie Charpentier, Paris. By 1949]Mrs. B. Charlet, Paris. By 1951Perls Gallery (Hugo Perls), New York. By 1955The Museum of Modern Art, New York. Gift of Mr. and Mrs. Peter A. Rübel. Purchased by donors from Perls Gallery, 1955 Title: Q188740_1.921.955 Source Url: http://www.moma.org/collection/works/79095 On consignment from the artist to Rudolf Probst, Galerie Neue Kunst Fides, Dresden, 1927 [1]; on consignment from the artist to Galerie Alfred Flechtheim, Berlin, February 1928 [2]; [Erich Raemisch, Krefeld, 1929] [3]; on loan to The Museum of Modern Art, New York, 1930 [4]; on consignment from the artist to Daniel-Henry Kahnweiler (Galerie Simon), Paris, by 1934 [5]; to Mayor Gallery, London, by 1934 [6]; sold to Roland Penrose (1900-1984), London/Muddles Green, May 1935 [7]; sold to G. David Thompson (1899-1965), Pittsburgh [8]; acquired by The Museum of Modern Art through Parke-Bernet Galleries, New York, March 23-24, 1966 (Mrs. Simon Guggenheim Fund) [9].[1] Paul-Klee-Stiftung, Kunstmuseum Bern, eds. Paul Klee: catalogue raisonné. Bern: Benteli and New York: Thames and Hudson, vol. 5 (2001), no. 4226.[2] Ibid. See Stefan Frey and Wolfgang Kersten, "Paul Klees geschäftliche Verbindung zur Galerie Alfred Flechtheim," Alfred Flechtheim: Sammler. Kunsthändler. Verleger, ed. by Hans Albert Peters, exh. cat. Kunstmuseum Düsseldorf, 1987, p. 79. Included in the following exhibitions: Paul Klee, Galerie Flechtheim, Berlin, March 18-Easter 1928, no. 23 (Artistenbildnis); Title: Q188740_1.951.966 Source Url: http://www.moma.org/collection/works/35209 On consignment from the artist to Galerie Alfred Flechtheim, Berlin, 1929 [1]; on loan to The Museum of Modern Art, New York, 1930 [2]; sold through J.B. Neumann, New York to James Thrall Soby (1906-1979), Hartford/New York/New Canaan, August 10, 1932 [3]; given to The Museum of Modern Art, New York, 1969.[1] Paul-Klee-Stiftung, Kunstmuseum Bern, eds. Paul Klee: catalogue raisonné. Bern: Benteli and New York: Thames and Hudson, vol. 5 (2001), no. 4754. Included in the exhibition Paul Klee, Galerie Alfred Flechtheim, Berlin, October 20-November 15, 1929 (no. 96).[2] Included in the exhibition Paul Klee, The Museum of Modern Art, New York, March 13-April 2, 1930 (no. 40). The catalogue notes on p. 13: "Unless otherwise indicated the paintings belong to the artist and are exhibited by arrangement with his representatives [Galerie Alfred Flechtheim, Berlin and J.B. Neumann, New York]."[3] Collection files, Department of Painting and Sculpture, The Museum of Modern Art, New York.

Title: Q188740_10.921.969
Source Url: http://www.moma.org/collection/works/80554

Galerie Kahnweiler, Paris [1]; [possibly Ambroise Vollard, Paris] [2]; [sold to Paul Guillaume, Paris, 1920]; sold to Galerie Vildrac (Charles Vildrac), Paris, 1921-22. [Alfred Flechtheim, Berlin]. V. Jacobi, France; sold through Charles Auguste Girard, Paris to Renou & Poyet, Paris (owned jointly); [M. Gubbay, Geneva, Switzerland]; sold to Crane Kalman Gallery (Andras Kalman), London, May 4, 1964; acquired by The Museum of Modern Art, New York, 1964 (Mrs. George Hamlin Shaw and Loula D. Lasker Funds). [1] Michel Kellermann, André Derain: catalogue raisonné de l"oeuvre peint, Paris: Editions Galerie Schmit, 1992, vol. 1, no. 141.[2] All subsequent provenance information: Collection files, Department of Painting and Sculpture, The Museum of Modern Art, New York.
Title: Q188740_12.341.964
Source Url: http://www.moma.org/collection/works/80601

Private collection [Berlin]. 1919Galerie Nierendorf GmbH (1933-1938), Josef Nierendorf, Berlin. By 1936 [likely acquired c. 1930]Karl Nierendorf, Nierendorf Gallery (opened in 1937), New York. 1936 - 1947Karl Nierendorf estate, New York. 1947 - [c. 1954]Auction sale of Karl Nierendorf estate, New York. [c. 1954]Samuel A. Berger, New York. Acquired from the Nierendorf estate, [c. 1954] - 1955The Museum of Modern Art, New York. Gift of Samuel A. Berger, April 1955
Title: Q188740_191.955
Source Url: http://www.moma.org/collection/works/78479

Maria Marc (1876-1955), Ried, Germany, until at least 1936 [1]. Curt Valentin, New York; John S. Newberry (1910-1964), New York, by 1948 [2]; acquired by The Museum of Modern Art, New York, 1964 (John S. Newberry Collection).[1] "Nachlass Franz Marc bestätigt Maria Marc/ Blaues Pferd mit Regenbogen" verso, lower center sheet, pencil, hand of Maria Marc. See Alois J. Schardt, Franz Marc, Berlin: Rembrandt-Verlag, 1936, p. 168, no. 20 ("Pferd im Regenbogen"), which lists the work as being in the collection of Maria Marc. Included in the exhibition "Franz Marc: Gedächtnisausstellung," Galerie Nierendorf, Berlin, May 1936 (no. 62: Pferd im Regenbogen, 1914). [2] Included in the exhibition "Drawings and Watercolors, XIX and XX Centuries: From the Collection of John S. Newberry, Jr.," Fogg Museum of Art, Harvard University, Cambridge, February 12-March 31, 1948.
Title: Q188740_2.1964
Source Url: http://www.moma.org/collection/works/32978

Galerie Nierendorf, Berlin; to The Museum of Modern Art, New York, 1964
Title: Q188740_2.791.964
Source Url: http://www.moma.org/collection/works/65899

Galerie Nierendorf, Berlin; to The Museum of Modern Art, New York, 1964
Title: Q188740_2.801.964
Source Url: http://www.moma.org/collection/works/65915

On consignment from the artist to Galerie Alfred Flechtheim, Berlin, 1929 [1]; on loan to The Museum of Modern Art, New York, 1930 [2]; sold through J. B. Neumann, New York to Franz H. Hirschland (1880-1973), Harrison, NY, by 1934 [3]; by inheritance to Susan Ann Hirschland (Suzy Prudden) and Joan Ellen Hirschland Meijer, 1973; Gift to The Museum of Modern Art, New York, 1975 (Sidney and Harriet Janis Collection Fund and gift of Suzy Prudden and Joan H. Meijer in memory of F. H. Hirschland).[1] Paul-Klee-Stiftung, Kunstmuseum Bern, eds. Paul Klee: catalogue raisonné. Bern: Benteli and New York: Thames and Hudson, vol. 5 (2001), no. 4614. Included in the exhibition Paul Klee, Galerie Flechtheim, Berlin, October 20-November 15, 1929 (no. 94). [2] Included in the exhibition Paul Klee, The Museum of Modern Art, New York, March 13-April 2, 1930 (no. 39). The catalogue notes on p. 13: "Unless otherwise indicated the paintings belong to the artist and are exhibited by arrangement with his representatives [Galerie Alfred Flechtheim, Berlin and J.B. Neumann, New York]." [3] Included in the exhibition Modern Works of Art: 5th Anniversary Exhibition
Title: Q188740_3.001.975
Source Url: http://www.moma.org/collection/works/79456

Karl Nierendorf (1889-1947), New York; Estate of Karl Nierendorf, New York, 1947; sold to Alexander W. Pearlman (1914-2004), New York, March 17, 1954 [1]; acquired by The Museum of Modern Art, New York (Gift of Samuel A. Berger), 1954. [1] See "Court Backs Art Sale," The New York Times, March 18, 1954
Title: Q188740_3.251.954
Source Url: http://www.moma.org/collection/works/66963

Galerie Neumann-Nierendorf, Berlin [1]; acquired by the Kunsthalle Mannheim , May 4, 1927 [2]; removed as "degenerate art" by the Reich Ministry for Public Enlightenment and Propaganda, Berlin, 1937 [2]; on consignment to Karl Buchholz, Berlin; to Buchholz Gallery (Curt Valentin), New York; acquired by The Museum of Modern Art, New York, January 1941 (Gift of Curt Valentin).[1] See Hans-Jürgen Buderer, ed., Entartete Kunst - Beschlagnahmeaktionen in der Städtischen Kunsthalle Mannheim, 1937, exh. cat. Mannheim: Kunsthalle, 1987.[2] Ibid. Collection stamp on verso. Inventory no. 2318.[3] EK no. 6126: Komposition
Title: Q188740_3.381.941
Source Url: http://www.moma.org/collection/works/36682

Nierendorf Gallery, New York; Edgar Wind, Chicago, ?.Constance and Kirk Askew, Jr., Paris; sold to The Museum of Modern Art, 1949-50
Title: Q188740_3.421.951
Source Url: http://www.moma.org/collection/works/67282

Karl Nierendorf (1889-1947), New York; Estate of Karl Nierendorf, New York, 1947; sold to Alexander W. Pearlman (1914-2004), New York, March 17, 1954 [1]; acquired by The Museum of Modern Art, New York (Gift of Samuel A. Berger), 1954. [1] See "Court Backs Art Sale," The New York Times, March 18, 1954.
Title: Q188740_3.441.954
Source Url: http://www.moma.org/collection/works/67338

The artist; acquired by Daniel-Henry Kahnweiler (1884-1979), Paris, by 1914 [1]; seized during the war by the French government as enemy property and sold through Hôtel Drouot, Paris to "Grassat" (for Daniel-Henry Kahnweiler, Galerie Simon, Paris), June 13-14, 1921 [2]; acquired by Mayor Gallery, London [3]; sold to Douglas Cooper (1911-1984), London and Argilliers, France, June 1938 [4]; sold to Acquavella Galleries, New York [5]; The Museum of Modern Art, New York (acquired through the Katherine S. Dreier and Adele R. Levy Bequests), 1975.[1] Michèle Richet and Nadine Pouillon, eds. Georges Braque, exh. cat. Paris: Orangerie des Tuileries, October 16, 1973 - January 14, 1974, Paris: Éditions des musées nationaux, 1973, no. 15: "Historique: Galerie Kahnweiler."[2] Tableaux, gouaches, & dessins, sculptures, faïences décorées, art nègre, éditions de luxe. [1st sale of Kahnweiler collection]. Paris: Hôtel Drouot, June 13-14, 1921, cat. no. 16. See Malcolm Gee, Dealers, Critics, and Collectors of Modern Painting. Aspects of the Parisian Art Market Between 1910 and 1930, New York and London: Garland Publishing, 1981, p. 55.[3] Date of acquisition unknown.[4] Dorothy M. Kosinski,
Title: Q188740_3.731.975
Source Url: http://www.moma.org/collection/works/79554

Galerie Kahnweiler (Daniel-Henry Kahnweiler), Paris [1]; acquired by Alfred Flechtheim (1878-1937), Düsseldorf, 1912 [2]; sold Paul Cassirer, Berlin and Hugo Helbing, Munich to Christian Tetzen-Lund (1852-1936), Copenhagen, Denmark, June 5, 1917 [3]; sold through Den Frie, Copenhagen, May 18/19, 1925 [4]. E. and A. Silberman Galleries, Inc., New York by 1958 [5]; sold to Adele R. Levy (1892-1960), New York, February 1958 [6]; acquired by The Museum of Modern Art, New York, 1960 (Mrs. David M. Levy Bequest) [7].[1] Label on verso: Galerie Kahnweiler, 28, rue Vignon, no. 1023.[2] Per Pierre Daix, Picasso: The Cubist Years, Boston: New York Graphic Society, 1979, no. 482. On loan from Flechtheim to the exhibition II. Gesamtausstellung, Galerie Hans Goltz, Munich, August-September 1913, no. 125.[3] Auct. cat. Galerie Flechtheim: Moderne Gemälde, Paul Cassirer, Berlin & Hugo Helbing, Munich, June 5, 1917 no. 207 (Stilleben mit Violine
Title: Q188740_32.196
Source Url: http://www.moma.org/collection/works/78578

The artist, London. Mayor Gallery, London, c. 1956/7 [1]; sold to The Museum of Modern Art, New York, January 27, 1959.[1] Name of seller not known.
Title: Q188740_422.196
Source Url: http://www.moma.org/collection/works/79666

Amedée Schuffenecker, Paris [1]; Galerie Miethke (Carl Moll), Vienna, 1907 [2]. Acquired by Thea Sternheim (1883-1971), Munich/Brussels/Paris, 1912 [3]; on extended loan to The Museum of Modern Art, New York, April 4, 1939 [4]; seized by Alien Property Custodian, New York, July 1944; returned to Thea Sternheim, Paris, May 1951; sold (through Paul Rosenberg & Co., New York) to The Museum of Modern Art, New York, May 1952. [1] Catalogue raisonne Wildenstein 2002, vol. 2, no. 311.[2] Offered for sale at Gauguin exhibition at Galerie Miethke, Vienna (March 15-April 28, 1907), no. 35.[3] Offered for sale at the "Internationale Kunstausstellung des Sonderbundes Westdeutscher Kunstfreunde und Künstler," Cologne, May 1912-September 30, 1912 (cat. no. 155: Tisch mit 3 fressenden Hündchen, 1888. Acquired from there by Thea Sternheim in 1912.It is plausible that this work passed through Ambroise Vollard"s hands at some stage before Sternheim"s acquisition. See James Laver, French Painting and the Nineteenth Century. With Notes on Artists and Pictures by Michael Sevier and a Postscript by Alfred Flechtheim, New York: Charles Scribner"s, 1937, p. 94, no. 129: "From the collection of M. Ambroise Vollard. / Coll.: Mme. Carl Sternheim, Paris."Included in the auction "Van Gogh Gauguin - Renoir: Collection Mme Théa Sternheim," Frederik Muller & Cie, Amsterdam, February 11, 1919, lot 2. Unsold.[4] Included in the exhibition Art in Our Time: 10th Anniversary Exhibition
Title: Q188740_481.952
Source Url: http://www.moma.org/collection/works/78616

Galerie Alfred Flechtheim (d. 1937), Berlin.1928 – [at least 1932]Charlotte Weidler (b. Berlin 1895- d. New York 1983), Vienna, Berlin, and New York. By 1952Curt Valentin Gallery, New York. 1952The Museum of Modern Art, New York. Purchased from Curt Valentin, April 1952
Title: Q188740_491.952
Source Url: http://www.moma.org/collection/works/78619

[The artist (cast by Herman Noack, Berlin). 1930Galerie Flechtheim, Berlin, 1930-1931Edward M. M. Warburg, Berlin. Purchased from Galerie Flechtheim, March 1931-1941 The Museum of Modern Art, New York. Gift of Edward M. M. Warburg, 1941
Title: Q188740_5.211.941
Source Url: http://www.moma.org/collection/works/81540

Galerie Alfred Flechtheim (d. 1937), Berlin. 1929 – [1937][Van Lier Kunstzaal, Amsterdam. From Flechtheim for a Grosz exhibition, 1936 – 1938]Auction sale, Estate of Alfred Flechtheim, Mak van Waay, Amsterdam, February 1-2, 1938, no. 278[Carel Van Lier (Van Lier Kunstzaal), Amsterdam. Purchased at auction, February 1938][Willem Beffie, Amsterdam. Purchased from Carel van Lier, April 9, 1938 ?]Mr. and Mrs. Leo Lionni, Milan and New York. [Purchased from Carel van Lier, April 9, 1938, or gift/bequest from Willem Beffie] – 1954The Museum of Modern Art, New York. Gift of Mr. and Mrs. Leo Lionni, December 1954
Title: Q188740_5.481.954
Source Url: http://www.moma.org/collection/works/79955

On consignment from the artist to Rudolf Probst, Galerie Neue Kunst Fides, Dresden, 1928 [1]; on consignment from the artist to Galerie Alfred Flechtheim, Berlin, February 1928 [2]; on loan to The Museum of Modern Art, New York, 1930 [3]; sold through J. B. Neumann, New York to Sidney Janis (1896-1989), New York, 1931 [4]; given to The Museum of Modern Art, New York, 1967.[1] Paul-Klee-Stiftung, Kunstmuseum Bern, eds. Paul Klee: catalogue raisonné. Bern: Benteli and New York: Thames and Hudson, vol. 4 (2000), no. 3624. [2] Ibid. See Stefan Frey and Wolfgang Kersten, "Paul Klees geschäftliche Verbindung zur Galerie Alfred Flechtheim," Alfred Flechtheim: Sammler. Kunsthändler. Verleger, ed. by Hans Albert Peters, exh. cat. Kunstmuseum Düsseldorf, 1987, p. 79. Included in the exhibition Paul Klee, Galerie Alfred Flechtheim, Berlin, October 20-November 15, 1929 (no. 54: Schauspielermaske).
Title: Q188740_6.161.967
Source Url: http://www.moma.org/collection/works/80094

1930, Paul Klee, Düsseldorf.1930, Galerie Alfred Flechtheim, Düsseldorf/Berlin, acquired on consignment from the artist.1930 - 1967, Sidney Janis (1896-1989), New York, purchased through J. B. Neuman, New York.1967, The Museum of Modern Art, New York, acquired from Sidney and Harriet Janis.
Title: Q188740_6.171.967
Source Url: http://www.moma.org/collection/works/80099

On consignment from the artist to Galerie Alfred Flechtheim, Berlin, 1931 [1]; to Daniel-Henry Kahnweiler (Galerie Simon), Paris [2]; acquired by J.B. Neumann, New York, by 1934 [3]; gift to The Museum of Modern Art, New York, 1939. [1] Paul-Klee-Stiftung, Kunstmuseum Bern, eds. Paul Klee: catalogue raisonné. Bern: Benteli and New York: Thames and Hudson, vol. 5 (2001), no. 5365. Included in the exhibition Paul Klee: Neue Bilder und Aquarelle, Galerie Alfred Flechtheim, Berlin, November 5–December 10, 1931 (no. 12).[2] Ibid. [3] Included in the exhibitions Paul Klee, Wadsworth Atheneum, Hartford, January 21-February 11, 1936 and Cubism and Abstract Art
Title: Q188740_6.371.939
Source Url: http://www.moma.org/collection/works/80157

Estate of George Grosz; sold through Galerie Nierendorf, Berlin, after 1959.Peter Deitsch Gallery, New York [?] ; sold to The Museum of Modern Art, New York, 1966
Title: Q188740_6.451.966
Source Url: http://www.moma.org/collection/works/72468

Estate of George Grosz; sold through Galerie Nierendorf, Berlin, after 1959.Peter Deitsch Gallery, New York [?] ; sold to The Museum of Modern Art, New York, 1966
Title: Q188740_6.461.966
Source Url: http://www.moma.org/collection/works/72483

Estate of George Grosz; sold through Galerie Nierendorf, Berlin, after 1959.Peter Deitsch Gallery, New York [?] ; sold to The Museum of Modern Art, New York, 1966
Title: Q188740_6.471.966
Source Url: http://www.moma.org/collection/works/72510

By 1931 - 1936, Galerie Alfred Flechtheim, Berlin/Düsseldorf.1936, The Museum of Modern Art, New York, purchased from Alfred Flechtheim.
Title: Q188740_681.936
Source Url: http://www.moma.org/collection/works/80893

Galerie Nierendorf, Berlin [1]; Karl Nierendorf (1889-1947), New York [2]; Estate of Karl Nierendorf, New York, 1947; sold to Alexander W. Pearlman (1914-2004), New York, March 17, 1954 [3]; acquired by The Museum of Modern Art, New York (Gift of Samuel A. Berger), 1955. [1] Artist"s questionnaire, Collection files, Department of Drawings, The Museum of Modern Art, New York.[2] Karl Nierendorf emigrated to New York in 1936. Included in the "International Watercolor Exhibition, The Art Institute of Chicago, April 28-May 30, 1938 (no. 40: Café).[3] See "Court Backs Art Sale," The New York Times, March 18, 1954.
Title: Q188740_7.1955
Source Url: http://www.moma.org/collection/works/33053

George Grosz, Berlin.Galerie Flechtheim (label no. B7213), Berlin, possibly acquired on consigment.C. 1959 - before 1963, Richard Feigen, Chicago, probably acquired from the artist, Huntington, NY.By 1963, Irving and Adele R. Moskovitz, New York.1963, The Museum of Modern Art, New York, acquired as gift from Mr. and Mrs. Irving Moskovitz.
Title: Q188740_7.801.963
Source Url: http://www.moma.org/collection/works/80347

Estate of the artist (Madeleine Knobloch), Paris, 1881 [1]; sold to Veuve (Sylvie) Monnom (1836-1921), Brussels, 1892 [2]; to Marie (née Monnom) (1866-1959) and Théo (1862-1926) van Rijsselberghe, Brussels, by 1904 until at least 1909 [3]. [Galerie Druet, Paris, 1913] [4]; [Félix Fénéon, Paris] [5]; [Galerie Alfred Flechtheim, Düsseldorf] [6]. Sold through Gösta A. Olson, Stockholm to Rolf de Maré, Stockholm/Paris, 1918 (in de Maré"s possession until at least 1936) [7]; sold to Paul Rosenberg, Paris [8]; confiscated during the Nazi occupation by the ERR (Einsatzstab Reichsleiter Rosenberg), 1941 [9]; traded by Hermann Goering"s agent Andreas Hofer to Hans Wendland and Theodor Fischer, Lucerne, in exchange for objects acquired for the Goering collection, April 1942 [10]; turned over by Fischer at the request of the Swiss government to the collecting point at the Kunstmuseum Bern, 1945 [11]; returned to Paul Rosenberg, New York, June 1948 [12]; sold to William A. M. Burden, New York, October 1948 [13]; acquired by The Museum of Modern Art, New York (Gift of Mr. and Mrs. William A. M. Burden), 1963.[1] Included in the 7th Salon des Artistes Indépendants, Pavillon de la Ville de Paris, March 20-April 27, 1891 no. 1106 (see de Hauke 1961, Seurat et son oeuvre, Paris: Gründ, 1961, p. 227).[2] Henri Dorra and John Rewald, eds., Seurat: L’Oeuvre peint, biographie et catalogue critique, Paris: Les Beaux-Arts, 1959, no. 203: "Monnom, Bruxelles (acquis pour 400 francs en 1892)." Included in the 8th Salon des Artistes Indépendants, Pavillon de la Ville de Paris, March 19-April 27, 1892, no. 1107: "Prêté par M. Monnom." (see de Hauke 1961, p. 228).
Title: Q188740_7.851.963
Source Url: http://www.moma.org/collection/works/80354

[Maurice de Vlaminck, Paris, 1908] [1]. Acquired by Alfred Flechtheim, Düsseldorf, by 1912 [2]; sold through Paul Cassirer, Berlin and Hugo Helbing, Munich to Sally Falk, Mannheim (1888-1962), June 5, 1917 [3]; sold to Paul Cassirer, Berlin, April 11, 1918 [4]; sold to Oskar Moll (1875-1947), Breslau , April 20, 1918 [5]. Acquired by Alfred Gold (1875-1958), Berlin, Paris and New York, by 1932 [6]. Justin K. Thannhauser (1892-1976), New York [7]; sold to Samuel A. Marx and Florene M. Marx (later Schoenborn), New York, 1951 [8]; acquired by The Museum of Modern Art, New York, 1996 (Florene May Schoenborn Bequest).[1] Per Pierre Daix, Picasso: The Cubist Years, Boston: New York Graphic Society, 1979, no. 105.[2] Ibid. Included in the "Internationale Kunstausstellung" of the Sonderbund Cologne, May 25-September 30, 1912 (no. 217: Frauenkopf), . Lender: Alfred Flechtheim.[3] See auction catalogue Galerie Flechtheim: Moderne Gemälde, Paul Cassirer, Berlin and Hugo Helbing, Munich, June 5, 1917 (no. 203).[4] Roland Dorn et al., Stiftung und Sammlung Sally Falk, Mannheim: Städtische Kunsthalle, 1994, p. 185, no. 297.
Title: Q188740_8.251.996
Source Url: http://www.moma.org/collection/works/80391

The artist, Paris; sold through Daniel-Henry Kahnweiler (1884-1979) to Alfred Flechtheim (1878-1937), Düsseldorf, Berlin, and London, 1912 [1]; [on loan to Alex Reid & Lefevre, London] [2]; acquired by Douglas Cooper (1911-1984), London, 1934 or after [3]; acquired by Pierre Matisse Gallery, New York, March 1937 [4]; sold to Walter P. Chrysler, Jr., New York, 1937 [5]; acquired by Florene (1903-1995) and Samuel A. Marx (1948-1964), Chicago, 1955 [6]; acquired by The Museum of Modern Art, New York, 1996 (Florene May Schoenborn Bequest). [1] See Das Kunstblattvol. 15 (January 1931), p. 13, qtd. in Ottfried Dascher, Alfred Flechtheim: Sammler, Kunsthändler, Verleger, Wädenswil: Nimbus, 2011, p. 432.Included in the exhibition Ausstellung Pablo Picasso, Moderne Galerie Heinrich Thannhauser, Munich, February 1913 (no. 52: Frauenkopf, reproduced). See Carl Einstein,
Title: Q188740_8.271.996
Source Url: http://www.moma.org/collection/works/80394

1932, Paul Klee, Düsseldorf.1932 - 1933, Galerie Alfred Flechtheim, Düsseldorf/Berlin, acquired on consignment from the artist.1933 - at least January 1937, Galerie Simon (Daniel-Henry Kahnweiler), Paris, acquired on consignment from the artist.[Buchholz Gallery (Curt Valentin), New York]By 1940 - 1977, Allan (1906-1975) and Beatrice Roos, New York and San Francisco. 1978, The Museum of Modern Art, New York, purchased from a beneficiary of the Estate of Beatrice Roos.
Title: Q188740_8.541.978
Source Url: http://www.moma.org/collection/works/80410

1910, Pablo Picasso, Paris.1910 - 1914, Wilhelm Uhde, Paris.1914 - May 30, 1921, Uhde collection and gallery stock, sequestered during World War I by the French government as enemy property and sold through Hôtel Drouot (Collection Uhde: Tableaux Modernes, Paris, May 30, 1921, lot 44).May 30, 1921 - May 18-19, 1925, Christian Tetzen-Lund (1852-1936), Copenhagen, purchased at auction Hôtel Drouot and sold at the auction sale of the Tetzen-Lund collection (Franske og Skandinaviske Billeder tilhørende Tetzen-Lund’s Samlinger, Copenhagen, May 18-19, 1925, lot 99).May 18-19, 1925 - ?, Paul Rosenberg, Paris [possibly on consignment with Galerie Alfred Flechtheim, Berlin and Düsseldorf], purchased at auction from Christian Tetzen-Lund through Wilhelm Hansen.André Breton, Paris, acquired from Paul Rosenberg.By 1931 - 1937, René Gaffé, Bruxelles and Cagnes-sur-Mer, purchased through/from André Breton and Paul Éluard, Paris.1937 - November 1956, Roland A. Penrose, London and Sussex, purchased from René Gaffé through Zwemmer Gallery.November 1956 - 1979, Nelson A. Rockefeller, New York, purchased from Roland A. Penrose through Alfred H. Barr, Jr.1979, The Museum of Modern Art, New York, acquired by bequest from Nelson A. Rockefeller.
Title: Q188740_9.661.979
Source Url: http://www.moma.org/collection/works/80430

The artist; by inheritance to Lily Klee (1876-1946), Bern, 1940 [1]; acquired by the Klee Gesellschaft (Klee Society), Bern, 1946 [2]; sold to Galerie Rosengart, Lucerne, by 1948 [3]; sold to Carstairs Gallery (Georges F. Keller), New York, by 1948 [4]; The Museum of Modern Art, New York (Acquired through the Lillie P. Bliss Bequest), 1950.[1] Paul-Klee-Stiftung, Kunstmuseum Bern, eds. Paul Klee: catalogue raisonné. Bern: Benteli and New York: Thames and Hudson, vol. 6 (2002), no. 5971. [2] Ibid.[3] Ibid.[4] Ibid.
Title: Q188740_90.195
Source Url: http://www.moma.org/collection/works/78745

Galerie Nierendorf, Berlin and New York. By 1936The Museum of Modern Art, New York. Purchased from Galerie Nierendorf, 1936
Title: Q188740_961.936
Source Url: http://www.moma.org/collection/works/33874 Q1976985 3 With Félix Gérard (1835-1904), Paris, by 1904;S. D. Bellanger;[1];With Paul;Rosenberg (1881-1959), Paris, no. 3729, as Village;derrière les arbres or Bois de;Châtaigniers à Louveciennes, by February 1937 [2];Purchased from Rosenberg by Arthur Tooth and Sons, Ltd.;London, stock ledger 7, no. 7672, as Village;derrière les arbres, by November 9, 1937;Purchased from Arthur Tooth and Sons by A. K. Charlesworth;(1892-1945), Whitwell Hall, Yorkshire, England, November 9, 1937;Sybil Cholmondeley, Marchioness of Cholmondeley (née;Sassoon, 1894-1989);Purchased from Lady Cholmondeley by Arthur Tooth and Sons;London and New York, stock no. 2441, by July 26, 1950 [3];Purchased from Arthur Tooth and Sons by Sam Salz Gallery, New York, July 26;1950-March 3, 1952;Purchased from Sam Salz Gallery by Mr. Alexander M.;(1908-1988) and Mrs. Elisabeth (née Roulleau, 1912-2012) Lewyt, New York, March;3, 1952-November 11, 1997;Purchased at their sale, Impressionist;and Modern Paintings, Drawings and Sculpture (Part 1), Christie’s, New;York, November 11, 1997, lot 119, by Marion (née Helzberg, 1931-2013) and Henry;(1922-2019) Bloch, Shawnee Mission, KS, 1997- June 15, 2015;Given by Henry W. and Marion H. Bloch to the Nelson-Atkins;Museum of Art, Kansas City, MO, 2015.;NOTES;[1] See The Paul Rosenberg Archives, a Gift of Elaine and;Alexandre Rosenberg, III.D, Rosenberg Galleries: Miniature Photo and Card;Index, ca. 1910-1987, The Museum of Modern Art, New York. The photo card says;“Collection Bellanger/ S.D.” Ilda François;secretary to Elaine Rosenberg, suggested the S. D. might be an abbreviation for;“Signé Droite,” however, the artist’s signature is on the left in this;painting.;[2] According to Ilda François, secretary to Elaine;Rosenberg, Paul Rosenberg purchased the painting between January and February;1937. See also The Paul Rosenberg Archives, a Gift of Elaine and Alexandre;Rosenberg, IV.A.I.a, Liste de Photographies, Paris, [1917-1939] [1940-present];The Museum of Modern Art, New York, and The Paul Rosenberg Archives, a Gift of;Elaine and Alexandre Rosenberg, III.D, Rosenberg Galleries: Miniature Photo and;Card Index, ca. 1910-1987, The Museum of Modern Art, New York.;[3]: See email from Fran Whitlum-Cooper, contract;researcher, NAMA, to Meghan Gray and Brigid Boyle, NAMA, May 27 th;2015, NAMA Curatorial files.
Title: Q1976985_2015.13.17
Source Url: https://art.nelson-atkins.org/objects/47398/chestnut-grove-at-louveciennes

With the artist, Paris and Les Collettes, near Cagnes-sur-Mer, France, 1890-December 3, 1919;Inherited by the artist’s family, Les Collettes, near Cagnes-sur-Mer, France, 1919-October 1922 [1];By descent to the artist’s son, Pierre Renoir (1885-1952), Paris and Les Collettes, near Cagnes-sur-Mer, France, 1922-at least October 7, 1928 [2];Possibly with Galerie Alfred Flechtheim, Düsseldorf, Berlin, Cologne and Frankfurt, Germany, by October 1928 [3];Private collection, U.S., by 1929;With James Vigeveno Galleries, Los Angeles, photo book 20, no. 1460, as Le Chapeau epinglé [sic], by July 1954 [4];Purchased from James Vigeveno Galleries by George I. (d. 1984) and Myna Friedland (née Siegel, 1912-1995), Merion, PA, July 1954-1969;To Myna Brady (formerly Mrs. George Friedland), by 1969-October 27, 1976 [5];Purchased from Myna Brady (formerly Mrs. George Friedland) t hrough John and Paul Herring and Co., New York, by Marion (née Helzberg, 1931-2013) and Henry (1922-2019) Bloch, Shawnee Mission, KS, 1976-present [6];Given by Henry and Marion Bloch to The Nelson-Atkins Museum of Art, Kansas City, MO, 2015.;NOTES;[1] Distribution of Renoir’s paintings among his three sons did not occur until October 1922, a few months after the youngest son, Claude, came of age. Accordingly, an itemized inventory of Renoir’s paintings titled “Partage par lots” was drawn up, presumably with an indication of which painting went to which son. The “ Partage par lots” is undated, however, a typed letter dated August 8, 1922 from Pierre Renoir to his cousin Eugéne suggests that it was drawn up in October 1922, see The Unknown Renoir: The Man, The Husband, The father, The Artist, Heritage Auctions, New York, September 19, 2013, lot 89007. Unfortunately, this document is not currently accessible to scholars.;[2] A photograph of this pastel in Julius Meier-Graefe, Renoir (Leipzig: Klinkhardt and Biermann Verlag, 1929), 261, is credited to Galerie Alfred Flechtheim, while the caption describes the pastel as being in a private U.S. collection. In the illustration index, the pastel is listed in Pierre Renoir’s collection.;[3] See footnote 2. The pastel was probably on exhibition at Galerie Alfred Flechtheim from October 7-November 9, 1928. It is possible that Pierre Renoir sold the pastel to Flechtheim who in turn sold the pastel to an American collector by 1929. According to Laurie Stein, President, L. Stein Art Research LLC, Chicago, and Senior Advisor for the Provenance Research Initiative at the Smithsonian Institution, Flechtheim records do not survive. S ee correspondence from Mackenzie Mallon to Laurie Stein, May 2015, NAMA curatorial files.;[4] See stock card, James Vigeveno Galleries records, 1940-1975, Archives of American Art, Smithsonian Institution, Washington, D.C.;[5] George I. Friedland and Myna Friedland (née Siegel) married in 1946. Around March 1965, Mr. Friedland left the common home and moved to St. Thomas, Virgin Islands. On February 10, 1966, Mrs. Friedland filed for divorce. After a series of legal injunctions it appears the appeal was taken to the Supreme Court of Pennsylvania (January Term 1969, No. 213). According to the Laurence H. Eldredge Papers, The University of Archives and Records center, University of Pennsylvania, a divorce was granted by the opinion of the court in 1969. M yna Brady (formerly Mrs. George Friedland) married Samuel P. Brady in 1971.;[6] In a telephone call with MacKenzie Mallon on May 7, 2015, John Herring relayed that John and Paul Herring and Co. had the pastel on consignment from Myna Brady (formerly Friedland).
Title: Q1976985_2015.13.20
Source Url: https://art.nelson-atkins.org/objects/47408/pinning-the-hat

Purchased;from the artist by Galerie Kahnweiler, Paris, by August 1914-December 12, 1914;[1];Confiscated from Galerie Kahnweiler by the;French government, December 12, 1914-May 7, 1923 [2];Tableaux;aquarelles, gouaches, dessins & estampes par Georges Braque, André Derain;Maurice de Vlaminck, Juan Gris, Fernand Léger, Manolo, Pablo Picasso, Hôtel Drouot, Paris, May 7, 1923, lot 67;[3];Probably;Helena Rubinstein (d. 1965), New York, by 1959;Probably;acquired from Rubinstein from Sir John Richardson (b. 1924), on joint account;with Knoedler and Co., New York, watercolor stock book 6, no. WCA2286, May 21;1959-February 2, 1961 [4];Purchased;from Knoedler by the Friends of Art, Kansas City, MO, February 2, 1961;Their;gift to The Nelson-Atkins Museum of Art, Kansas City, MO, 1961.;NOTES;[1];Galerie Kahnweiler had an exclusive contract with Juan Gris from February 1913;until the beginning of World War I in August 1914, when owner Daniel Henry;Kahnweiler (1884-1979), a German citizen living France, was declared an enemy;alien by the French government.;[2] Kahnweiler’s;gallery stock was subject to confiscation as enemy property and was sold after;the war by the French Ministry of Finance toward paying Germany’s war;reparations.;[3] This;piece was one of eight Gris works sold as one lot.;[4] See;John Richardson, The Sorcerer’s Apprentice;Picasso, Provence, and Douglas Cooper (New York: Alfred A. Knopf, 1999);258. Knoedler and Co. purchased a half share in a group of six Gris works from;Richardson.
Title: Q1976985_F61-10
Source Url: https://art.nelson-atkins.org/objects/26823/book-glass-and-bottle-on-a-table Q214867 12 (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.
Title: Q214867_1997.57.1
Source Url: https://www.nga.gov/collection/art-object-page.101776.html

Daniel-Henry Kahnweiler [1884-1979], Paris, 1939. (Galerie Karl Nierendorf, Cologne, Berlin, and New York), c. 1939. (Buchholz Gallery, Berlin, until 1952), Benjamin and Lillian Hertzberg, New York, gift to NGA, 2004.
Title: Q214867_2004.140.11
Source Url: https://www.nga.gov/collection/art-object-page.130830.html

(Galerie Alfred Flechtheim, Berlin). André Lefèvre [d. 1963], Paris. (Galerie Louise Leiris, Paris),[1] (The Mayor Gallery, London), purchased 1949 by Sidney Janis [1896-1989], New York,[2] gift 1967 with his collection to The Museum of Modern Art, New York, deaccessioned and sold back to Sidney Janis, New York,[3] by inheritance to his son, Carroll Janis, New York, gift 2008 to NGA.;[1] This information was kindly provided by The Mayor Gallery, e-mail of 7 September 2010 in NGA curatorial files. The Galerie Louise Leiris was originally named Galerie Simon (after his partner André Simon) when it was established in 1920 by Daniel-Henry Kahnweiler. In 1940 the business was turned over to Kahnweiler's sister-in-law, and operated under her name.;[2] The early provenance is given in Three Generations of Twentieth-Century Art: The Sidney and Harriet Janis Collection of the Museum of Modern Art, New York, 1972: 192. However, it does not include the name of Galerie Louise Leiris.;[3] The painting was MoMA accession number 626.67, see Michael Asher, Painting and Sculpture from The Museum of Modern Art: Catalog of Deaccessions 1929 through 1998, New York, 1999: 11.
Title: Q214867_2008.126.1
Source Url: https://www.nga.gov/collection/art-object-page.142107.html

Sir Francis Baring, 1st Bt. [1740-1810], London,[1] (sale, Christie's, London, 15 March 1805, no. 51, as by Francesco di Ladi),[2] (Thomas Winstanley, Liverpool), William Roscoe [1753-1831], Liverpool, by 1813, sold before 1816.[3] Private collection, England. (sale, Robinson, Fisher & Harding, London, 27 November 1924, no. 99, as St. Francis by C. Crivelli).[4] Art market, London, by 1933.[5] (Count Alessandro Contini-Bonacossi, Florence),[6] purchased July 1948 by the Samuel H. Kress Foundation, New York,[7] gift 1952 to NGA.;[1] On this collector, see Francis Haskell, Rediscoveries in art: some aspects of taste, fashion, and collecting in England and France, Ithaca, 1976: 72.;[2] Burton Fredericksen (in The Index of paintings sold in the British Isles during the nineteenth century, 4 vols. Santa Barbara, 1988: 1:49, 295) established the painting's ownership, which is not specified in the sale catalogue, on the basis of an annotated copy of the catalogue in the files of Christie's in London.;[3] See Michael Compton, "William Roscoe and Early Collectors of Italian Primitives," Liverpool Bulletin 9 (1960-1961): 47. Hugh Macandrew (letter of 11 September 1961 to William Campbell, in NGA curatorial files) transcribes a description of the painting in Roscoe's hand from a manuscript catalogue of his collection (Roscoe Papers, Liverpool Library, 3897).;[4] Everett Fahy (his letter of 19 November 1984 in NGA curatorial files) called attention to a Cooper negative of the painting in the Frick Art Reference Library in New York, the photograph, taken on the occasion of the sale in 1924 in London, shows the painting dirty and with a check running vertically through the figure, but otherwise with an aspect not unlike the present one.;[5] According to Evelyn Sandberg-Vavalà, "Francesco Benaglio," Art in America 21 (1933): 62-63.;[6] By April 1948 (the date of Roberto Longhi's expertise, copy in NGA curatorial files), the panel must already have been with Contini-Bonacossi, for whom Longhi wrote his opinion in Italian (his expertises for the Kress Foundation are usually in English).;[7] The Kress Foundation made an offer to Contini-Bonacossi on 7 June 1948 for a group of twenty-eight paintings, including the Benaglio, the offer was accepted on 11 July 1948 (see copies of correspondence in NGA curatorial files).
Title: Q214867_1952.5.51
Source Url: https://www.nga.gov/collection/art-object-page.41666.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.
Title: Q214867_1961.9.44
Source Url: https://www.nga.gov/collection/art-object-page.46143.html

Purchased March 1940 from the artist by (Paul Rosenberg and Co, New York),[1] sold November 1951 to Robert von Hirsch [1883-1977], Basel, (his estate sale, Sotheby's, London, 26 June 1978, no. 751), purchased by (John Baskett, Ltd., London) for Mr. and Mrs. Paul Mellon, Upperville, Virginia, gift 1985 to NGA.;[1]This painting was confiscated by the ERR in 1941 with others from the Rosenberg collection in France (see inventory of Rosenberg-Bernstein collection, National Archives RG260/Box 470/file XI, and ERR inventory card UNB322, National Archives RG260/Property Division/Box 22, copies NGA curatorial files). Documents from the National Archives in Washington indicate that the painting was selected by Hermann Goering on 3 March 1941 from the Jeu de Paume (OSS Consolidated Interrogation Report #2, The Goering Collection, 15 September 1945, Attachment 5, 2. Nachtrag zur Liste der für die Sammlung des Reichsmarschalls Hermann Göring abgegebenen Kunstgegenstände, dated 9 April 1943, no. 6, National Archives RG239/Entry 73/Box 78, copy NGA curatorial files). Goering is documented as having traded the painting to Gustav Rochlitz, who claimed to have sold it to Hans Wendland (OSS Consolidated Interrogation Report #1, Activity of the Einsatzstab Rosenberg in France, 15 August 1945, V: Details of Exchanges, exchange #1, item no. 7, National Archives RG 239/Entry 74/Boxes 84-84A and OSS Detailed Interrogation Report #4, Gustav Rochlitz, 15 August 1945, Einsatzstab Confiscated Paintings Sold by Rochlitz, no. 30, National Archives RG239/Entry74/Boxes 85-85A, copies NGA curatorial files.). However, according to Wendland, the Matisse remained with Rochlitz (OSS Detailed Interrogation Report, Hans Wendland, 18 September 1946, pp. 14-16, National Archives RG 239/Entry 73/Box 82, copy NGA curatorial files). Further documentation at the National Archives supports Wendland's claim. The picture is not among those known to have been sent by him to Switzerland with others from the same sale from Rochlitz (see Douglas Cooper, Report of Mission to Switzerland, 10 December 1945, pp. 8-9, National Archives RG 239/Entry 73/Box 82, copy NGA curatorial files). Moreover, in a letter dated 18 January 1945, Paul Rosenberg's brother Edmond states that by that time the picture was in a private collection in Paris, having been sold by the dealers Kohl and Renoux of rue Faubourg St. Honoré, Paris (Rosenberg claim file, National Archives RG260/OMGUS/Records of the Museum, Fine Arts and Archives Section/Cultural Property Claims Applications/ Box 743, copies in NGA curatorial files). Hector Feliciano, in The Lost Museum, New York, 1997, p. 121, reports that Matisse himself had seen the picture for sale in Paris in 1942. The picture was returned to the Rosenbergs (per telephone conversation with Rosenberg archives 16 March 2001) who later sold it to von Hirsch.
Title: Q214867_1985.64.26
Source Url: https://www.nga.gov/collection/art-object-page.66424.html

(Adrien-Aurélien Hébrard [1865-1937], Paris), sold 12 July 1926 to (Flechtheim, Dusseldorf).[1] private collection, France,[2] (sale, Sotheby's, London, 29 November 1967, no. 14), purchased by (Hector Brame, Paris) for Paul Mellon [1907-1999], Upperville, Virginia,[3] gift 1985 to NGA.;[1] According to the archives of the Hébrard foundry, cited in Anne Pingeot, Degas Sculptures, Paris, 1991: 153-197. Joseph S. Czestochowski and Anne Pingeot (Degas Sculptures. Catalogue Raisonné of the Bronzes, Memphis, 2002: 231) state that the cast left France in 1967. Since the stock from Alfred Flechtheim's Dusseldorf and Berlin galleries, when he closed them in 1933, was mostly sent to the Mayor Gallery in London or the Galerie Simon in Paris, it appears this cast probably went to the latter. Flechtheim moved to London after he closed his galleries, and died there in 1937.;[2] This information was kindly provided by Aleksandra Todorovic, Director, Impressionist and Modern Art, Sotheby's, London, in an e-mail dated 14 January 2009 to Anne Halpern, in NGA curatorial files.;[3] Confirmation by the late Philippe Brame, personal communication to Anne Halpern, 13 January 2003, see also Mellon collection records, NGA curatorial files.
Title: Q214867_1985.64.67
Source Url: https://www.nga.gov/collection/art-object-page.66465.html

Purchased from the artist by (Paul Rosenberg, Paris),[1] (Alexandre Rosenberg, New York)by 1948, sold 1950 to William Somerset Maugham [1874-1965], St. Jean-Cap-Ferrat, France,[2] (his sale, Sotheby's, London, 10 April 1962, no. 24), Colonel C. Michael Paul, New York, sold 15 January 1970 to Taft B. Schreiber, Beverly Hills [1908-1976],[3] his wife, Rita B. Schreiber, Beverly Hills [d. 1989], gift 1989 to NGA.;[1] This painting was confiscated by the ERR in 1941 with others from the Rosenberg collection in France (ERR inventory card PR34, National Archives RG260/Property Division/Box 19, copy NGA curatorial files). There is confusion in the archival records as to whether picture was taken from the Rosenberg vault at Libourne or the chateau at Floirac. In the Rosenberg claim file (National Archives RG260/Box 742, copies NGA curatorial files) there are lists and correspondence from Edmond Rosenberg, brother of Paul Rosenberg, which provide conflicting information. However, it seems likely the picture was taken from Floirac, as it was this part of the Rosenberg collection assigned the code "PR." Documents from the National Archives in Washington indicate that the painting was traded by the ERR on 16 November 1943, along with a Bonnard painting from the Kann collection, to the dealer Max Stöcklin in exchange for a painting by Rudolf Alt. (Receipt for the exchange, National Archives RG260/Munich Central Collecting Point/Restitution Research Records/Box 452, copy NGA curatorial files). The picture seems to be confused throughout the archival documentation with another Matisse painting described as of a woman in a yellow chair, which also appears to have been confiscated from the Rosenberg collection. However this second picture dates from 1939, is in a vertical format, and the woman is nude. On some documents the code PR34 seems to be associated with the 1939 picture, but it is clearly the NGA painting which is described on the ERR card for PR34, and on the receipt for the exchange between Stöcklin and the ERR. Moreoever, the photographs taken by the ERR of confiscated objects illustrate the NGA picture with the code PR34. After Stöcklin, the painting was traced to the Swiss dealer André Martin, and seen on view at the Galerie Neupert in Zurich (See item no. 62 on atachment B to Douglas Cooper's "Report on Mission to Switzerland," 10 December 1945, National Archives RG239/Entry 73/Box 82, copy NGA curatorial files).;The NGA picture was returned to the Rosenbergs by 1948, according to the records of the gallery, which sold it to Somerset Maugham in 1950.;[2]According to Rosenberg gallery records.;[3]Correspondence between Paul and Schreiber in NGA curatorial files.
Title: Q214867_1989.31.1
Source Url: https://www.nga.gov/collection/art-object-page.71071.html

(A.A. Hébrard, Paris), 1920/1926, sold 12 July 1926 to (Flechtheim, Düsseldorf).[1] P.W. Nerney,[2] (sale, Sotheby's, London, 30 April 1964, no. 176), purchased by Mr. Betts, possibly of (P. & D. Colnaghi & Co., Ltd., London),[3] for Paul Mellon [1907-1999], Upperville, Virginia, (sale, Sotheby's, London, 29 June 1988, no. 118, bought in), (sale, Kunsthaus Lempertz, Cologne, 4 June 1994, no. 116, bought in), gift 1995 to NGA.;[1] Anne Pingeot, Degas: Sculptures, Paris, 1991: cat. 69.;[2] The consignor's name was kindly provided by Eva Avloniti of Sotheby's London office (e-mail of 9 April 2003 to Anne Halpern, in NGA curatorial files).;[3] Betts (no first name cited) is the name of the buyer in the published sale price list, though Mellon collection records cite Colnaghi as the buyer. It is possible that Betts served as agent for Colnaghi, as he apparently did on other occasions, though there is nothing about the transaction in the Colnaghi ledgers under either Betts or Mellon. This information about Betts was kindly provided by Timothy Warner-Johnson of Colnaghi's (e-mail of 21 October 2004 to Anne Halpern, see also copy of Mellon collection records, both in NGA curatorial files).
Title: Q214867_1995.47.16
Source Url: https://www.nga.gov/collection/art-object-page.93038.html Q239303 11 Galerie Simon (Daniel-Henry Kahnweiler), Paris, 1931 to 1938 [no. 01164, photo no. 16024]. Karl Nierendorf, New York, by 1942 [New York 1942 exh. cat.]. Henry Kleemann, New York. Sold, Elizabeth Chapman, Chicago [according to a letter from Mrs. Chapman in curatorial file]. Given by her to the Art Institute, 1948.
Title: Q239303_1.948.560
Source Url: http://www.artic.edu/aic/collections/artwork/63990

Probably Ambroise Vollard, Paris, about 1905 [letter dated Apr. 30, 1964 from Douglas Cooper to Sally Fairweather. Cooper found the sculpture to be consistent with other Vollard casts in size and detail. He also showed it to Picasso, who compared it to the cast in his possession and agreed that it was one of Vollard’s original casts. However, because Vollard did not have his casts stamped or numbered, its origin cannot be proven with certainty. Copy in curatorial object file]. Galerie Charpentier, Paris, by Dec. 1959 [notes from a phone conversation between Courtney Donnell and Melissa Mederos of Knoedler Gallery library, Sept. 3, 1986, copy in curatorial object file]; sold to M. Knoedler and Company, New York, Dec. 1959 [notes from a phone conversation between Courtney Donnell and Melissa Mederos of Knoedler Gallery library, Sept. 3, 1986, copy in curatorial object file]; sold to Fairweather-Hardin Gallery, Chicago, 1961 [notes from a phone conversation between Courtney Donnell and Melissa Mederos of Knoedler Gallery library, Sept. 3, 1986, copy in curatorial object file]; sold to the Art Institute, 1964 [Minutes of the Committee on 20th Century Painting and Sculpture, Jan. 21, 1964 and Dec. 16, 1964].
Title: Q239303_1.964.193
Source Url: http://www.artic.edu/aic/collections/artwork/20522

Alfred Flechtheim, Berlin, 1930–1932 [Paul-Klee-Stiftung 2001]. Daniel-Henry Kahnweiler, Galerie Simon, Paris, by 1935 [Paul-Klee-Stiftung 2001]. J. Israel Ber Neumann, New Art Circle, Neumann Gallery, Berlin and New York, 1935–at least 1937 [Paul-Klee-Stiftung 2001 and Thwaites 1937]. Karl Nierendorf, New York, 1937–1940 [Paul-Klee-Stiftung 2001]. Harold M. and Claire Florsheim, Highland Park, Ill., by 1941–at least 1946 [Chicago 1941 and Chicago 1946]. Katherine Kuh, Chicago [Paul-Klee-Stiftung 2001]. Dr. Ernest and Claire Zeisler (formerly Claire Florsheim), Chicago by 1962–1991 [Chicago 1962 and Paul-Klee-Stiftung 2001]; bequeathed to the Art Institute, 1991.
Title: Q239303_1.991.320
Source Url: http://www.artic.edu/aic/collections/artwork/111665

Daniel-Henry Kahnweiler, Paris, probably acquired directly from the artist, until 1938 [Paul-Klee-Stiftung 2001, and verso label]. Karl Nierendorf, New York, 1938 [Paul-Klee-Stiftung 2001, and verso label]. Harold M. and Claire Florsheim, Highland Park, Ill., by 1941 to at least 1946 [Chicago 1941, and Chicago 1946]. Katherine Kuh Gallery, Chicago [according to telephone conversation between Katherine Kuh and Charles Stuckey in October 1991]. Dr. Ernest B. and Claire Zeisler (formerly Claire Florsheim), Chicago, by 1958 to 1991 [Chicago 1958]; bequeathed to the Art Institute, 1991.
Title: Q239303_1.991.321
Source Url: http://www.artic.edu/aic/collections/artwork/111666

Daniel-Henry Kahnweiler, Paris by 1939 [Paul-Klee Stiftung, 2000]. Karl Nierendorf Gallery, New York, by 1939 until at least 1940 [Paul-Klee Stiftung, 2000 and New York 1940 exh. cat.]. Harold M. and Claire Florsheim, Highland Park, Ill., by 1941 [Chicago 1941 exh. cat.]. Katherine Kuh Gallery, Chicago [according to telephone conversation in October 1991 between Katherine Kuh and AIC curator Charles Stuckey]. Dr. Ernest B. and Claire Zeisler (formerly Claire Florsheim), Chicago by June 1960 to September 30, 1991 [conservation report June 30, 1960 by Louis Pomerantz in curatorial file]; bequeathed to the Art Institute, 1991.
Title: Q239303_1.991.322
Source Url: http://www.artic.edu/aic/collections/artwork/111668

Daniel-Henry Kahnweiler, Paris, probably acquired directly from the artist, 1939 [Paul-Klee Stiftung, 2004]. Karl Nierendorf, New York, by October 25, 1940 [according to letter October 25, 1940 from Arts Club to Karl Nierendorf, in curatorial file]; sold to Elizabeth Paepcke, Chicago, March 18, 1941 to 1994 [according to letter of March 18, 1941 from Arts Club to Museum of Modern Art, New York, in curatorial file]; bequeathed to the Art Institute, 1994.
Title: Q239303_1.994.545
Source Url: http://www.artic.edu/aic/collections/artwork/134057

Eugen Buchthal, Berlin (1878–1954) by April 1928–at least May 4, 1938 [Berlin 1928 and letters from Jörn Grabowski, Zentralarchiv Staatliche Museum zu Berlin, August 4, 2003, and Florian Karsch, Galerie Nierendorf, July 29, 2003, in curatorial file]. Buchholz Gallery, New York, by 1951 [Cleveland 1951]; sold to Clare Hoover, New York and San Francisco, June 15, 1955–1988 [photocopy of receipt in curatorial file]; bequeathed to the Art Institute, 1998.
Title: Q239303_1.998.357
Source Url: http://www.artic.edu/aic/collections/artwork/150071

Rudolf Probst, Galerie Neue Kunst Fides, Das Kunsthaus, Dresden/Mannheim, 1929 [Paul-Klee-Stiftung 2001]. Alfred Flechtheim, Düsseldorf, 1929 to 1933 [Berlin 1929 and Paul-Klee-Stiftung 2001]. Alex Vömel, Düsseldorf [Paul-Klee-Stiftung 2001]. The Mayor Gallery, London, 1934 to 1935 [Edinburgh 1934]. Daniel-Henry Kahnweiler (Galerie Simon), Paris, by 1938 [Paul-Klee-Stiftung 2001]. Karl Nierendorf, New York, by 1938 [Paul-Klee-Stiftung 2001 and verso label]. J. Israel Ber Neumann (1887–1961), New Art Circle, Neumann Gallery, New York [Paul-Klee-Stiftung 2001 and verso label]. Harold M. and Claire Florsheim, Highland Park, by 1941 to at least 1946 [Chicago 1941, and Chicago 1946]. Katherine Kuh Gallery, Chicago [Paul-Klee-Stiftung 2001]. Dr. Ernest B. and Claire Zeisler (formerly Claire Florsheim), Chicago, by 1953 to 1991 [shipping order A1958 dated April 27, 1953 from Art Institute to Claire Zeisler in curatorial file]; bequeathed to the Art Institute, 1991.
Title: Q239303_19.911.500
Source Url: http://www.artic.edu/aic/collections/artwork/111664

Commissioned by the heirs of Edgar Degas from the Hébrard Foundry, Paris, May 1918; sold by A. A. Hébrard to Alfred Flechtheim, Cologne, November 10, 1926 [see Czestochowski and Pingeot, pp. 17-18, and Pingeot]. Robert Edelmann, Chicago, by 1959; given to the Art Institute, 1959.
Title: Q239303_1960.5
Source Url: http://www.artic.edu/aic/collections/artwork/111551

Galerie Kahnweiler, Paris, acquired directly from the artist, 1909 to before 1914 [Kahnweiler photo no. 1002 and London 1983]. Alfred Flechtheim, Berlin, Paris and London, by 1921 to at least 1936 [according to Apollinaire 1921 and Barr 1936]. Mme. Albrecht v. Mendelssohn-Bartholdi (neé Dora Wach), London, by 1936 [London 1983]. Buchholz Gallery, New York by 1938 to 1939 [London 1983 and letter June 4, 1975 from William Mayglothling in curatorial file]; sold by the gallery to Walter P. Chrysler, New York and Warrenton, Va., 1939 to 1968 [letter mentioned above and Mullins 1968]; sold by him to Eugene V. Thaw & Co., New York 1967 to 1969 [London 1983]; sold by the gallery to the Art Institute, 1969.
Title: Q239303_1970.98
Source Url: http://www.artic.edu/aic/collections/artwork/109330

Galerie Pierre Colle, Paris, by December 1932 . Yvonne Zervos, Paris. The Mayor Gallery, London. Pierre Matisse Gallery, New York, by March 1934 [according to correspondence between Pierre Matisse and The Arts Club of Chicago, 1934 in curatorial file]. Galerie Berggruen & Cie., Paris, not before 1950. Richard L. Feigen & Co., Chicago, by 1960. Mary and Leigh Block, Chicago, July 1960 [as per Leigh Block’s Index Card Inventory, in curatorial file]. Gift of Mary and Leigh Block to the Art Institute, 1988.
Title: Q239303_1988.141.13
Source Url: http://www.artic.edu/aic/collections/artwork/110973 Q3783572 12 The artist, Paris, 1915, [Daniel-Henry Kahnweiler, Berne], [Galerie Simon, Paris], sold, to Dr. G. F. Reber, Lausanne, sold, [through Galerie Moos, Geneva], to Theodore Schempp, Paris, Sydney M. Shoenberg, Jr., St. Louis, Louise and Joseph Pulitzer, Jr., St. Louis (January 22, 1959-1963), gift, to the Fogg Art Museum, 1963.;FN: Douglas Cooper dated January 26, 1959:set aside by Gris in his studio for Kahnweiler at the end of the War per their contract of 1912.
Title: Q3783572_1.963.117
Source Url: https://www.harvardartmuseums.org/art/228290

Pierre-Auguste Renoir, (1908-1919?) by descent, to his son Jean Renoir (1919). [Alfred Flechtheim, Berlin, Germany] (1927). A. Conger Goodyear, New York, (by 1931). [Paul Rosenberg, New York, NY] sold, to Maurice Wertheim, (1943-1951) bequest, to Fogg Art Museum, 1951.
Title: Q3783572_1951.60
Source Url: https://www.harvardartmuseums.org/collections/object/229048

Collection of the artist. [Galerie Kahnweiler, Paris (inv. 1733)]. [Alfred Flechtheim, Berlin]. [Jacques Seligmann & Co., New York](1946-1952), sold, to Fogg Art Museum, 1952
Title: Q3783572_1952.35
Source Url: https://www.harvardartmuseums.org/art/299994

Paul Gachet, Auvers, France (c. 1873-1909), to his son Paul Gachet. [Wildenstein & Co., Paris and New York, (c. 1950-1960) donated, to [auction to benefit the Museum of Modern Art, Parke-Bernet, April 27, 1960, lot 24, sold], to David Rockefeller, New York, NY(1960-1976) gift, to Fogg Art Museum, 1976.;Notes;1999 Gachet collection exhibition catalogue dates his ownership to c. 1873-1909.;According to Douglas Cooper, Wildenstein received the painting directly for Gachet fils.;Some sources give a provenance of M. Buron, Paris, before Wildenstein. This is unverified and doubted by M. Potter, 10/4/76.
Title: Q3783572_1976.70
Source Url: https://www.harvardartmuseums.org/art/227822

Galerie Simon/David Henry Kahnweiler, consignment from artist, 1939, consignment?, 1939.;Nierendorf, New York, consignment?, 1939, sale to Lois Orswell, date unknown.;Lois Orswell, purchase, gift to BRM, 1996. painting was on long-term loan to the Fogg Art Museum 1968-1996
Title: Q3783572_1996.10
Source Url: https://www.harvardartmuseums.org/art/222394

Rudolf Probst (Galerie Neue Kunst Fides), Dresden/Mannheim (until 1933);Lily Klee, Bern (1940-1946);Klee Society, Bern (1946-1947);Karl Nierendorf (from 1947);Curt Valentin;Professor and Mrs. Frederick Deknatel (by 1960)
Title: Q3783572_2009.3
Source Url: https://www.harvardartmuseums.org/art/330763

Alfred Flechtheim (to 1930), Daniel-Henry Kahnweiler, Paris (1930-1934), Jsrael Ber Neumann (from 1934), Curt Valentin [Buchholz Gallery, New York], sold, to Joy and Marion Levy (1950-2002), Joy Levy (2002-2015), by bequest, to the Busch-Reisinger Museum, 2015.
Title: Q3783572_2015.82
Source Url: https://www.harvardartmuseums.org/collections/object/353952

Dr. Wurz Collection, Stuttgart. [Graphisches Kabinett, Munich]. [Galerie Alfred Flechtheim, Berlin], sold, to Busch-Reisinger Museum, 1934.
Title: Q3783572_BR34.196
Source Url: https://www.harvardartmuseums.org/art/225860

[Artists Gallery, New York]. [Nierendorf Gallery, New York]. Mr. and Mrs. Greeley Curtis, Cambridge, MA, gift, to Busch-Reisinger Museum, 1952.
Title: Q3783572_BR52.372
Source Url: https://www.harvardartmuseums.org/art/223610

[Galerie Neumann-Nierendorf, Berlin]. Rudolf Frank, Mannheim and Heidelberg. Das Kunsthaus, Mannheim. [Galerie Nierendorf, Berlin]. Albert Ottenheimer, Berlin. [Herbert Tannenbaum, New York], sold, to Busch-Reisinger Museum, 1953.
Title: Q3783572_BR53.102
Source Url: https://www.harvardartmuseums.org/art/223760

[Flechtheim Gallery, Berlin]. [J. B. Neumann, New York]. G. David Thompson, Pittsburgh, gift, to Busch-Reisinger Museum, 1955.
Title: Q3783572_BR55.447
Source Url: https://www.harvardartmuseums.org/art/223818 Q49133 10 July, 1913, sold by the artist to Franz Hauer (b. 1867 – d. 1914), Vienna [see note 1]. Probably about 1914/1915, acquired Oskar Reichel (b. 1869 - d. 1943), Vienna [see note 2], February, 1939, transferred by Reichel to Otto Kallir (b. 1894 - d. 1978), Galerie St. Etienne, Paris and New York [see note 3], 1945, sold by Galerie St. Etienne, New York, to the Nierendorf Gallery, New York, 1945, sold by Nierendorf to Silberman Galleries, New York, 1947/1948, probably sold by Silberman to Sarah Reed (Mrs. John) Blodgett, later Sarah Reed Platt (d. by 1972), Grand Rapids, Portland, Oregon and Santa Barbara, 1973, bequest of Sarah Reed Platt to the MFA. (Accession Date: April 11, 1973);NOTES;[1] Kokoschka wrote to Franz Hauer on July 21, 1913 outlining the terms of Hauer’s acquisition of the painting Lovers (“Liebespaar”) the following day. After Hauer’s death in 1914, the painting was listed in an inventory of his estate as the Dancing Nude Couple (“Akt Tanzender Paar”). Many thanks to Christian Bauer of the State Gallery of Lower Austria and Katharina Erling of the Kokoschka catalogue raisonné project for supplying this information. Also see Bernadette Reinhold, "Art Enthusiast and Enfant Most Terrible," in Franz Hauer: Self-Made Man and Art Collector (exh. cat., Landesgalerie Niederösterreich, 2019), pp. 94-95.;[2] Dr. Oskar Reichel was an admirer, collector, and patron of Kokoschka's work. Tobias G. Natter, Die Welt von Klimt, Schiele und Kokoschka: Sammler und Mäzene (Cologne, 2003), 254, suggests he acquired the painting around 1914/1915. It was first published as being in Dr. Reichel's collection by Paul Westheim in Das Kunstblatt 1 (1917), p. 319.;[3] On February 1, 1939, Reichel transferred the painting--along with four other Kokoschka paintings--to the dealer Otto Kallir, who at that time ran the Galerie St. Etienne in Paris. Kallir exhibited it in Paris that spring and brought it to the United States later that year. After his arrival in the United States, he paid Reichel's two sons, who had already immigrated to North and South America, for the paintings. Kallir opened a branch of his Galerie St. Etienne in New York and exhibited this work often between 1940 and 1945.;For further information, please see "Resolved Claims" at http://www.mfa.org/collections/provenance/nazi-era-provenance-research
Title: Q49133_1.973.196
Source Url: https://collections.mfa.org/objects/34173/two-nudes-lovers

1890, passed from the artist to his brother, Theo van Gogh (b. 1857 - d. 1891), Paris, 1891, probably by descent from Theo van Gogh either to his sister, Wilhelmina van Gogh, or to his widow, Johanna van Gogh-Bonger (b. 1862 - d. 1925), 1894-95, possibly sold by Johanna van Gogh-Bonger to Emile Schuffenecker or Julien Moline [see note 1]. By 1920, to Josse and Gaston Bernheim-Jeune, Paris [see note 2], possibly sold by Bernheim-Jeune to Matthew Justice, Dundee, Scotland [see note 3], by 1925, probably sold by Justice to William Boyd (b. about 1873 - d. 1941), Claremont, West Ferry (near Dundee), 1929, still with Boyd [see note 4]. 1936, Arthur Tooth and Sons, London, August 26, 1936, sold by Tooth to William A. Coolidge (b. 1901 - d. 1992), Topsfield and Cambridge, MA, 1993, bequest of William A. Coolidge to the MFA. (Accession Date: January 27, 1993);NOTES;[1] In "Vincent van Gogh and Paul Cassirer, Berlin" (Zwolle, 1988), Walter Feilchenfeldt suggests the painting belonged to the artist's sister, Wilhelmina van Gogh. In a letter of January 24, 1992 (in MFA curatorial file), Mr. Feilchenfeldt reverses his opinion, suggesting that the picture was, rather, sold by Johanna van Gogh-Bonger in 1894-95, either to Emile Schuffenecker or to Julien Moline. Subsequently, in a letter of January 13, 2003 (in MFA curatorial file) he reintroduces the possibility that it was in Wilhelmina's possession.;[2] Letter from Guy-Patrice Dauberville, Bernheim-Jeune & Co. (March 20, 1992), it is not known when and how Josse and Gaston Bernheim-Jeune acquired the painting, nor when and how it left their possession. Walter Feilchenfeldt (letter of January 13, 2003, cited above, n. 1) has suggested that the painting may have acquired by the Bernheim-Jeune family as early as before the turn of the twentieth century. The gallery exhibited the work in 1904 and 1908, though it is not known who owned it at the time.;[3] Justice was a collector and art dealer. Madeleine Korn, "Collecting paintings by Van Gogh in Britain before the Second World War," Van Gogh Museum Journal, 2002, 134-35, cites a letter from A. J. McNeill Reid to Douglas Cooper (April 9, 1953) stating that Justice "went off to Bernheim-Jeune, got quite a few pictures on sale, bought a few more, and did a good deal of business with Boyd.;[4] Korn 2002 (as above, n. 3), 134-35, states that Justice sold this painting to Boyd. According to information provided by Frances Fowle, to be published in "Van Gogh and Britain: Pioneer Collectors" (Edinburgh, 2006), McNeill Reid commented in an earlier letter to Cooper (April 5, 1953) on "a couple of Van Goghs [Boyd] bought through Justice.;Boyd lent the painting (then called "La Charrue" or "The Plow") to the "Loan Collection of Pictures, Centenary of the Norwich Museum" (Norwich Museum, October 24 - November 1, 1925), cat. no. 64 and to the Royal Scottish Academy (Edinburgh, 1929), cat. no. 354. However, Korn 2002 (as above, n. 3), 136, records the painting as being with C. E. Dix in 1928. She has suggested (verbally, December 14, 2005) that around this time it was with the dealer Arthur Tooth, implying that Tooth either sold it to or purchased it from Dix in 1928. This contradicts the evidence that Boyd owned it until at least 1929, and remains unconfirmed.
Title: Q49133_1993.37
Source Url: https://collections.mfa.org/objects/35481/enclosed-field-with-ploughman

1889, given or left by the artist to Joseph and Marie Ginoux, Arles, July 9, 1897, sold by the Ginoux, through Henri Laget, to Ambroise Vollard (b. 1867 - d. 1939), Paris [see note 1], probably September 1, 1897, sold by Vollard to Cornelis Hoogendijk (b. 1866 - d. 1911), The Hague [see note 2], May 21-22, 1912, posthumous Hoogendijk sale, Frederik Muller, Amsterdam, lot 26, to Galerie Bernheim-Jeune, Paris (stock no. 19248) and Paul Cassirer, Inc., Berlin, 1916, sold by Cassirer to Carl Sternheim (b. 1878 - d. 1942) and Théa Sternheim (b. 1883 - d. 1971), La Hulpe, Belgium [see note 3], February 11, 1919, Théa Sternheim sale, Frederik Muller, Amsterdam, lot 8, not sold [see note 4], until 1928, in the Sternheim collection [see note 5], 1928, sold by Théa Sternheim, through Alfred Flechtheim, to the Galerie Étienne Bignou, Paris [see note 6], 1928, sold by Bignou to M. Knoedler and Co., New York (stock no. A289) and Alex Reid and Lefèvre, Ltd., London [see note 7], 1928, sold by Knoedler to Robert Treat Paine, 2nd (b. 1861 - d. 1943), Boston, 1935, gift of Robert Treat Paine, 2nd, to the MFA. (Accession Date: December 5, 1935);NOTES;[1] Although in 1888 van Gogh sent many paintings from Arles to his brother Theo in Paris, he retained the painting of the Postman Roulin. When the artist departed Arles for St. Rémy in May 1889, he left a number of paintings with his landlords the Ginoux -- though whether he intended to store them or leave them as gifts is not known. After his death the paintings were rediscovered and sold by the Ginoux through the agent Laget. See Walter Feilchenfeldt, By Appointment Only (London: Thames and Hudson, 2006), pp. 293-305.;[2] Hoogendijk made at least seven visits to Vollard's gallery between 1897 and 1899. He is known to have purchased a large group of paintings by Van Gogh on September 1, 1897, he acquired further paintings by the artist in 1899. See Herbert Henkels, "Cézanne en Van Gogh in het Rijksmuseum voor Moderne Kunst in Amsterdam: de collectie van Cornelis Hoogendijk (1866-1911)," Bulletin van het Rijksmuseum 41 (1993): 274-275, n. 23 and Rebecca A. Rabinow, ed., Cézanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde (exh. cat., Metropolitan Museum of Art, New York, 2006), pp. 57, 59 n. 38, and 223. According to Feilchenfeldt 2006 (as above, n. 1), p. 304, this painting was among those sold in September, 1897.;[3] See Théa Sternheim, "Tagebücher, 1905-1927" (Mainz, 1995), pp. 181, 449. The picture was purchased in January of that year.;[4] Only three paintings from the auction were sold, all the others, including the "Postman Joseph Roulin," were returned to the Sternheims. See Carl Sternheim, "Briefe: Briefwechsel mit Thea Sternheim, Dorothea und Klaus Sternheim" (Luchterhand, 1988), vol. 2, p. 759.;[5] The painting was lent by Carl Sternheim to the exhibition "Ausstellung von Meisterwerken aus Privatsammlungen," Kunstmuseum Winterthur, August 20 - September 24, 1922. Following the exhibition, the painting - along with other works of art from the Sternheim collection - was deposited at the Kunstmuseum Winterthur. A letter from Heinz Keller, Curator, Kunstmuseum Winterthur to Angelica Rudenstine of the MFA (April 24, 1964), indicates that he did not know when the paintings were returned. However, the "Postman Joseph Roulin" was lent to the exhibition "Vincent van Gogh," Kunsthalle, Basel, March 27 - April 21, 1924 and Kunsthaus, Zurich, July 3 - August 10, 1924. In the catalogue it is said to be on deposit at Winterthur. Théa and Carl Sternheim divorced in 1927 and Théa retained possession of the painting.;[6] See Théa Sternheim, "Erinnerungen" (Freiburg, 1995), p. 504.;[7] According to letters from Duncan Macdonald of the Bignou Gallery (November 1, 1940) and G. Corcoran of Alex Reid and Lefèvre, Ltd. (April 30, 1964) in the MFA curatorial file. The galleries Bignou and Reid and Lefevre were associated, and shared a stock of paintings.
Title: Q49133_351.982
Source Url: https://collections.mfa.org/objects/32542/postman-joseph-roulin

February 17, 1802, anonymous ("M. W...") sale, Rue de Bouloy, Paris, lot 27 [see note 1]. May 17, 1824, anonymous sale, Hôtel de Bullion, Paris, lot 48 [see note 2]. 1841, Charles-August-Louis Joseph (b. 1811 - d. 1865), Duc de Morny, April 27, 1841, Morny sale, G. Benou, Paris, lot 17, unsold, November 25, 1842, Morny sale, Paillet, Paris, lot 14, unsold, February 25-26, 1845, Morny sale, Hôtel des Ventes, Paris, lot 63 [see note 3], sold for 1,505 francs to Cousin. Désiré van den Schrieck (b. 1786 - d. 1857), Louvain, April 8-10, 1861, posthumous Schrieck sale, at his gallery, Louvain, lot 68, sold to Ferdinand Laneuville (d. 1866) for 3,500 francs, possibly for the Comte Duchâtel, Paris [see note 4]. By 1934, Robert Lebel (b. 1901 - d. 1986), Paris [see note 5], between 1934 and 1936, sold by Lebel to Walter Westfeld (b. 1889 - d. after 1942), Elberfeld (Wuppertal) and Düsseldorf, Germany [see note 6]. 1941, E. and A. Silberman Galleries, New York [see note 7], 1941, sold by Silberman to the MFA for $7500. (Accession Date: December 11, 1941);NOTES;[1] Described as a work on panel by Eglon van der Neer, 27 by 25 inches, depicting a Dutch couple whose black dress indicates they are a burgomaster and his wife, sitting in an interior with a fireplace and a table with fruit on it.;[2] Eddy Schavemaker kindly provided this information.;[3] The paintings included in the February 1845 sale were sold on Morny's behalf under the name of Jean-Jacques Meffre, who served as his art advisor and painting conservator. See Robin Emlein, "La Collection du duc de Morny, Étude du goût pour les écoles du Nord en France au XIXe siècle," Master's thesis, École du Louvre, 2007, vol. 1, pp. 41-44 and vol. 2, pp. 121-122 (cat. B100).;[4] Émile Leclercq, "Correspondance Particulière," Gazette des Beaux-Arts 1861, pp. 180-181. Laneuville, an expert at the sale, was also buying for the Comte Duchâtel. This painting, however, does not appear in subsequent sales of paintings from the Comte Duchâtel collection.;[5] The painting was included in the exhibition held at Robert Lebel's gallery at 13, rue de Seine, Paris, "Une Collection de Tableaux de Petits Maitres Hollandais & Flamands," December 11-28, 1934, cat. no. 25. An old photograph of the painting exists in Lebel's photographic archive, it is annotated on the back: "Eglon van der Neer.;[6] Robert Lebel visited the MFA on October 8, 1943 and told curator W. G. Constable that he had sold this painting to Walter Westfeld around 1937. According to a letter from Walter Westfeld's brother to the MFA (February 6, 1944), Lebel had written to him in the fall of 1943 as well, stating that around 1935/1936 he had sold the painting to Westfeld, who had it at the Galerie Kleucker and "at a time, in Amsterdam." A painting described as a Company Scene by Eglon van der Neer, which is probably the present painting, was exhibited at the Galerie August Kleucker, Düsseldorf, in mid-May, 1936.;[7] A photograph of the painting, supplied to the MFA by Silberman, bears W. R. Valentiner's authentication on the reverse, dated May 15, 1941. The painting was first offered to the MFA on June 3, 1941. A subsequent letter from dealer Abris Silberman to W. G. Constable of the MFA (June 3, 1942) states that "the painting was brought to this country by a refugee some time ago" but had never been in a U.S. collection. Attempts to determine when and how Silberman acquired the work have not been successful.;ADDITIONAL INFORMATION;In 1920 Walter Westfeld opened a gallery that bore his name in Elberfeld (present-day Wuppertal). However, under the Nazi regime he was forced to discontinue his business because he was Jewish, the Galerie Walter Westfeld officially closed on May 27, 1936. Several months later, his associate August Kleucker was put in charge of liquidating the gallery stock through the Galerie Kleucker in Düsseldorf. It is not known whether this painting had formed part of Westfeld's gallery stock or whether he owned it privately, thus it is not known if it was part of the 1936 liquidation through Kleucker. In the fall of 1937, Westfeld was forced to turn over to the Gestapo a list of all the works of art still in his possession, the Van der Neer does not appear on this list. Whether it was no longer in Westfeld's possession at this time, or had been deliberately left off the list, is uncertain.;In November 1938 Westfeld was arrested for foreign exchange violations. He was subsequently found guilty of having -- after the closure of his gallery -- illegally shipped works of art and other assets abroad, to Paris and Amsterdam, and of continuing to sell his own works of art through Kleucker. Whether the Van der Neer left his possession in one of these ways is not known. According to correspondence from a family member to the MFA (November 11, 2004), Westfeld had paintings and other valuables at the Rotterdamse Wisselbank in Amsterdam as late as 1939, again, it is not known if the Van der Neer could have been among these. The valuables were apparently taken unlawfully and sold during World War II, and remain untraced.;In 1939 Nazi authorities seized Westfeld's remaining art assets in Germany and auctioned them through Lempertz, Cologne, on December 12-13, 1939. The Van der Neer painting was not included in this sale.;After Westfeld's trial in Nazi Germany, he served a prison sentence at Lüttringhausen. In 1942 he was sent to the Theresienstadt concentration camp and, in 1943, to Auschwitz. He was declared deceased at the end of World War II.;In June, 2011 the MFA reached a financial settlement with the heirs and the estate of Walter Westfeld for the Portrait of a Man and Woman in an Interior, allowing the work to remain at the museum. This was based on a review of the above research, which outlines a limited number of ways the painting could have left his possession. It seems unlikely that Westfeld gave or sold the painting voluntarily after the closure of his gallery in May, 1936. Rather, as a Jewish art dealer living in Nazi Germany, he probably disposed of it due to persecution.;Bibliography: Herbert Schmidt, Der Elendsweg der Düsseldorfer Juden: Chronologie des Schreckens, 1933-1945 (Düsseldorf: Droste, 2005), pp. 273-278, Victoria S. Reed, "Walter Westfeld (1889-1943?), Art Dealer in Nazi Germany," in Vitalizing Memory: International Perspectives in Provenance Research (Washington, DC: American Association of Museums, 2005), Monika Tatzkow, in Verlorene Bilder, Verlorene Leben: Jüdische Sammler und was aus ihren Kunstwerken wurde (Munich, 2009), pp. 87-97, and Victoria Reed, "Walter Westfeld and the van der Neer Portrait in Boston: The Case Study of a Jewish Art Dealer in Düsseldorf," in Alfred Flechtheim: Raubkunst und Restitution, ed. Andrea Bambi and Axel Drecoll, Schriftenreihe der Vierteljahrshefte für Zeitgeschichte, vol. 110 (Berlin: Walther de Gruyter, 2015), pp. 179-188.
Title: Q49133_41.935
Source Url: https://collections.mfa.org/objects/32816/portrait-of-a-man-and-woman-in-an-interior

Nicolas Auguste Hazard (b. 1834 - d. 1913), Orrouy, France, to his widow, Mme. Hazard (d. 1919), Orrouy, December 1-3, 1919, posthumous Hazard sale, Galerie Georges Petit, Paris, lot 104, to the Galerie Barbazanges for 10,100 francs [see note 1], until at least 1921, with Barbazanges [see note 2]. Galerie Étienne Bignou, Paris, by 1923, sold by Bignou to the Lefèvre Gallery, London [see note 3]. 1929, Scott and Fowles, New York. 1929, Joseph J. Kerrigan (b. 1886 - d. 1952) and Esther Slater Kerrigan (b. 1892 - d. 1951), New York [see note 4], January 8-10, 1942, Esther Slater Kerrigan sale, Parke-Bernet, New York, lot 282. Julius Weitzner, New York. 1942, F. Schnittjer and Son, New York, January 14, 1943, Schnittjer sale, Parke-Bernet, New York, lot 22, to Paul M. Byk on behalf of the MFA for $5000. (Accession Date: October 14, 1943);NOTES;[1] This is one of two closely-related compositions by Daumier, which were purchased together at the Hazard sale (lots 104 and 105). See "Daumier, 1808-1879" (exh. cat., National Gallery of Canada, 1999), pp. 348-349, cats. 199-200. [2] Both versions were lent by Barbazanges to the "Exposition de Peinture Française" (Kunsthalle, Basel, May 8 - June 30, 1921), cat. nos. 54 and 55. [3] On the working relationship between Bignou and Lefèvre, see Douglas Cooper, "A Franco-Scottish Link with the Past," in Alex Reid & Lefèvre, 1926-1976 (Lefèvre Gallery, London, 1976), pp. 17-19. The painting was exhibited by Lefèvre in London, 1923 and 1924. [4] They lent the painting to the "Exhibition of French Painting of the Nineteenth and Twentieth Centuries" (Fogg Art Museum, Harvard University, March 6 - April 6, 1929), cat. no. 19.
Title: Q49133_43.31
Source Url: https://collections.mfa.org/objects/32865/man-on-a-rope

By 1901, William Burrell (b. 1861 - d. 1958), Glasgow, May 16, 1902, Burrell sale, Christie's, London, lot 146, not sold [see note 1]. By 1905 until at least 1906, Bernheim-Jeune, Paris [see note 2]. 1912, possibly Manzi, Joyant et Cie. [see note 3]. By 1914 until at least 1925, Alphonse Kann (b. 1870 - d. 1948), Paris [see note 4]. Paul Rosenberg et Cie., Paris [see note 5]. By 1931, Robert Treat Paine II (b. 1861 - d. 1943), Boston, by descent to his son, Richard C. Paine, Boston, 1946, gift of Richard C. Paine to the MFA. (Accession Date: September 12, 1946);NOTES;[1] William Burrell lent the painting to the Glasgow International Exhibition, 1901. The information about the Burrell sale comes from a letter from Christie's, London (May 14, 1975, in MFA curatorial file). It has been conjectured that he purchased the painting from the Glasgow art dealer Alexander Reid, see Douglas Cooper, "The Courtauld Collection, a Catalogue and Introduction" (London, 1954), pp. 64-65.;[2] A Bernheim-Jeune label dated 1906 is on the reverse of the painting.;[3] It was included in the "Exposition d'art moderne," Manzi, Joyant et Cie., Paris, 1912, cat. no. 25.;[4] Kann lent it to the exhibitions "Art Français: Exposition d'Art décoratif contemporain, 1800-1885" (Grosvenor House, London, 1914), cat. no. 36 and "Cinquante ans de Peinture Française" (Musée des arts décoratifs, Paris, 1925), cat. no. 41.;[5] According to A. Tabarant, "Manet et ses oeuvres" (Paris, 1947), p. 58.
Title: Q49133_46.846
Source Url: https://collections.mfa.org/objects/32976/victorine-meurent

Leila Cowper-Cooper, London [see note 1]. By 1951, art market, London, by 1951, purchased by Colnaghi, London [see note 2], 1952, sold by Colnaghi to the MFA for £320. (Accession date: April 10, 1952);NOTES;[1] This information comes from notes on a stretcher bar on the back of the painting. [2] Letter from James Byam Shaw, Colnaghi & Co., Ltd, London, to W.G. Constable, MFA (December 21, 1951) in curatorial file.
Title: Q49133_52.392
Source Url: https://collections.mfa.org/objects/33481/old-man-and-a-child

Possibly with Alfred Flechtheim or the Galerie Flechtheim [see note 1]. 1935, possibly with Galerie Dr. Schumann, Frankfurt, 1935, possibly sold by Schumann to Christoph Ris (b. 1865 - d. 1947), Zurich, given to his sister, Elisabeth Ris (b. 1872 - d. 1959), Zurich, 1953, sold by Miss Ris to Dr. Hermann Ganz, Zurich [see note 2], January 1955, sold by Ganz to Roland, Browse and Delbanco, London, February 19, 1955, one-half share sold by Roland, Browse and Delbanco to Marlborough Fine Art, Ltd., London, April 8, 1957, remaining one-half share sold by Roland, Browse and Delbanco to Marlborough [see note 3], 1957, sold by Marlborough to the MFA. (Accession Date: January 10, 1957);NOTES;[1] "Flechtheim" appears to be written in pencil on the back of the painting stretcher. Whether it was actually owned by Alfred Flechtheim or the Galerie Flechtheim (which had galleries in Düsseldorf, Berlin, Cologne and Frankfurt) is not known.;[2] This information comes from a letter from Hermann Ganz to Thomas N. Maytham of the MFA (February 27, 1957), according to Dr. Ganz, Elisabeth Ris received the painting from her brother. He had purchased "some paintings" at the Galerie Schumann in 1935, but Miss Ris did not know if the Kirchner painting was among them. It was certainly in her possession by 1948, when she lent it to the Kunsthaus, Zurich ("Sammlung deutscher Expressionisten," August 20 - September 15, 1948, cat. no. 189, as "Liegende"). Many thanks to Joachim Sieber of the Kunsthaus for clarifying Christoph Ris's name and life dates.;[3] The information about the transactions between Roland, Browse and Delbanco and Marlborough Fine Arts, Ltd., was provided by Carol Togneri, Research Scholar, Norton Simon Museum on November 4, 2002.
Title: Q49133_57.2
Source Url: https://collections.mfa.org/objects/33577/reclining-nude

1925, Galerie Simon, Paris (stock no. 9011), November 20, 1925, sold by the Galerie Simon to Gottlieb Friedrich Reber (b. 1880 - d. 1959), Lausanne, by 1933, sold by Reber to Paul de Frassari Adamidi Bey (b. 1901/02 - d. mid-1980s), Geneva [see note 1]. 1951, with the Galerie Charpentier, Paris [see note 2]. Galerie Kleinmann, Paris. By 1960, George David Thompson (b. 1899 - d. 1965), Pittsburgh [see note 3]. Silberman Galleries, New York (?) [see note 4]. 1961, Joseph Pulitzer, Jr., St. Louis, MO, 1967, gift of Pulitzer to the MFA. (Accession Date: December 13, 1967);NOTES;[1] Gottlieb Friedrich Reber was an important collector of Cubist art who purchased twenty-eight pictures by Gris at the Galerie Simon on November 20, 1925. He sold this painting to Paul de Frassari Adamidi Bey, see Dorothy Kosinksi, "G. F. Reber: collector of Cubism," Burlington Magazine 133 (August 1991): p. 530. Bey lent the painting to the exhibition "Juan Gris," Kunsthaus, Zurich, April 2-26, 1933, cat. no. 127.;[2] According to Douglas Cooper, "Juan Gris, catalogue raisonné de l'oeuvre peint," vol. 2 (Paris, 1977), cat. no. 531, p. 356, the painting was included in the exhibition "Natures Mortes Françaises," Galerie Charpentier, Paris, 1951 (cat. no. 78, "La guitarre," no lender named).;[3] According to information provided by the Beyeler Gallery, Basel (August 4, 2004), Thompson consigned the work to the gallery and it was returned to him. While on consignment, the painting was included in the exhibition "Thompson Collection," Kunsthaus, Zurich (October 15 - November 27, 1960), Kunstmuseum, Düsseldorf (December 14, 1960 - January 29, 1961), and Gemeentemuseum, The Hague (February 17 - April 9, 1961).;[4] "Silberman" is written in chalk on the reverse of the painting stretcher.
Title: Q49133_671.161
Source Url: https://collections.mfa.org/objects/34014/mandolin-and-fruit-dish Q5043873 2 Possibly with Herwarth Walden [1879-1941], Berlin, until 1919; Paul Citroen [1896-1983], 1919 until 1929? [1]; Possibly with Neumann & Nierendorf Gallery, Berlin, Germany, by 1929 [2]. G. David Thompson [1899-1965], Pittsburgh, PA, by 1946 until 1953 [3]; gift to Museum, April 1953. \n\nNotes:\n[1]. Citroen lent this painting, recorded as Der Raucher, to Schlossmuseum, Weimar, Germany, from 1923 until c.1930. [2]. From Paul Citroen. \n[3]. G. D. Thompson lent the painting to the Department of Fine Arts, Carnegie Institute in 1946, per Annual Report.\n\nUpdated and Under review by CGK.
Title: Q5043873_53.1.1
Source Url: http://collection.cmoa.org/CollectionDetail.aspx?item=1009128

Willem Beffie [1880-1950], Amsterdam and Brooklyn, New York, 1912 until 1943?. (Nierendorf Gallery, New York, 1943? until 1946?). Charmion von Wiegand [1896-1983], New York, 1945?; G. David Thompson [1899-1965], Pittsburgh, PA, after 1956; Galerie Beyeler, Basel, Switzerland, 1959 until 1961; purchased by Museum, February 1961.\n\nUnder review by CGK.
Title: Q5043873_61.1
Source Url: http://collection.cmoa.org/CollectionDetail.aspx?item=1011390 Q510324 23 Durand-Ruel, Paris, possibly purchased from the artist in October or November, 1881, with Durand-Ruel, New York, c. 1886, sold to Potter Palmer, Chicago, February 1892, with Durand-Ruel, New York, 1901, Arthur B. Emmons (d. 1922), Newport, RI, 1905, his sale, American Art Association, New York, January 14-15, 1920, no. 28, purchased by Knoedler & Co. (or possibly Durand-Ruel) [1], with Durand-Ruel, Paris and New York, by 1936, sold to Otto Haas (1872-1960), Haverford, PA, January 4, 1936 [2], by inheritance to his son John Charles Haas (1918-2011) and Chara Cooper Haas (1927-2012), Villanova, PA, Chara Cooper Haas, gift to PMA, 2011.;1. The preceding provenance per Daniel Wildenstein, Monet, or, The triumph of Impressionism, vol. 2: Catalogue raisonné = Werkverzeichnis, Cologne and Paris, 1996, no. 678. Wildenstein lists the buyer at the 1920 sale as Durand-Ruel, however, the annotated copy of the sale catalogue belonging to the Sterling and Francine Clark Art Institute Library gives the buyer as Knoedler.;2. Copy of dated receipt from Durand-Ruel to Haas in curatorial file.;* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit.
Title: Q510324_2011-58-2
Source Url: https://www.philamuseum.org/collections/permanent/148783.html

Dr. Brocq, Paris, by 1904 [1]. [With Gérard Frères, Paris?] [2]. With Paul Rosenberg & Co., Paris and New York [3]. With Edouard Jonas, Paris, by 1934, sold to Otto Haas (1872-1960), Haverford, PA, November 13, 1934, by inheritance to his son John Charles Haas (1918-2011) and Chara Cooper Haas (1927-2012), Villanova, PA [4], Chara Cooper Haas, gift to PMA, 2011.;1. Presumably Louis-Anne-Jean Brocq (1856-1928), a dermatologist and art collector. Lent by Brocq to the "Exposition d'une cinquantaine d'oeuvres de Sisley, faisant toutes partie de collections particulières," Galerie Rosenberg, Paris, November 7-24, 1904, no. 8.;2. See stamp of Gérard Frères, 2, rue la Boétie, Paris, on reverse of canvas.;3. Provenance per François Daulte, Alfred Sisley: catalogue raisonné de l'oeuvre peint, Lausanne, 1959, no. 346.;4. Copy of dated receipt from Jonas to Haas in curatorial file.;* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit.
Title: Q510324_2011-58-1
Source Url: https://www.philamuseum.org/collections/permanent/150403.html

Possibly with Galerie Alfred Flechtheim, Berlin and Düsseldorf [1]. Possibly with Curt Valentin, Buchholz Gallery, New York [2]. Frank E. Freeman, Villanova, PA (1908-2001), bequest to PMA, 2002.;1. The sculpture bears a partially obscured Flechtheim label that probably would have read in its entirety "Galerien Flechtheim / Berlin W10 Lützowufer 13 / Düsseldorf Königsallee 34”, indicating that the sculpture was at least exhibited there if not part of the gallery's stock. It may have been included in the exhibition at the Berlin branch, "Weihnachten 1931: Wilhelm Lehmbruck zu seinem 50. Geburtstag, 4. Januar 1881," December 13, 1931-mid-January 1932, no. 7 ("Kopf der Sinnenden," Stein, 1913/14) (see installation photo in catalogue). Flechtheim closed his galleries in Berlin and Düsseldorf in 1933 and moved first to Paris and then London.;2. A partial label on the sculpture that reads "NY 53[8 or 5?]. / Wilhelm Leh[mbruck] / Kopf der Sinnend[en]. I / Thinki[ng] girl / Stone....” may come from the Curt Valentin's Buchholz Gallery. Valentin worked for Flechtheim in Berlin after 1927, organizing exhibitions and co-editing the gallery’s magazine Omnibus. He opened the Buchholz Gallery in New York in 1937, and frequently exhibited sculptures by Lehmbruck with such general titles as "Head of a Girl, 1913-14" or "Head of Thinking Girl," described as "stone" or "cast stone" (for example, in 1937 and 1939), however these are not illustrated and often the dimensions are not supplied.
Title: Q510324_2002-90-1
Source Url: https://www.philamuseum.org/collections/permanent/180163.html

Purchased from the artist by Durand-Ruel et Cie, Paris, December 16, 1893 [1], sold to Dudensing Galleries, New York, on July 21, 1920 [2], sold back to Durand-Ruel on November 23, 1929, and still owned in 1936. Sale, "Collection de Madame de R.," Paris, Musée Galliera, June 24, 1968, no. 62 ("Pommiers, soleil couchant, Éragny", illus.) [3], Madame Stubel, Brussels [4]. With Wally F. Galleries, New York (stock no. 26834), by October 9, 1968 [5], sold to John Charles Haas (1918-2011) and Chara Cooper Haas (1927-2012), Villanova, PA, October 12, 1968 [6], Chara Cooper Haas, gift to PMA, 2011.;1. Durand-Ruel photo no. 2682, and Durand-Ruel photographic archives no. 21166, according to Wally F. Galleries receipt.;2. Joachim Pissarro and Claire Durand-Ruel Snollaerts, Pissarro: Critical Catalogue of Paintings, Milan and Paris, 2005, no. 995. Pissarro and Snollaerts list the name as "Valentine Gallery", however, there was no gallery of that name until 1927. Most likely the painting was purchased by F. Valentine Dudensing on behalf of the gallery Richard Dudensing & Son, later Dudensing Galleries, belonging to his father, Frank, for whom he worked as manager at the time before opening his own gallery in 1926, named first the F. Valentine Dudensing Gallery and then the Valentine Gallery in 1927. Valentine Dudensing and his wife made the first of their annual buying trips to Europe in summer 1920 (communication from Julia May Boddewyn, March 6, 2017, in curatorial file). The Valentine Gallery specialized in modernist art, whereas the Dudensing Galleries specialized in 19th century art. However, it's possible that Valentine Dudensing subsequently acquired it for his own gallery and later sold it back to Durand-Ruel.;3. The consignor of this lot is listed as "Collection de Madame de R." (this collection is unidentified).;4. See Pissarro and Snollaerts, no. 995.;5. "Wally F." stands for Wally Findlay, the dealership is now known as Wally Findlay Galleries.;6. Copy of dated receipt from Wally F. Galleries to Mr. & Mrs. John C. Haas in curatorial file.
Title: Q510324_2011-58-3
Source Url: https://www.philamuseum.org/collections/permanent/319041.html

With Hans Goltz, Galerie Neue Kunst, Munich, as of 1920 [1], with Daniel-Henry Kahnweiler, Galerie Simon, Paris, until 1939, with Nierendorf Gallery, New York, 1939, until at least 1941 [2], with Stendahl Art Galleries, Los Angeles [3], sold to Louise and Walter C. Arensberg, Los Angeles, after 1941, gift to PMA, 1950.;1. Exhibited at the Galerie Neue Kunst, "Paul Klee", May-June 1920, no. 4 (see also fragmentary label on reverse of painting).;2. See Paul-Klee-Stiftung, Kunstmuseum Bern, Paul Klee: Catalogue Raisonné, v. 4: 1923-1926, Bern, 2000, no. 1637. In February 1938, Kahnweiler, Klee's dealer, had granted sole representation of Klee's work in North America to Karl Nierendorf. "City of Towers" was included in the Nierendorf Gallery exhition, "Paul Klee," November 1941, no. 34. The back of the painting has a Nierendorf Gallery label, no. 315.;3. According to the Arensbergs' provenance notes dated December 1, 1951 (PMA Arensberg Archives, CA Use Tax), the Arensbergs acquired the work through Stendahl, although the catalogue raisonné states that it was purchased from Nierendorf.;* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit.
Title: Q510324_1950-134-109
Source Url: https://www.philamuseum.org/collections/permanent/51023.html

With Daniel-Henry Kahnweiler, Paris, 1935-1937, with Karl Nierendorf, Nierendorf Gallery, New York, 1937-1943 [1], on consignment to Galka E. Scheyer (1889-1945), San Francisco and Los Angeles [2], sold to Louis Blembel, [Los Angeles?], 1943 [3]. With Stendahl Art Galleries, Los Angeles, as of August 1948 (from Blembel?) [4], sold to Louise and Walter C. Arensberg, Los Angeles, September 28, 1948 [5], gift to PMA, 1950.;1. Kahnweiler shipped the painting to Karl Nierendorf in New York on November 19, 1937 (information provided by Dr. Christian Rümelin, director, Catalogue raisonné Paul Klee, letter in curatorial file). As is evident from Nierendorf's correspondence with Earl Stendahl of the Stendahl Art Galleries (Archives of American Art), at the time of the 1941 Klee exhibition organized by the Museum of Modern Art in New York, which traveled to San Francisco and Los Angeles, Nierendorf sent the painting, along with thirteen others, on consignment to Galka Scheyer in California. Probably shortly after the exhibition, she or Nierendorf lent the painting to John Huston on approval as a prospective buyer, when Huston left for military service around 1942 he returned the painting to Scheyer without buying it. In the meantime, after major disagreements Nierendorf had cancelled his business agreement with Scheyer. He attempted to retrieve this and other paintings he had with her, without success. Nierendorf was still trying to get the paintings back, or at least prevent her from selling them, when he wrote to Stendahl on February 9, 1943, that he had received an offer for the painting from Scheyer, who had found a buyer for it. Later, on February 23, he wrote Stendahl that "in spite of my protests she has sold Klee's 'Red Roof'," to a buyer she apparently did not disclose to him (see copies of correspondence in curatorial file).;2. A photo of ca. 1943 shows the painting hanging in Scheyer's house, see Sandback, "Blue Heights Drive," Artforum, v. 28, no. 7, p. 124.;3. According to the curatorial records, "Property of Louis Blembel" was written in pencil on the back of the frame, however, because the painting has been reframed the name cannot be verified. The same person (apparently a young man, Scheyer refers to him as a 'boy') bought two works by Lyonel Feininger from Scheyer in 1944, an oil entitled 'Fishing Cutter' of 1940 and a watercolor called 'Shelter Cove' of 1939. Scheyer mentions in a letter to Feininger of August 5, 1944, that Blembel "fell in love before" with a beautiful Klee which he paid for in installments -- undoubtedly "But the Red Roof!". The architect Rudolph M. Schindler built a house in Hollywood for a L. Blembel in 1949, possibly the same person.;4. Stendahl offered the painting to Curt Valentin of the Buchholz Gallery in a letter of August 25, 1948 (Stendahl Art Galleries records, Archives of American Art).;5. Receipt of this date from Stendahl Galleries in curatorial file (original in Arensberg Archives). A note in the curatorial file records a conversation with Stendahl, April 8, 1954, in which Stendahl said that he sold the painting to Walter Arensberg five or six years previously and that it came from Galka Scheyer's collection, who originally offered it to Arensberg.;* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit.
Title: Q510324_1950-134-121
Source Url: https://www.philamuseum.org/collections/permanent/51037.html

With Galerie Simon, Paris, 1921 (stock no. 6720, photo no. 1502), Hans Simon, Berlin, by 1928 and possibly still in c. 1931 [1]. Jacques Zoubaloff (1876-1941), Paris, by 1935 [2], sale, Zoubaloff Collection, Hôtel Drouot, Paris, November 27-28, 1935, no. 127 (illus.), purchased by Jean Crotti [3], sold through Marcel Duchamp (Crotti’s brother-in-law) as agent to Louise Arensberg (1879-1953) and Walter C. Arensberg (1878-1954), Los Angeles, probably 1935 [4], gift to PMA, 1950.;1. Hans Simon is listed as the owner in Carl Einstein, Die Kunst des 20. Jahrhunderts, 2nd ed. (Berlin: Propyläen-Verlag, 1928), no. 308, and 3rd ed. (Berlin: Propyläen-Verlag, 1931), no. 352.;2. Included in the Galerie des Beaux-Arts, Paris, exhibition Les créateurs du cubisme, catalogue by Raymond Cogniat, 1935, no. 10. Zoubaloff formed most of his Cubist collection in the 1920s (see Douglas Cooper, The Essential Cubism [London: Tate Gallery, 1983], 28-31).;3. A news clipping in the Getty’s copy of the auction catalog gives “M[onsieur] Crotti” as the buyer. The artist Jean Crotti was married to Marcel Duchamp’s sister Suzanne.;4. According to provenance notes he made in 1951 (dated September 8, 1951, PMA, Arensberg Archives, box 34, f.22), Duchamp purchased the work for the Arensbergs at an auction in 1937. As no other reference to the auction sale of a work by Braque resembling this one can be found for the period 1935-40, it is likely that he was mistaken and that he and Crotti bought the painting two years earlier, at the 1935 Drouot auction.
Title: Q510324_1950-134-30
Source Url: https://www.philamuseum.org/collections/permanent/51210.html

Robert J. Coady (1876-1921), New York, dealer [1], sold to John Quinn (1870-1924), NYC, 1917, sale, John Quinn Collection, Paris, Hôtel Drouot, 28 Oct. 1926, no. 57, illus. Pierre Faure, Paris, probably by 1930 and certainly by 1933 [from Léonce Rosenberg, from Quinn sale?] [2], Louise and Walter C. Arensberg, Los Angeles, through Marcel Duchamp as agent, 1938 [3], gift to PMA, 1950.;1. See Judith K. Zilczer, "Robert J. Coady, Forgotten Spokesman for Avant-Garde Culture in America," American Art Review, vol. 2, no. 6 (Nov.-Dec. 1975), p. 81.;2. A painting by Gris entitled "Le buveur" was lent by Faure for exhibition at de Hauke & Co., NY, in April 1930. The dimensions listed in the de Hauke & Co. exhibition logbook, 50 1/4 x 34 3/4 in., match the PMA painting closely. Supporting this identification is the fact that C.J. Bulliet, The Significant Moderns and their Pictures (New York, 1936) illustrated the PMA painting, pl. 211, as "The Drinker", captioned C. de Hauke & Co. See Archives of American Art, Jacques Seligmann & Co. Records / Series 9.4 / Box 406 / f. 8 / De Hauke & Co., Inc. Records / Exhibition Files: Logbooks, 1930-1932 (copy in curatorial file), and Zürich, Kunsthaus, "Juan Gris," 1933, no. 35, lent by Pierre Faure, Paris (label reading "Zurich / M. Faure" originally on reverse). According to Douglas Cooper, Faure formed his large collection of 26 paintings by Gris between 1915 and 1927, buying from Léonce Rosenberg. Some 21 oil paintings owned by Faure were lent to the 1933 Zürich exhibition (all pre-1920). Cooper states that the entire collection was acquired by Kahnweiler's Galerie Simon in Paris in 1933 (Cooper, The Essential Cubism, 1983, pp. 25, 31). However, none of the Arensberg Gris paintings, all from the Faure collection, have Galerie Simon labels. This suggests that Duchamp acquired them directly from Faure (see note 4).;3. Provenance notes made for the Arensbergs by Marcel Duchamp, dated Sept. 8, 1951 (PMA, Arensberg Archives), state that this and the other four paintings by Gris in the Arensberg collection were acquired as a group from a "private collection" (Faure's?).;* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit.
Title: Q510324_1950-134-94
Source Url: https://www.philamuseum.org/collections/permanent/51698.html

With Léonce Rosenberg, Galerie de l'Effort Moderne, Paris (stock no. 5115, photo no. 1129), possibly still in 1931 [1], Pierre Faure, Paris, by 1933 [2], sold to Louise and Walter C. Arensberg, Los Angeles, through Marcel Duchamp as agent, 1938 [3], gift to PMA, 1950.;1. Carl Einstein, Kunst des 20. Jahrhunderts, Berlin, 1931, p. 639, no. 374, as "Paris, Galerie Léonce Rosenberg." The photo number is cited in Douglas Cooper, The Essential Cubism: Braque, Picasso & their Friends, 1907-1920 (exh. cat., London, Tate Gallery),1983, no. 70, p. 162.;2. Zürich, Kunsthaus, "Juan Gris," 1933, no. 53, lent by Pierre Faure, Paris, Faure's name also appears on the back of the painting. According to Cooper, Faure formed his large collection of 26 paintings by Gris between 1915 and 1927, buying from Léonce Rosenberg. Some 21 oil paintings owned by Faure appeared in the 1933 Zürich exhibition (all pre-1920). Cooper states that the entire collection was acquired by Kahnweiler's Galerie Simon in Paris in 1933 (Cooper, The Essential Cubism, 1983, pp. 25, 31), however, none of the Arensberg Gris paintings, all from the Faure collection, have Galerie Simon labels. This suggests that Duchamp acquired them directly from Faure (see note 3).;3. Provenance notes made for the Arensbergs by Marcel Duchamp, dated Sept. 8, 1951 (PMA, Arensberg Archives), state that this and the other four paintings by Gris in the Arensberg collection were acquired as a group from a "private collection" (Faure's). See also Seligmann Galleries exhibition, "Juan Gris," 1938, lent by Mr. and Mrs. Walter C. Arensberg.
Title: Q510324_1950-134-95
Source Url: https://www.philamuseum.org/collections/permanent/51704.html

With Léonce Rosenberg, Galerie de l'Effort Moderne, Paris [1], Pierre Faure, Paris, by 1933 [2], sold to Louise and Walter C. Arensberg, Los Angeles, through Marcel Duchamp as agent, 1938 [3], gift to PMA, 1950.;1. In December 1915 Gris suspended his contract with Kahnweiler, and by 1916 sold his work exclusively through Rosenberg, with whom he signed a contract in 1917.;2. Zürich, Kunsthaus, "Juan Gris," 1933, no. 57, lent by Pierre Faure, Paris. According to Douglas Cooper, Faure formed his large collection of 26 paintings by Gris between 1915 and 1927, buying from Léonce Rosenberg. Some 21 oil paintings owned by Faure appeared in the 1933 Zürich exhibition (all pre-1920). Cooper states that the entire collection was acquired by Kahnweiler's Galerie Simon in Paris in 1933 (Cooper and Tinterow, The Essential Cubism, 1983, pp. 25, 31), however, none of the Arensberg Gris paintings, all from the Faure collection, have Galerie Simon labels. This suggests that Duchamp acquired them directly from Faure (see note 3).;3. Provenance notes made for the Arensbergs by Marcel Duchamp, dated Sept. 8, 1951 (PMA, Arensberg Archives), state that this and the other four paintings by Gris in the Arensberg collection were acquired as a group from a "private collection" (Faure's).
Title: Q510324_1950-134-96
Source Url: https://www.philamuseum.org/collections/permanent/51705.html

With Léonce Rosenberg, Galerie de l'Effort Moderne, Paris (stock no. 5123) [1], Pierre Faure, Paris, after 1927 (probably) and by 1933 [2], sold to Louise and Walter C. Arensberg, Los Angeles, through Marcel Duchamp as agent, 1938 [3], gift to PMA, 1950.;1. Bulletin de l'Effort Moderne, no. 34, April 1927, illus. (no page number). For the stock number see Douglas Cooper, Juan Gris, Paris, 1977, no. 219, p. 326.;2. Zürich, Kunsthaus, "Juan Gris," 1933, no. 69, lent by Pierre Faure, Paris, Beaux-Arts, Paris, Les créateurs du cubisme, 1935, catalog by Raymond Cogniat, no. 47, illus., "Collection de M. Pierre Faure." According to Douglas Cooper, Faure formed his large collection of 26 paintings by Gris between 1915 and 1927, buying from Léonce Rosenberg. Some 21 oil paintings owned by Faure appeared in the 1933 Zürich exhibition (all pre-1920). Cooper notes that the entire collection was acquired by Kahnweiler's Galerie Simon in Paris in 1933 (Cooper and Tinterow, The Essential Cubism, 1983, pp. 25, 31), although the fact that Faure is still listed as owner in the 1935 "Créateurs du cubisme" catalog indicates that Faure kept at least some of the paintings. In addition, none of the Arensberg Gris paintings, all from the Faure collection, have Galerie Simon labels. This suggests that Duchamp acquired them directly from Faure (see note 3).;3. Provenance notes made for the Arensbergs by Marcel Duchamp, dated Sept. 8, 1951, simply state that this and the other four paintings by Gris in the Arensberg collection were acquired as a group from a "private collection". However, the back of the photo of "Open Window" provided by Duchamp to the Arensbergs has the notation "Collection Faure" (originals in PMA, Arensberg Archives).
Title: Q510324_1950-134-97
Source Url: https://www.philamuseum.org/collections/permanent/51709.html

With Léonce Rosenberg, Galerie de l'Effort Moderne, Paris (stock no. 5121) [1], Pierre Faure, Paris, after 1927 (probably) and by 1933 [2], sold to Louise and Walter C. Arensberg, Los Angeles, through Marcel Duchamp as agent, 1938 [3], gift to PMA, 1950.;1. Bulletin de l'Effort Moderne, no. 35, May 1927, illus. For the stock number, see Douglas Cooper, Juan Gris, Paris, 1977, vol. 1, p. 334, no. 226.;2. Zürich, Kunsthaus, "Juan Gris," 1933, no. 71, lent by Pierre Faure, Paris, Faure's name is also inscribed on the back of the painting. This painting may have appeared in Beaux-Arts, Paris, Les créateurs du cubisme, 1935, catalog by Raymond Cogniat, as no. 45 "L'échiquier, 1917" or no. 46, "Jeu de dames, 1917", both "Collection de M. Pierre Faure" (the painting was also known as "Compotier et Damier"). According to Douglas Cooper, Faure formed his large collection of 26 paintings by Gris between 1915 and 1927, buying from Léonce Rosenberg. Some 21 oil paintings owned by Faure appeared in the 1933 Zürich exhibition (all pre-1920). Cooper notes that the entire collection was acquired by Kahnweiler's Galerie Simon in Paris in 1933 (Cooper and Tinterow, The Essential Cubism, 1983, pp. 25, 31), although the listing of Faure as an owner in the 1935 "Créateurs du cubisme" catalog indicates that he kept at least some of the paintings. In addition, none of the Arensberg Gris paintings, all from the Faure collection, have Galerie Simon labels. This suggests that Duchamp acquired them directly from Faure (see note 3).;3. Provenance notes made for the Arensbergs by Marcel Duchamp, dated Sept. 8, 1951 (PMA, Arensberg Archives), simply state that this and the other four paintings by Gris in the Arensberg collection were acquired as a group from a "private collection". However, the back of the photo of "Chessboard" provided by Duchamp to the Arensbergs has the notation "Collection Faure" (originals in PMA, Arensberg Archives).
Title: Q510324_1950-134-98
Source Url: https://www.philamuseum.org/collections/permanent/51725.html

With Galerie Kahnweiler, Paris (no. 1444, photo no. 5047), until 1914, French government, sequestered Kahnweiler stock, 1914-23, 4th Kahnweiler sequestration sale, Hôtel Drouot, Paris, May 7-8 1923, no. 291, private collection, Paris?, or Galerie Simon [1], Alfred Flechtheim (1878-1937), Berlin, private collection, by 1933 [2], with Galerie Simon, Paris, by 1935 (no. 8915, photo no. 5017) [3], sold to A. E. Gallatin, New York, by October 1935 [4], bequest to PMA, 1952.;1. Bought together with two other works by Gris. The Gazette de l'Hôtel Drouot did not record buyers for the fourth Kahnweiler sale. See also note 4.;2. Zürich, Kunsthaus, "Juan Gris," 1933, no. 36, lent by Alfred Flechtheim, Berlin. According to the catalog, apparently in the dealer Flechtheim's private collection and not for sale at this date. Flechtheim had a significant personal collection of works by Gris, however, this painting is not listed in the inventory of Flechtheim's private collection in Ottfried Dascher, "Es ist was Wahnsinniges mit der Kunst": Alfred Flechtheim, Sammler, Kunsthändler, Verleger, Wädenswil, 2011, "Die Private Sammlung Alfred Flechtheim," pp. 423-425.;3. Flechtheim was closely associated with the dealer Daniel-Henry Kahnweiler, (1884-1979) who provided him with paintings. Upon the closing of his galleries in Düsseldorf and Berlin in November 1933, Flechtheim apparently sent much of his stock to Kahnweiler's Galerie Simon in Paris (see Nancy Yeide, AAM Guide to Provenance Research, "Flechtheim", p. 223, and Pierre Assouline, An Artful Life: A Biography of D. H. Kahnweiler, 1884-1979, New York, 1990, p. 231-232).;4. In a letter to Gallatin dated October 12, 1935 Kahnweiler states that after the Hôtel Drouot sale in 1923 the painting had been bought by someone in Paris (from this sale?) and that it had belonged to a small (private?) collection in Paris, from which he bought it back through an intermediary, who did not disclose the name of the collector (Gallatin Papers, New York Historical Society, microfilm). He makes no mention of Flechtheim.
Title: Q510324_1952-61-34
Source Url: https://www.philamuseum.org/collections/permanent/53907.html

With Léonce Rosenberg, Galerie de l'Effort Moderne, Paris (stock no. 5327) [1], Pierre Faure, Paris [2], with Galerie Simon, Paris, as of 1937, and possibly by 1933 (stock no. 0456) [3], sold to A. E. Gallatin, New York, June 1937 [4], bequest to PMA, 1952.;1. Stock number L.R. 5327 on verso of painting (see also Douglas Cooper, Juan Gris, Paris, 1977, vol. 1, no. 208).;2. Label on back of painting. According to Douglas Cooper, Faure formed his large collection of 26 paintings by Gris between 1915 and 1927, buying from Léonce Rosenberg. Some 21 oil paintings owned by Faure appeared in the 1933 Zürich Gris exhibition (all pre-1920). Cooper states that the entire collection was acquired by the Galerie Simon in 1933 (Cooper, The Essential Cubism, 1983, pp. 25, 31).;3. For the stock number see Douglas Cooper, Juan Gris, Paris, 1977, vol. 1, no. 208.;4. Letter from Daniel-Henry Kahnweiler to Gallatin dated June 10, 1937, noting the purchase of this painting and "Dish of Fruit" (1952-61-36) also by Gris. See also Gallatin's letter of August 1 [1937] to George L.K. Morris: "…Kahnweiler recently bought a fine collection of about 18 Gris. Two of them (topping) you will see in New York" (cited by Gail Stavitsky, The Development, Institutionalization, and Impact of the A. E. Gallatin Collection of Modern Art [Ph.D. dissertation, New York University], 1990, v. 7, p. 105). This group of 18 works probably represented a portion of Faure's private collection, which comprised about 26 paintings by Gris as well as works by other Cubists. According to Cooper's catalogue raisonné, 16 paintings by Gris are known to have gone directly from Faure to Kahnweiler's Galerie Simon.
Title: Q510324_1952-61-35
Source Url: https://www.philamuseum.org/collections/permanent/53908.html

With Léonce Rosenberg, Galerie de l'Effort Moderne, Paris (stock no. 5177), until at least c. 1920 [1], Pierre Faure, Paris, after 1920 [2], with Galerie Simon, Paris, as of 1937, and possibly by 1933 (stock no. 0460) [3], sold to A. E. Gallatin, New York, June 1937 [4], bequest to PMA, 1952.;1. Stock number L.R. 5177 on verso of painting. Rosenberg owned the painting at least until c. 1920, when it was reproduced in the Paris periodical Action as "Collection L. Rosenberg.;2. Faure is listed as a previous owner in Douglas Cooper's catalogue raisonné, but this information cannot be confirmed by examination of the painting because any marks or labels were lost when it was reframed. According to Cooper, Faure formed his large collection of 26 paintings by Gris between 1915 and 1927, buying from Léonce Rosenberg. Some 21 oil paintings owned by Faure appeared in the 1933 Zürich Gris exhibition (all pre-1920). Cooper states that the entire collection was acquired by the Galerie Simon in 1933 (Cooper, The Essential Cubism, 1983, pp. 25, 31).;3. For the stock number see Douglas Cooper, Juan Gris, Paris, 1977, vol. 1, no. 204, p. 304.;4. Letter from Daniel-Henry Kahnweiler to Gallatin dated June 10, 1937, noting the purchase of this painting and "Coffee-Pot" (1952-61-35) also by Gris. See also Gallatin's letter of August 1 [1937] to George L.K. Morris: "…Kahnweiler recently bought a fine collection of about 18 Gris. Two of them (topping) you will see in New York" (cited by Gail Stavitsky, The Development, Institutionalization, and Impact of the A. E. Gallatin Collection of Modern Art [Ph.D. dissertation, New York University], 1990, v. 7, p. 105). This group of 18 works probably represented a portion of Faure's private collection, which comprised about 26 paintings by Gris as well as works by other Cubists. According to Cooper's catalogue raisonné, 16 paintings by Gris are known to have gone directly from Faure to Kahnweiler's Galerie Simon.
Title: Q510324_1952-61-36
Source Url: https://www.philamuseum.org/collections/permanent/53909.html

Léonce Rosenberg, Galerie de L'Effort Moderne, Paris, private collection, Paris, sale, Hôtel Drouot, Paris, March 26, 1928, lot 96 [1], with Galerie Simon, Paris (stock no. 10402, photo no. 5730), probably 1928 and certainly by 1931 [2], sold to A. E. Gallatin, New York, summer 1934 [3], bequest to PMA, 1952.;1. Sale listed in Cooper, Juan Gris: catalogue raisonné, Paris, 1977, v. 2, p. 442-443, but not verified.;2. Exhibited at the 1928 Galerie Simon Gris retrospective, no collection listed, so presumably it was purchased by Kahnweiler from the 1928 auction. The 1931 edition of Carl Einstein's Die Kunst des 20. Jahrhunderts lists the owner as Galerie Simon. A Galerie Simon label was formerly on the bottom of sculpture (see note in curatorial file).;3. See letters to Gallatin from Rosenberg, August 20, 1934 and Kahnweiler, August 17 and 20, 1934, concerning the provenance of the sculpture (Gallatin Papers, New York Historical Society, microfilm, copies in curatorial file).
Title: Q510324_1952-61-45
Source Url: https://www.philamuseum.org/collections/permanent/53920.html

With Galerie Jacques Bonjean, Paris? [1]. With Léonce Rosenberg, Galerie l'Effort Moderne, Paris, by 1935 [2], sold to A. E. Gallatin, by October 1935 [3], bequest to PMA, 1952.;1. A torn dealer label on the back of the painting reads "Bonjean", with a partial address in French. Galerie Bonjean was apparently in operation from the late 19th century to at least 1935 (see Getty Provenance Index and Grove Dictionary of Art, among other sources). The important dealer Étienne Bignou was a stepson of a Paris dealer named Bonjean, possibly related, whose gallery and stock he inherited (see Douglas Cooper, Alex Reid & Lefèvre, 1926-1976, London, 1976, p. 17).;2. Paris, Galerie des Beaux-Arts, "Les créateurs du cubisme," March-April 1935, catalog by Raymond Cogniat, no. 134, "Collection de M. Léonce Rosenberg.;3. A Gallery of Living Art press release of October 28, 1935 includes this work as a new acquisition. Gail Stavitsky notes that Gallatin was in Paris during the summer of 1935 and probably bought the painting then (see The Development, Institutionalization, and Impact of the A. E. Gallatin Collection of Modern Art [Ph.D. dissertation, New York University], 1990, v. 1, p. 290).
Title: Q510324_1952-61-81
Source Url: https://www.philamuseum.org/collections/permanent/53948.html

Consigned by the artist to Galerie Paul Rosenberg, Paris, January 21, 1925 [1], with Rosenberg until c. 1927 (exchanged it and other paintings with Reber for a Cézanne), Dr. Gottlieb Friedrich Reber (1880-1959), Lausanne, 1927-1936 (possibly in the possession of a creditor 1934-1936) [2], with Zwemmer Gallery, London, sold to A. E. Gallatin and George L. K. Morris, NY, September 18, 1936 [3], bequest of A. E. Gallatin to PMA, 1952.;1. Elizabeth Hutton Turner, Duncan Phillips Collects: Paris Between the Wars, Washington, DC, 1991, p. 43-45 and n. 92, citing Paul Rosenberg Papers, Pierpont Morgan Library.;2. Reber underwent financial difficulties as a result of the Depression: Alfred H. Barr wrote to MOMA trustee Stephen C. Clark on July 13, 1934, that the painting 'formerly in the Reber Collection, is now apparently in the possession of a bank following Reber's recent collapse on the Paris bourse', see Dorothy Kosinski, "G. F. Reber: Collector of Cubism," Burlington Magazine, v. 133, August 1991, p. 526.;3. The Zwemmer Gallery ledger records the sale to Gallatin on September 18, 1936, with a note that the work was being sent to New York directly from Lausanne, see Nigel Vaux Halliday, More Than a Bookshop: Zwemmer's and Art in the 20th Century, London, 1991, p. 183. In addition, a letter of Alfred Barr (who was campaigning to acquire the painting for MOMA at the time) dated July 31, 1936, notes that Zwemmer was offering the painting.;The Mayor Gallery in London may also have been involved in the sale: Morris' painted receipt (Gallatin Papers, New York Historical Society) for his half of the payment for the painting refers to the Mayor Gallery and not to Zwemmer, repro. in Susan Larsen, "Albert Gallatin: the 'Park Avenue Cubist' Who Went Downtown," Art News, December 1978, p. 80. The Mayor Gallery, however, has no record of this transaction, as indicated to Gail Stavitsky by Andrew Murray, Director, letter of April 21, 1989, and by Dorothy Kosinski, curator of the Douglas Cooper Collection, see Gail Stavitsky, The Development, Institutionalization, and Impact of the A.E. Gallatin Collection of Modern Art [Ph. D. dissertation, New York University], 1990, v. 9, p. 240, and letter from Stavitsky dated 19 October 1989 in curatorial file. Nevertheless the Mayor Gallery's connection with Reber is well documented, Douglas Cooper, who was one of the gallery's directors from 1933 to 1937 or 1938, bought fifteen works from Reber in the 1930's (see Dorothy Kosinski, Picasso, Braque, Gris, Léger: Douglas Cooper Collecting Cubism, Houston, 1990, p. 22).;* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit.
Title: Q510324_1952-61-96
Source Url: https://www.philamuseum.org/collections/permanent/53963.html

Jacques Zoubaloff (1876-1941), Paris, probably by 1929 [1], sale, Zoubaloff Collection, Hôtel Drouot, Paris, November 27 & 28, 1935, lot no. 164 (as "Nature morte"), purchased by Douglas Cooper, Mayor Gallery, London (Mayor Gallery, no. 1848), sold to A. E. Gallatin, New York, June 13, 1936 [2], bequest to PMA, 1952.;1. Guillaume Janneau, L'Art Cubiste, Paris, 1929, pl. 43 as "Peinture". Janneau acted as adviser to Zoubaloff in the formation of his collection, and most of the works illustrated in L'Art Cubiste belonged to the Zoubaloff collection.;2. See Kosinski, Picasso, Braque, Gris, Léger: Douglas Cooper Collecting Cubism, 1990, p. 17.
Title: Q510324_1952-61-97
Source Url: https://www.philamuseum.org/collections/permanent/53964.html

Probably with Louis Libaude (d. 1922), Paris, probably with Galerie Barbazanges/Hodebert, Paris [1]. Baron Eduard von der Heydt (1882-1964), Elberfeld, Germany, and later Ascona, Switzerland, as of 1926 [2]. Possibly with Galerie Alfred Flechtheim, Berlin, as of 1927 [3]. Private Collection, Switzerland (probably von der Heydt) [4], with Sam Salz, New York, sold to Louis E. Stern, New York, October 30, 1950 [5], bequest to PMA, 1963.;1. A painting with the title "Sarcelles, place du Pont" was included in the January 1925 exhibition "Oeuvres anciennes de Maurice Utrillo" at the Galerie Barbazanges. The exhibition comprised 63 works dated 1910-1914 from the legacy of Louis Libaude, Utrillo's first dealer, which were among the 100 Utrillos belonging to Libaude acquired after his death by Hodebert, successor-owner of the Galerie Barbazanges. The exhibition checklist does not illustrate this painting, nor does it give dimensions, however the title (whether "Sarcelles, place du Pont" or "Place du Pont, Sarcelles", in its current form) is a rare one: the Stern painting is the only one by this title listed in Pétridès' catalog for the earlier period (only one similar title is listed: no. 76, "Grande rue à Sarcelles", c. 1908). Therefore, the painting exhibited in 1925 was most likely the Stern painting.;2. Lent by von der Heydt to the exhibition held at Galerie Alfred Flechtheim, Berlin, "Maurice Utrillo, 1906-1926," no. 5 (illus.), listed as "not for sale" (unverkäuflich).;3. Reproduced in Karl Scheffler, Europäische Kunst in 19. Jahrhundert (Berlin, 1927), v. 2, p. 194, as "by permission of Galerie A. Flechtheim, Berlin" -- however, this may indicate merely that the photo reproduction was obtained from Flechtheim, who published the work in an exhibition catalogue of the previous year, and not that Flechtheim was the owner.;4. Per provenance provided by Salz. Baron von der Heydt purchased a property in Ascona, Switzerland, in 1927, and obtained Swiss citizenship in 1937 (source: Neue Deutsche Biographie), so his may be the private collection to which Salz referred.;5. Copy of dated receipt from Salz to Stern in curatorial file (exchanged for a painting by Sisley).
Title: Q510324_1963-181-74
Source Url: https://www.philamuseum.org/collections/permanent/59604.html

Madame R., Paris (from the artist). With Perls Galleries, New York, after 1936 and by 1939 [1], Walter P. Chrysler, Jr. (d. 1989), New York, by 1939 and still c. 1954 [2], with M. Knoedler & Co., New York, by 1962 [3], sold to Bernice McIlhenny Wintersteen (Mrs. John Wintersteen) (1903-1986), Philadelphia, February 1962, gift to PMA, 1964.;1. The preceding provenance names from the catalog of the 1941 exhibition, "Collection of Walter P. Chrysler, Jr.," at the Virginia Museum of Fine Arts and the PMA, no. 150, and Pierre Daix, George Boudaille, and Joan Rosselet, Picasso: The Blue and Rose Periods, a Catalogue Raisonné of the Paintings, 1900-1906, Greenwich, 1966, no. V29. Perls Galleries was not established until 1937, and therefore must have acquired the painting after 1936.;2. Lent by Chrysler to the exhibition, "Picasso: Forty Years of His Art," organized by the Museum of Modern Art, New York, in 1939. Zervos' catalogue raisonné, vol. 6 (supplement to vols. 1-5), published c. 1954, no. 647, lists the work as "Coll. Walter P. Chrysler, Jr.;3. Lent by Knoedler to the exhibition, "Picasso: An American Tribute, 1895-1909," April 25-May 12, 1962, no. 17 (exhibition held simultaneously at nine cooperating New York galleries for the benefit of the Public Education Association). The sale date is given in the exhibition catalog, "The Collection of Mrs. John Wintersteen," California Palace of the Legion of Honor, San Francisco, 1966, no. 20.
Title: Q510324_1964-46-1
Source Url: https://www.philamuseum.org/collections/permanent/60054.html

Possibly Ruth Edwards, London. Lady Trent, England [1], sale, Christie's, London, June 27, 1958, lot 42 [2]. Miss. M. Holt, Capetown, South Africa, sale, Sotheby's, London, June 28, 1961, lot 167, purchased by Mayor Gallery, London, private collection, London, as of 1962 [3]. Private collection, California [4]. With Wildenstein && Co., New York;sold to Charlotte Dorrance Wright (1911-1977) and William Coxe Wright (d. 1970), St. Davids, PA, May 23, 1965, until his d. 1970 [5], Charlotte Dorrance Wright, bequest to PMA, 1978.;1. Lady Trent may be Florence Rowe, the wife of Jesse Boot who became Lord Trent of Nottingham in 1928.;2. The Philadelphia Museum of Art copy of this auction catalogue is annotated Newman, possibly for M. Newman, Ltd., London.;3. Exhibited at Marlborough Fine Arts, London, "Fantin-Latour Flower Paintings," June-July 1962, no. 23 (lent from a private collection, London).;4. According to a note in the file. This may be confused with 1978-1-16 or 1978-1-14 which were also in California collections.;5. Information from 1977 Dorrance Wright estate inventory by Carroll Hogan (registrar file).
Title: Q510324_1978-1-15
Source Url: https://www.philamuseum.org/collections/permanent/72086.html

Marianne Henriette Mann (1900-1997), Mannheim, Germany and later Wyncote, PA, by late 1930's [1], bequest to PMA 1997.;1. Mann was the daughter of Dr. Wilhelm Jakob Mayer (1866-1934) and Hedwig Bloch Mayer (1877-1943), Mannheim. Mann's family formed their art collection before World War II. According to Mann's attorney, to escape persecution as a Jew she fled Nazi Germany with the family's artworks in the late 1930's, travelling first to Cuba and finally settling in the Philadelphia area (information per communication from attorney Leonard J. Cooper, Sept. 22, 2003). She first lent the painting to the PMA for exhibition in June 1970 (per registrar file).
Title: Q510324_1997-140-6
Source Url: https://www.philamuseum.org/collections/permanent/90947.html Q6023573 5 ca. 1915-1919, Collection of Sally (1888-1962) and Adèle Falk, Mannheim, Germany;1919, Sally Falk sold sculpture to Rudolf Pfrunder, who in turn, sold it to the J.B. Neumann Gallery, Berlin;1919-?, J.B. Neumann Gallery, Berlin;ca. 1940, Buchholz Gallery (Curt Valentin), New York;ca. 1947, possibly at Karl Nierendorf Gallery, New York;by 1947–1961, Collection of Dr. and Mrs. Henry Radford Hope, Bloomington, Indiana;1961, Gift to IU Art Museum from Dr. and Mrs. Henry Radford Hope
Title: Q6023573130_61.28
Source Url: https://artmuseum.indiana.edu/provenance/view.php?id=130

by 1928–ca. 1937, Collection of Alfred Flechtheim, Berlin/Paris/London. (Flechtheim emigrated from Germany to Paris in October 1933, and then to London in 1934. Composition was on loan to the Kunsthaus Zürich at the time of his emigration. In late 1933 the painting was forwarded to him in Paris).;ca. 1937–1947, Mayor Gallery, London. (probably acquired from Flechtheim following his death in 1937);1947–ca. 1971, Collection of Edouard Léon Théodore Mesens and Sybil Mesens, The London Gallery, London (purchased from Mayor Gallery, 1947);May 2, 1974, Sale, “Impressionists and Modernists,” Sotheby Parke-Bernet (no. 249). Purchased by Acquavella Galleries?;1975, Acquavella Galleries, New York;1975, IU Art Museum purchased from the Acquavella Galleries, New York, with funds from Thomas T. Solley
Title: Q6023573127_Gift of Thomas T. Solley
Source Url: https://artmuseum.indiana.edu/provenance/view.php?id=127

ca. 1923, Private Collection, Berlin?;ca. 1926, at a New York gallery?;ca. 1928, possibly collection of Mr. L. De Motte, New York;ca. 1944/1947, Dr. and Mrs. Henry Radford Hope purchased from the Karl Nierendorf Gallery, New York;ca. 1944/47–1995, Collection of Dr. and Mrs. Henry Radford Hope, Bloomington, Indiana;1995, Gift to IU Art Museum from the Collection of Dr. and Mrs. Henry Radford Hope
Title: Q602357312_95.9
Source Url: https://artmuseum.indiana.edu/provenance/view.php?id=12

ca. 1927-1937, Collection of Provinzialmuseum (now Niedersächsisches Landesmuseum), Hannover, Germany;1937, Confiscated through "degenerate" art purges of German museums;1937-1939, Probably stored at Schloss Niederschönhausen, Berlin (NS-depot no. 7228);1939, Purchased by art dealer Karl Buchholz;1939, Acquired by Curt Valentin, New York, from Karl Buchholz;?–ca. 1951/1954, (possibly) Galerie Alex Vömel, Düsseldorf, Germany;January 28, 1955, James S. Adams purchased from the Curt Valentin Gallery, New York;1955–1981, Collection of James S. Adams, Greenwich, Connecticut;1981, Bequest of Elizabeth G. Adams to IU Art Museum
Title: Q6023573129_81.31.29
Source Url: https://artmuseum.indiana.edu/provenance/view.php?id=129

?–1956, possibly at Galerie Alex Vömel, Düsseldorf. Vömel acquired the cast from Barlach's studio at an unspecified date (earlier than 1953).;Fall 1956, Sculpture shipped to New York from an unknown German gallery (possibly Galerie Alex Vömel, Düsseldorf) to an unknown New York gallery. Purchased by James S. Adams;January 1957, Gift to IU Art Museum from James S. Adams
Title: Q602357317_
Source Url: https://artmuseum.indiana.edu/provenance/view.php?id=17 Q657415 4 Provenance (Karl Nierendorf, Berlin and New York).
Title: Q657415_1939.750
Source Url: https://www.clevelandart.org/art/1939.750

Provenance 1889-1891 Theo van Gogh [1857-1891] Paris, France, by descent to the artist's brother from the artist's estate. 1891-1905 Johanna van Gogh-Bonger [1862-1915] his wife, Amsterdam, Netherlands by gift to Willem Steenhoff. 1905-1910 Willem Steenhoff [1863-1932] Amsterdam, Netherlands sold to Alfred Flectheim 1912 (Alfred Flectheim, Dusselforf, Germany, sold to Max Stiller) Max Siller, Barman, Germany 1942 Harry G, Sperling [1925-1971] New York, NY 1942-1946 Sam Saltz, New York, NY 1946-1958 Leonard C. Hanna, Jr, Cleveland, OH, purchased March 12, 1946 1958 Leonard C. Hanna, Jr. [1889-1957] Cleveland, OH by bequest to the Cleveland Museum of Art 1958- The Cleveland Museum of Art, Cleveland, OH
Title: Q657415_1958.32
Source Url: https://www.clevelandart.org/art/1958.32

Provenance Until 1962 Irene [1868-1954] and Solomon R. Guggenheim [1861-1949], London 1962 (Guggenheim sale, Sotheby's, London, November 7, 1962 (lot 92), probably sold to the Couper Gallery) 1 1962-1963 (Couper Gallery, London) 2 Until 1963 (Galerie Claude Aubry, sold to Severance A. and Greta Millikin) 1963-1964 Severance A. [1895-1985] and Greta Millikin [1903-1989], Cleveland, OH, given to the Cleveland Museum of Art 1964- The Cleveland Museum of Art, Cleveland, OH;Provenance Footnotes 1 The painting's title in the sale catalogue is "La Seine, près de Bonnières, coucher de soleil." 2 The price list accompanying the Guggenheim sale catalogue indicates that the buyer of the Daubigny was “J.G. Cooper.” In 1963, the painting appears in the Couper Gallery exhibition Some Aspects of the 19th Century: de Géricault à Daubigny (no. 12), therefore, “J.G. Cooper” is likely an as yet unidentified individual connected to the Couper Gallery whose surname was misspelled in the price list.;Edit;Provenance Citations;Severance Millikin, letter to Claude Aubry, July 3, 1963, in CMA curatorial file.;Couper Gallery. Some Aspects of the 19th Century: De Géricault À Daubigny. London: Couper Gallery, 1962.;Sotheby's (Firm). Impressionist and Modern Paintings, Drawings and Sculpture. Nov. 7, 1962.;Hellebranth, Robert. Charles-François Daubigny: 1817-1878. Morges: Matute, 1976.
Title: Q657415_1964.289
Source Url: https://www.clevelandart.org/art/1964.289

Provenance (D. H. Kahnweiler, Paris, France) (Alfred Flechtheim, Berlin,Germany) Kofler-Herni Coll. (Galerie Beyeler, Basel Switzerland) 1981 (Perls Galleries, New York, NY, 1981, sold to the Cleveland Museum of Art) 1981- The Cleveland Museum of Art, Cleveland, OH
Title: Q657415_1981.16
Source Url: https://www.clevelandart.org/art/1981.16 Q731126 6 Provenance - 1985;Paula Cooper, Inc., sold to Fran and Ray Stark, May 16, 1985. 1985 - 1992;Fran Stark and Ray Stark, upon the death of Fran Stark, retained by her husband, Ray Stark, 1992. 1992 - 2004;Ray Stark, upon his death, distributed to the Ray Stark Revocable Trust. 2004 - 2005;The Ray Stark Revocable Trust, donated to the J. Paul Getty Museum.
Title: Q731126_2.005.120
Source Url: https://www.getty.edu/art/collection/objects/225676/joel-shapiro-untitled-american-1982-1985/

Provenance by 1726;Possibly Salomon Gautier (London, England) [possibly sold, Cooper's, Green Door in Little Piazza, Covent Garden, London, January 18-30, 1726, lot 37, as "Italian Comedians" by Watteau] by 1774;Comte Jean Du Barry, 1722 - 1792 (rue de Richelieu, Paris, France) [sold, Remy & Le Brun, Paris, November 21, 1774, lot 84, as by Watteau.] by 1808;Hubert Robert, French, 1733 - 1808 (Palais du Louvre, Paris, France, later, 19, rue Neuve du Luxembourg, Paris, France) [sold, Hubert Robert sale, Paris, April 5-12, 1809, lot 26, as by Watteau, to Alexandre-Joseph Paillet] 1809-1814;Alexandre-Joseph Paillet, 1743 - 1814 (Paris, France) by 1878;Mme. Joly de Ba...ville [Banville?] (Paris, France) [sold, Mme. Joly de Ba...ville [Banville?] sale, rue du Luxembourg, Paris, June 7, 1878] by 1890;Gustave Rothan, 1822 - 1890 (8, place Saint-Georges, Paris, France) [sold, Galerie Georges Petit (M. Chevalier), Paris, May 29-31, 1890, lot 183, as by Jean-Baptiste Pater, to "Guiraud pour M. Porgès"] 1890-1921;Jules Porgès, 1839 - 1921 (14-18, avenue Montaigne, Paris, France), and by inheritance to his wife, Rose-Anne Porgès, née Wodianer (1854-1937). by 1976;Private Collection [unsold, Hôtel Drouot, Paris, salle no. 2, June 16, 1976, no lot number, as by Jean-Baptiste Pater, sold, Palais Galliera (M. Ader), Paris, November 29, 1976, lot C, as by Philippe Mercier, to Commandant Paul-Louis Weiller] 1976-1993;Paul-Louis Weiller, 1893 - 1993 (Paris, France, and Geneva, Switzerland) 1993-2011;Heirs of Paul-Louis Weiller, 1893 - 1993 [sold, Gros & Delettrez, Paris, April 5, 2011, lot 23, as "circle of Watteau", revised in saleroom notice to "Watteau and studio", to Hazlitt, Gooden & Fox] 2011-2012;Hazlitt, Gooden & Fox, Ltd. (London, England), sold to the J. Paul Getty Museum, 2012.
Title: Q731126_2012.5
Source Url: https://www.getty.edu/art/collection/objects/258873/jean-antoine-watteau-the-italian-comedians-french-about-1720/

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.
Title: Q731126_70.PB.53
Source Url: https://www.getty.edu/art/collection/objects/568/bernardo-daddi-arrival-of-saint-ursula-at-cologne-italian-about-1333/

Provenance - 1815;Philip Stanhope, 5th earl of Chesterfield, 1755 - 1815;Source: Wax seal on reverse. by 1891 -;Harold Ainsworth Peto, 1854 - 1933 (London, England);Source: Cooper, The Opulent Eye (London: 1976), p. 85. - possibly 1895/1900;Sir George Donaldson, 1845 - 1925 (London, England), possibly purchased as a gift for Joseph Benjamin Robinson, 1895/1900.;Source: Sotheby's, London, Catalogue of Important Old Master Paintings, November 27, 1963, p. 18. possibly 1895/1900 - 1929;Sir Joseph Benjamin Robinson, 1st Bart., 1840 - 1929 (London, England, Hawthornden, Cape Peninsula, South Africa) 1929 - 1963;Ida Louise (Robinson) Labia, Princess Labia, 1879 - 1961 (Cape Town, South Africa) [sold, Labia sale, Sotheby's, London, November 27, 1963, lot 29, to Neame.] 1963 -;Neame - 1972;Private Collection [sold, Sotheby's, London, December 6, 1972, lot 43, to Thomas Agnew & Sons, Ltd.] 1972 - 1978;Thomas Agnew & Sons, Ltd. (London, England), sold to the J. Paul Getty Museum, 1978.
Title: Q731126_78.PB.364
Source Url: https://www.getty.edu/art/collection/objects/677/circle-of-raphael-raffaello-sanzio-portrait-of-a-young-man-in-red-italian-about-1505/

Provenance by 1910 -;Wilhelm Uhde, 1874 - 1947 (Paris, France, Düsseldorf, Germany) - 1912;Karl-Ernst Osthaus, 1874 - 1921 (Hagen, Germany), sold to Alfred Flechteim, 1912.;Source: JPGM Paintings Department, curatorial files, letter and documents from Anna-Christa Funk-Jones, Städtisches Karl-Ernst-Osthaus Museum, Hagen, January 23, 1989. 1912 -;Alfred Flechtheim, 1878 - 1937 (Düsseldorf, Germany) by 1921 - 1923;Edwin Suermondt, 1883 - 1923 (Drove, Germany) and Martha (Compes) Suermondt Vömel, 1897 - 1976 (Drove, Germany), upon his death, retained by his wife, Martha Suermondt (Martha (Compes) Suermondt Vömel), 1923. 1923 - 1927;Martha (Compes) Suermondt Vömel, 1897 - 1976, upon her remarriage, jointly owned with her second husband, Alex Vömel, 1927. and Martha (Compes) Suermondt Vömel, 1897 - 1976 (Düsseldorf, Germany), upon her death, retained by her husband, Alex Vömel, 1976.;Source: JPGM Paintings Department, curatorial files, letter from Edwin Vömel, June 19, 2000. 1976 - 1986;Alex Vömel, 1897 - 1985 - 1988;Private Collection, sold through Alex Reid & Lefevre, Ltd. (Glasgow, Scotland, London, England, Zurich, Switzerland) to the J. Paul Getty Museum, 1988.
Title: Q731126_88.PA.58
Source Url: https://www.getty.edu/art/collection/objects/816/henri-rousseau-a-centennial-of-independence-french-1892/

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Sep 11, 2024

Probst and expanded network: explorations in provenance

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