Provenance Still Life: Corner of a Table, 1873, Art Institute of Chicago
Elizabeth Ruth Edwards (c. 1833-1907), Fantin-Latour’s art agent, London. Gustave Tempelaere (died 1904), Paris in 1901 [Tempelaere inventory no. 4679; see letter from Sylvie Brame to Gloria Groom, dated April 10, 2002, in curatorial file]. Antonio Mancini (died 1930), Rome by 1906 until at least 1924 [acc. to Bénédite1906 and Gibson 1924]. Possibly E. Lernoud, Paris [acc. to Ottawa 1983; mentioned in Paris 1955 as the owner preceding Mancini, but this cannot be confirmed]. Mme. Vincent Daniel, Rennes by 1936 [acc. to letter from Philippe Brame to Gloria Groom, dated April 30, 2001, in curatorial file; in Grenoble 1936 she is incorrectly listed as Madame Vincent Danielo, Vannes; in Ottawa 1983, she is incorrectly located in Vennes]; sold to Hector Brame, Paris in 1951 [acc. to letter from Philippe Brame citied above]; Hector Brame and César de Hauke, Paris; sold to the Art Institute in September 1951.
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Provenance Early Snow at Louveciennes, about 1870–71, MFA Boston
By 1892, M. Picq-Véron, Ermont-Eaubonne, France [see note 1]; June 25, 1892, sold by Picq-Véron to Durand-Ruel, Paris (stock no. 2389); October 25, 1897, sold by Durand-Ruel to Hugo von Tschudi for the National Gallery, Berlin [see note 2]; 1936, exchanged by the National Gallery, Berlin, with Fritz Nathan, Galerie Nathan, St. Gallen, Switzerland; sold by Nathan, through Walter Feilchenfeldt, to Paul Rosenberg, Paris [see note 3]. 1937, with Raphael Gérard, Paris [see note 4]. 1939, Arthur Tooth and Sons, London; May 19, 1939, sold by Tooth to John Taylor Spaulding (b. 1870 - d. 1948), Boston; 1948, bequest of John Taylor Spaulding to the MFA. (Accession Date: June 3, 1948)
NOTES:
[1] Mr. Picq-Véron was a prominent collector of Sisley's work.
[2] See letters of December 9, 1967 and January 31, 1968 from Charles Durand-Ruel to Lucretia Geise of the MFA in curatorial files. Mr. von Tschudi was a close friend of the Durand-Ruel family, as well as an avid collector of Impressionist painting. He served as Director of the National Gallery, Berlin from 1896 to 1909.
[3] The Sisley was one of five paintings deaccessioned by the National Gallery and exchanged with dealer Fritz Nathan for Caspar David Friedrich's "Man and Woman Looking at the Moon." See Manet bis Van Gogh: Hugo von Tschudi und der Kampf um die Moderne (Berlin: Nationalgalerie, 1996), p. 106, cat. no. 32 and Esther Tisa Francini et al., Fluchtgut-Raubgut (Zurich, 2001), pp. 112-113. The latter source cites information from Fritz Nathan's son Peter, according to whom the Sisley was sold by his father to Paul Rosenberg, who then gave the painting to the MFA. This is at least partially incorrect, as the painting came to the MFA in the bequest of John Taylor Spaulding, who had purchased it from Tooth. Fritz Nathan did however state that he sold the painting through Feilchenfeldt to Rosenberg; see his Erinnerungen aus meinem Leben (Zurich, 1965), p. 90. At the time Spaulding purchased it from Tooth, it was planned for inclusion in a Sisley exhibition to be held at Paul Rosenberg's gallery in Paris in the spring of 1939, but whether Rosenberg continued to hold any ownership in the work at that time is not known.
[4] According to D. Corcoran of Reid and Lefevre (letter to the MFA, October 9, 1967), Gérard lent the painting to the exhibition "Pissarro and Sisley," Reid and Lefevre Gallery, London, January 1937, cat. no. 15. Whether Gérard owned it at this time is not certain. A letter from Dudley Tooth of Tooth and Sons (May 20, 1939) says that the painting "passed into my hands by the dealer who made the exchange" with the National Gallery in Berlin.
Early Snow at Louveciennes
Alfred Sisley (British (active in France), 1839–1899) about 1870–71
Accession Number: 48.600
https://collections.mfa.org/objects/33329/early-snow-at-louveciennes
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Provenance Self-Portrait (Gauguin), c. 1875 - c.1877, Harvard Art Museums (Fogg)
Mme Devos, sold July 9, 1910; to [Bernheim-Jeune, Paris, no. 18230], sold; to [Knoedler, New York], sold December 5, 1916; to Carel F.L. de Wild, Larchmont, NY (1), his sale [Anderson Galleries, New York, January 18-19, 1924, lot 309]. [Scott & Fowles, New York], sold (2); to Duncan Stewart Ellsworth, Salisbury, Connecticut, bequeathed; to his wife Helen W. Ellsworth, gift; to Harvard University Art Museums, 1996.
(1) Wildenstein incorrectly lists his middle initials as P.L. rather than F.L.
(2) Wildenstein incorrectly lists "private collection, United States," after Scott & Fowles and before Duncan Ellsworth. Mrs. Ellsworth states that her husband purchased the painting from Scott & Fowles (letter of Dec. 9, 1996, in file).
Self-Portrait
Alternate Title: Man in a Toque / L'Homme à la toque
Accession Number: 1996.218
https://web.archive.org/web/20210109173300/https://harvardartmuseums.org/collections/object/226624
Provenance Adoration of the Shepherds, c. 1615/1625, DIA
Germany, private collection (ca. 1935);
Munich, Professor Herman Voss (as late as 1959);
New York, Frederick Mont (dealer, by 1962), from whom purchase by the DIA with funds provided by Robert H. Tannahill (R. Tannahill Fund).
Note, that the German private coll., c. 1935, was not cited by Bissell in the 2005 catalogue -- is this incorrect information, or did he simply not know about it?
- DIA website June 14, 2019
Carlo Bononi
Adoration of the Shepherds, c. 1615/1625
oil on wood panel
c. 1615/1625
Accession Number: 65.95
Not On View
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Provenance The Dessert, 1921, Pierre Bonnard, Cleveland Museum of Art
By 1924
Henri Kapferer [1870-1956] and Marcel Kapferer [1872-1966], Paris 1
By 1943
(Galerie O. Pétridès, Paris 2
Until 1949
(Paul Rosenberg & Co., New York, sold to the Cleveland Museum of Art)
1949-
The Cleveland Museum of Art, Cleveland, Ohio
Provenance Footnotes
1 The Kapferer brothers are listed as the lenders/owners of Bonnard’s Le Dessert, no. 108 in the Première exposition au profit de la Société des Amis du Luxembourg. The Bonnard catalogue raisonné incorrectly lists this exhibition as taking place in 1932.
2 While there have been some suggestions that the Bonnard was with Galerie Pétridès in 1932, there does not appear to be any confirming documentation; however, the painting does appear in a 1943 Bonnard exhibition at the gallery (no. 15, Après le déjeuner).
The Dessert
1921
Pierre Bonnard
(French, 1867–1947)
Accession Number: 1949.18
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Provenance Dish with a Peacock Feather Pattern about 1470–1500, J. Paul Getty Museum
Sir William Stirling-Maxwell, 9th Bart., Kt., 1818 - 1878 (Keir (near Stirling), Scotland), by inheritance to William Joseph Stirling. - 1946;Lt. Col. William Joseph Stirling of Keir, 1911 - 1983 (Keir (near Stirling), Scotland) [sold, Sotheby's, London, June 18, 1946, lot 79, to F.D. Lycett- Green.];Source: This information comes from an annotated Sotheby's catalogue. 1946 - 1960;F. D. Lycett-Green (Goudhurst, Kent, England) [sold, Sotheby's, London, October 14, 1960, lot 24 (with incorrect provenance), to Robert Strauss.] 1960 - 1976;Robert Strauss (London, England) [sold, The Robert Strauss Collection of Italian Maiolica, Christie's, London, June 21, 1976, lot 14, to Cyril Humphris.] 1976 -;Cyril Humphris, S.A. (London, England), sold to Rainer Zietz Limited. - 1984;Rainer Zietz Limited, sold to the J. Paul Getty Museum, 1984.
Dish with a Peacock Feather Pattern
about 1470–1500
Unknown artist/maker
Accession Number: 84.DE.103
Not currently on view
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Provenance Capriccio of a Harbor, c. 1760/1770, NGA
Possibly (sale, Christie, Manson & Woods, London, 31 May 1902, no. 101).[1] (Martin Colnaghi [1821-1908], London).[2] George A. Hearn [1835-1913], New York; (his sale, American Art Galleries, New York, 25 February-4 March 1918, no. 446); purchased by (O. Bernet).[3] Emil Winter, Pittsburgh; (his sale, Parke-Bernet Galleries, New York, 15-17 January 1942, no. 442); purchased by (Julius H. Weitzner [1896-1986], New York).[4] (Schaeffer Galleries, New York);[5] purchased 1942 by the Samuel H. Kress Foundation, New York;[6] gift 1943 to NGA.
[1] "Coast scene, with ruined buildings and bridges, boats and figures in the foreground." The dimensions, 48 x 70 in., match the National Gallery's painting exactly, but this general description could also apply to a lost pendant or even another version. A marginal notation in the Knoedler fiche copy of the catalogue gives the buyer as "Mostyn." Algernon Graves, Art Sales from Early in the Eighteenth Century to Early in the Twentieth Century, 3 vols., London, 1918-1921: 1:383, gives the buyer as "Lawson" and lists an incorrect sale date.
[2] According to the Hearn sale catalogue.
[3] A marginal notation in the NGA copy of the Hearn catalogue lists Bernet as "agent," perhaps for Winter.
[4] Art Prices Current, n.s. 20 (1941-1942): no. 1130.
[5] The original prospectus in the NGA curatorial files bears the Schaeffer Galleries' stamp. There is a reference to a Guardi Capriccio, no. 675, in the Schaeffer Gallery Records at the Getty Research Institute, Los Angeles, but no stock card.
[6] See also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/437.
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Provenance Jacob van Ruisdael Landscape, c. 1670 NGA
Baron Etienne Martin de Beurnonville [1789-1876], château de la Chapelle, Labbeville, Val d'Oise; (his estate sale, by Pillet, Paris, 9-14 and 16 May 1881[12 May], no. 453); (Charles Sedelmeyer, Paris). Prince Johann II of Liechtenstein [1840-1929], Vienna and later Vaduz, by 1896;[1] (Frederick Mont, New York); purchased 18 October 1951 by the Samuel H. Kress Foundation, New York;[2] gift 1961 to NGA.
[1] The first reference to the existence of the painting in the Liechtenstein Collection is in 1896 (see Wilhelm von Bode, Die Fürstlich Liechtenstein'sche Galerie in Wien, Vienna, 1896, 99). Gustav Friedrich Waagen's earlier account of a Ruisdael Landscape with a Bridge in the Liechtenstein Collection (Gustav Friedrich Waagen, Die vornehmsten Kunstdenkmäler in Wien, Vienna, 1866: 287), must refer to a different work because the Washington painting was sold by the Baron de Beurnonville only in 1881. The provenance given in Strohmer's 1943 catalogue of the Liechtenstein Collection (Erich V. Strohmer, Die Gemäldegalerie des Fürstern Liechtenstein in Wien, Vienna, 1943) is incorrect; in the 1948 Lucerne exhibition catalogue (Meisterwerke aus den Sammlungen des Fürsten von Liechtenstein, Kunstmuseum), this painting's provenance was associated with the wrong painting.
[2] The bill from Frederick Mont to the Kress Foundation for three paintings from the Liechtenstein collection, including this one, is dated 18 October 1951; payment was made four days later (copy of annotated bill in NGA curatorial files, see also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/1217).
Jacob van Ruisdael
Landscape, c. 1670
Not on View
Accession Number: 1961.9.85
https://www.nga.gov/collection/art-object-page.46184.html#provenance
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Provenance Interior of a Church, c. 1680, Emanuel de Witte, Cleveland Museum of Art
Interior of a Church
c. 1680
Emanuel de Witte
Accession Number: 1971.1
https://www.clevelandart.org/art/1971.1
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Provenance Symbolic Head, c. 1890, Odilon Redon, Cleveland Museum of Art
Before 1925
Possibly Gustave Fayet [1865-1925], Béziers 1
Until 1954
(Jacques Dubourg [1897-1981], Paris, sold to Knoedler & Co.) 2
1954-1956
(Knoedler & Co., New York, sold to Mildred Andrews Putnam) 3
1956-1984
Mildred Andrews Putnam [1890/92-1984], Cleveland, OH, by descent to her son, Peter Andrews Putnam
1984-1987
Peter Andrews Putnam [1925-1987], Cleveland, OH, given to the Cleveland Museum of Art 4
1988-
The Cleveland Museum of Art, Cleveland, OH
Provenance Footnotes
1 The Wildenstein catalogue raisonné of Redon’s oeuvre lists “Gustave Fayet?” as the first owner of the CMA picture. In 1980 Fayet, a painter who worked in a style similar to that of Redon, purchased the Abbe de Fontfroide, where he exhibited works from his collection, including Redon’s Day and Night. The reasons for Wildenstein’s uncertainty concerning Fayet are unknown: it may be because there was little or no evidence that the CMA painting was present in the Abbe de Fontfroide, even though other works by Redon were know to have been displayed, or because Jacques Dubourg purchased other works from Fayet’s collection, but this possibility, too, was unsubstantiated.
2 Dubourg, an art dealer, sold the Redon to Knoedler & Co. on October 20, 1954. The circumstances of Dubourg’s acquisition of the Redon are unknown. It is possible that like a Redon pastel currently in the MFA Boston (64.2206), Symbolic Head was purchased by Dubourg from Fayet’s collection. The MFA pastel may have been sold by Fayet’s son-in-law, Paul Bacou, directly to Dubourg, as that work was lent to an exhibition in 1938 by Bacou. He may have had it in his possession by 1951, when was listed as the lender of a painting titled “Jeune Homme en Buste” to an exhibition at the Hôtel de Ville de Rennes, Les origines de l'art contemporain. The dimensions of that work (51 x 39 cm) are very close to those of Symbolic Head (53 x 38 cm); however, the catalogue notes that it is signed in the lower right, while the Cleveland picture is signed in the lower left, although it possibly that this was recorded incorrectly.
3 Knoedler sold the Redon (stock number A5851) to Mildred Andrews Putnam on February 20, 1956.
4 At the time of Putnam’s death on December 7, 1987, the Redon, along with four other paintings and two drawings, had been on loan to CMA. After his death, these artworks were distributed from his estate and then given permanently to the Museum in the name of his mother’s fund.
Symbolic Head
c. 1890
Odilon Redon
Accession Number: 1988.91
https://www.clevelandart.org/art/1988.91
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Provenance A Corner of the Moulin de la Galette, 1892, NGA
François Depeaux [1853-1920], Rouen; (his sale, Galerie Georges Petit, 31 May - 1 June 1906, no. 74, as Intérieur de cabaret); purchased by (Durand-Ruel)[1] probably for Otto Gerstenberg [1848-1935], Berlin; by inheritance to his daughter, Margarethe Scharf; sold 1951 to (Carstairs Gallery, New York);[2] sold 20 March 1951 to Chester Dale [1883-1962], New York;[3] bequest 1963 to NGA.
[1] Annotated sales catalogue, Getty Research Institute, Los Angeles (copy in NGA curatorial files).
[2] Gerstenberg's great-granddaughter, Julietta Scharf, kindly shared information about her family's ownership of the painting in e-mails of 20 October and 5 November 2009 (in NGA curatorial files). Documentation from her grandmother, Margarethe Scharf, indicates that Otto Gerstenberg acquired the painting at the 1906 sale, and that Margarethe inherited the painting on her father's death. After Margarethe lent the painting to an exhibition at the Statens Museum for Kunst in Copenhagen in 1936, the director of that museum offered to store it for her during World War II. After the war, Margarethe asked the director to arrange for it to be sold. See also Thomas W. Gaehtgens and Julietta Scharf, "Die Sammlung Otto Gerstenberg in Berlin," in Die Moderne und ihre Sammler: Französische Kunst in Deutschem Privatbesitz vom Kaiserreich zur Weimarer Republik, Andrea Pophanken and Felix Billeter, eds., Berlin, 2001: 183. Incorrectly, M.G. Dortu, Toulouse-Lautrec et son oeuvre, 6 vols., New York, 1971: 2:262, does not include Gerstenberg in his provenance for the painting.
[3] Chester Dale papers, in NGA curatorial files
Henri de Toulouse-Lautrec
A Corner of the Moulin de la Galette, 1892
Accession Number: 1963.10.67
https://www.nga.gov/collection/art-object-page.46542.html#provenance
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more examples:
https://www.clevelandart.org/art/1951.486
https://www.nga.gov/collection/art-object-page.53378.html#provenance
https://www.nga.gov/collection/art-object-page.66464.html
https://www.clevelandart.org/art/1956.40
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