Can LLM Chatbots automate the analysis of provenance texts in order to detect potentially problematic provenances for the Nazi-era?
In this post we ask ChatGPT4O to "help us to look for gaps in the provenance (Provenance)?"
We give chat a dataset of 530 artworks that the Nelson-Atkins museum published on the Nazi-era Provenance Internet Portal, enhanced with their provenance texts as of January 5, 2020.
With two prompts, ChatGPT40 categorizes and analyses the artworks.
Art historians, do you agree with ChatGPT4O's assessment?
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Original DATASET of 530 artworks from the Nelson-Atkins Museum with provenances from January 5, 2020.
DATASET curated by CHATGPT4O which selected "vague" provenances
Note: Given a file with 530 artworks from the Nelson-Atkins Museum, ChatGPT performed the following analysis (author: ChatGPT4O)
I have analyzed the dataset and found the following:
- Total Entries: 530 artworks.
- Missing Provenance: 38 entries (7.17% of the dataset).
- Vague Provenance: 70 entries (13.21% of the dataset) contain terms like "unknown," "private collection," or other ambiguous language.
I have also displayed the entries with vague provenance for your review. Let me know if you'd like further analysis or additional details!
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Given the prompt, "for the Vague Provenance items, please add a column with your analysis of why the provenance is vague and your assessment of the reliability of the information", ChatGPT4O responded by creating the following file:
DATASET: CHATGPT ANALYSIS OF "VAGUE" PROVENANCES
| Accession Number | Provenance | CHATGPT4O Vagueness Analysis 6DEC2024 |
| F64-45 A,B | Antiquariato Coccoli, Brescia, Italy;Private collection, Zurich;János Scholz (1903-1993), New York, by 1963;Important;Old Master Drawings sale, Christie’s, London, March 26, 1963, lot 272;as by Giovanni Antonio Guardi, as The;Rape of Europe;Purchased from Mathias Komor (1909-1984), New York, by The;Nelson-Atkins Museum of Art, Kansas City, MO, 1964. | Mentions 'private collection' without specifying owner or dates |
| F56-66/1,2 | Possibly;by descent to Jeanne Fèvre, the artist’s niece, Nice, ca. 1919;Private collection, Paris;Purchased at the sale of a private collector, Très Belles Estampes, Monotypes par Degas;Tableaux, Pastels, Aquarelles, Gouaches, Dessins, Hôtel Drouot, Paris, lot;95 as Académie de jeune home, debout, de;face, bras croisés sur la tête and au verso: Académie de jeune home, de dos, by Wi ldenstein & Co., Inc., New York, May 29, 1952- December 19, 1955;Purchased;from Wildenstein by Mr. Milton (1903-1981) and Mrs. Barbara James (1905-1996);McGreevy, Mission Hills, Kansas, December;19, 1955-May 17, 1956;Their gift to The Nelson-Atkins Museum of Art, Kansas City, MO;1956. | Mentions 'private collection' without specifying owner or dates; Contains speculative language like 'possibly' or 'likely' |
| 88-9 | Alejandro Maria de Aguado, Marqués de las Marismas del Guadalquivir (1784-1842), Paris, 1837-1842;Tencé collection, Lille, by December 10, 1881;Tencé sale, Tableaux Anciens, Hôtel Drouot, Paris, December 12, 1881, lot 45;Jules Nolleval (d. 1902), Paris, by 1885;Probably inherited by his wife, Lucile Nolleval (née Minoret, 1841-1908), Paris, 1902-1908;Probably inherited by her niece, Suzanne Rouxel, Marquise de Rochambeau (1874-1947), 1908-1947 [1];Rochambeau sale, Tableaux anciens, Galerie Charpentier, Paris, December 10, 1951, lot 48 [2];Dessins et tableaux anciens des XVIe, XVIIe, XVIIIe et XIXe siècles, Ader Picard Tajan, Nouveau Drouot, Paris, December 15-16, 1986, lot 42;With Piero Corsini Gallery, New York, 1987-1988;Purchased from Corsini by The Nelson-Atkins Museum of Art, Kansas City, MO, 1988.;NOTES;[1] Following Jules Nolleval’s ownership, the next piece of documentation on the painting’s whereabouts is the Rochambeau sale in 1951. As Nolleval’s wife, Lucile, gave most of her collection to her niece, Suzanne Rouxel, the Marquise de Rochambeau, upon her death in 1908, the painting very likely passed through the latter's hands prior to 1951.;[2] This anonymous sale is identified as "Collection de Rochambeau" in an annotated catalogue housed in the Getty Research Library, Los Angeles (see NAMA curatorial files). | Contains speculative language like 'possibly' or 'likely' |
| 63-17 | Charles;Baring-Wall (1795-1853), Norman Court, Salisbury, England, by 1853;By;descent to Sir Francis George Baring (1850-1929), Salisbury, England, by 1907;Purchased;at his sale, Ancient and Modern Pictures;Christie, Manson and Woods, London, May 4, 1907, lot 55, as by C. Amberger, Portrait of a Divine, by Colnaghi and;Co., London, 1907-1909;Purchased;from Colnaghi by Baron Rudolf von Gutmann (1880-1966), Vienna, 1909 [1];With;Walter Feilchenfeldt, Ascona, Switzerland, on joint account with Pinakos, Inc.;[Rudolf Heinemann], New York, Frederic Mont, Inc., New York and Knoedler and;Co., New York, Knoedler stock book 9, no. A3689, by June 16, 1947-November 11;1947 [2];Purchased;from Feilchenfeldt, Pinakos, Mont and Knoedler by Richard N. Ryan (d. 1949);New York, November 11, 1947;With;Paul Drey Gallery, New York, 1954;With;Frederick Mont, Inc., New York, 1962-1963;Purchased;from Mont by The Nelson-Atkins Museum of Art, Kansas City, MO, 1963.;NOTES;[1];Gutmann, a Jewish industrialist, fled Austria on March 11, 1938 at the time of;the Anschluss, travelling through Czechoslovakia and Switzerland before;arriving in Canada December 14, 1940, where he and his wife settled. According;to the List of Austrian Monuments created by the American Commission for the Protection and Salvage of Artistic and;Historic Monuments in War Areas (Roberts Commission), this painting was;located at Schloss Perlhof, Gutmann’s home outside of Vienna in Gießhübl. Most;of Gutmann’s collection at Schloss Perlhof was confiscated by the German;National Socialist (Nazi) Gestapo in March 1938. This painting, however, was;not included in the works from Gutmann’s collection inventoried by the Germans;at their Neuen Berg repository at the Kunsthistorisches Museum in Vienna (where;most of the Gutmann collection was taken). In a note dated November 19, 1938;an employee named Otto Demus of the Zentralstelle für Denkmalschutz im;Bundesministerium für Unterricht (Central Office for Monument Protection), who;was asked to investigate missing artworks from the Gutmann collection on behalf;of the Gestapo, describes the painting as missing from Gutmann’s Beethovenplatz;3 apartment, as well as his country houses Hagenbackhaus and Gießhübl. See Bundesdenkmalamt Österreich Archives, Vienna, Rudolf Gutmann;Restitutionsmaterialen (Zl. 4051/Dsch./1938). One of the paintings Demus was;searching for, a Schongauer, was sold to the Alte Pinakothek in Munich.;According to Anneliese Schallmeiner, Kommission für Provenienzforschung;Bundesdenkmalamt, in an email to MacKenzie Mallon, Specialist, Provenance;April 28, 2016, Dr. Andrea Bambi of the Pinakothek verified that they have no;record of the Gossaert in their files. Most of Gutmann’s collection was;restituted to him (with the help of Austrian dealer Christian Nebehay);following the war in 1947, but this painting does not appear in Allied;restitution records. Internal correspondence within the Office of Military;Government for Germany (OMGUS) dated July 11, 1946, mentions that the location;of the Gossaert painting was unknown. For full documentation, see NAMA;curatorial files.;[2] The entry for;this painting in Knoedler’s stock book 9 indicates Knoedler received this;painting May 21, 1947. However, according to Walter Feilchenfeldt, the dealer’s;son, in an email to MacKenzie Mallon, Specialist, Provenance, November 1, 2015;NAMA curatorial files, a letter from the senior Feilchenfeldt to Dr. Grete;Ring, Paul Cassirer, Ltd., London, dated June 16, 1947 from Ascona;Switzerland, indicates Feilchenfeldt had the painting at that time and each of;the four dealers owned a quarter share. | Contains 'unknown' indicating lack of specific details |
| 61-1 | P. Mengarini, Rome, as by Joachim Patinir, by 1926 [1];Professor Niccolò Castellino (1893-1953), Rome, as by Joachim Patenier, by 1932;With Frederick Mont, New York, as by Joachim Patinier, by June 1960;Purchased from Mont by The Nelson-Atkins Museum of Art, Kansas City, MO, 1961.;NOTES;[1] G. J. Hoogewerff ("Joachim Patinir in Italië", Onze Kunst 43, no. 1 (January 1926): 20), notes this may possibly be Pietro Mengarini (1869-1924), an Italian Pointillist artist living in Rome. | Contains speculative language like 'possibly' or 'likely' |
| 61-2 | Private collection, Amsterdam;Martinus Joseph Antonius Maria Schretlen (1890-1972);Amsterdam, 1958-60;R.M Light and Company, Boston, 1960-61;Purchased from R.M. Light and Company by The Nelson-Atkins;Museum of Art, Kansas City, MO, 1961. | Mentions 'private collection' without specifying owner or dates |
| 46-69 | Probably;purchased from the artist by the dealer Paul Guillaume (1891-1934), Paris, as L’homme à la mandolin, by December 21;1928-at the latest February 14, 1929 [1];Purchased;from Paul Guillaume by Valentine Gallery, New York, by February 14, 1929;Purchased;from Valentine Gallery by Stephen C. Clark (1882-1960), New York, probably;February 14, 1929-March 20, 1941 [2];His gift to;The Museum of Modern Art, New York, March 20, 1941-May 11, 1944 [3];Its sale, Modern Paintings and Sculptures…Property of;The Museum of Modern Art, Parke-Bernet Galleries, New York, May 11, 1944;lot 85 [4];With Dalzell;Hatfield Galleries, Ambassador Hotel, Los Angeles, by September 19, 1946;Purchased;from Dalzell Hatfield by The Nelson-Atkins Museum of Art, Kansas City, MO;1946.;NOTES;[1] André;Derain was under contract with Paul Guillaume from 1924-1934. According to;Sylphide de Daranyi, Chargée d’études documentaires, Musée de l’Orangerie, in;an email to MacKenzie Mallon, Specialist, Provenance, December 15, 2016, NAMA;curatorial files, this painting was included in an album Paul Guillaume;assembled, probably documenting works he owned, as “Derain A 390.” The painting;also appears in Guillaume’s magazine, Les;Arts à Paris 16 (January 1929), 27.;[2] Stephen;Clark lent Guitar Player to the Painting in Paris exhibition at the;Museum of Modern Art in January 1930. According to Julia May Boddewyn, an;independent scholar researching the Valentine Gallery, in an email exchange;with MacKenzie Mallon, Specialist, Provenance, December 2016, NAMA curatorial;files, Clark purchased four Derains from the Valentine Gallery prior to January;1930. Based on Guitar Player ’s date;size and subject matter in relation to the other Derains in Clark’s collection;NAMA’s painting is most likely the Derain listed in the Valentine Gallery’s;sales records (Museum of Modern Art, New York) as sold to Clark in February;1929.;[3] Museum;of Modern Art, New York, deaccessioning files. The painting was never formally;accessioned into the museum’s collection, and was placed on consignment with;Valentine Gallery prior to its sale at auction.;[4] According;to Christina Eberli, Sotheby’s New York, in an email to MacKenzie Mallon;Specialist, Provenance, December 20, 2016, NAMA curatorial files, the painting;was most likely bought by an agent or dealer. | Contains speculative language like 'possibly' or 'likely' |
| 44-45 | Berta Gerster-Gardini (d. 1951), Dresden, Cincinnati and New York, by October 9, 1941 [1];Purchased from Gerster-Gardini by Durlacher Brothers, New York, October 9, 1941-September 29, 1944;Purchased from Durlacher by Fred C. (d. 1945) and Susan Gay (d. 1955) Vincent, Mission Hills, KS, September 29, 1944;Their gift to The Nelson-Atkins Museum of Art, Kansas City, MO, 1944.;NOTES;[1] Gerster-Gardini moved to the U.S. in 1922. See Philip Hart, Fritz Reiner: a Biography (Evanston, IL: Northwestern University Press, 1994): 23-28. As the painting was lent by an unknown lender in 1937 to Durlacher Brothers, which purchased the painting from Gerster-Gardini three years later, it is possible that Gerster-Gardini owned it by 1937. | Contains 'unknown' indicating lack of specific details |
| 33-1388 | Possibly Hudson Collection;Possibly Nollekens Collection;Sir John Charles Robinson (1824-1913), London, possibly by;1902 [1];Possibly purchased from A;Valuable Collection of Drawings by Old Masters formed by a Well-Known Amateur;During the last Forty Years, Christie’s, London, May 12-14, 1902, lot 248;erroneously as by to Palma Giovine, as Pietà;by Armitage;Purchased from E. Parsons and Sons, Ltd., London, through;Harold Woodbury Parsons, by The Nelson-Atkins Museum of Art, Kansas City, MO;1933.;NOTES;[1] Lugt 1433 | Contains speculative language like 'possibly' or 'likely' |
| 56-51 | Marie Caroline de Bourbon, Duchesse de Berry (1798-1870), Palazzo Vendramin-Calergi, Venice, as by Luca di Leida (Lucas van Leyden), by 1856-1865;Purchased at her sale, Tableaux Anciens et Modernes, Hôtel Drouot, Paris, April 19, 1865, lot 434, as by Lucas de Leyde, by Roger marquis de Podenas, on behalf of M. le Comte de la Ferronnays (d. 1867), Paris, 1865-at least 1866;Count Paul Demidoff, 2nd Prince of San Donato (1839-1885), Polverosa, Italy, by 1869;Purchased at his sale, Tableaux Anciens et Modernes, Hôtel Demidoff, Paris, April 1-3, 1869, lot 3, as by Petrus Christophsen, by Étienne-François Haro (1827-1897), Paris, 1869;Possibly Henri, Comte de Chambord (1820-1883), 1873;Duc de Blacas [1];With Frederick Mont and Company, New York, by 1956 [2];Purchased from Mont by The Nelson-Atkins Museum of Art, Kansas City, MO, 1956.;NOTES;[1] The Duc de Blacas is listed in the provenance included in Frederick Mont and Co.’s invoice to NAMA dated March 29, 1956. This may be Pierre de Blacas d’Aulps (1853-1937). According to Patrick J. Kelleher, Curator of European Art, in a letter to Erwin Panofsky, March 5, 1956, NAMA curatorial files, the painting was bought from a descendant of the Duchess de Berry in Switzerland.;[2] According to the Frederick Mont and Co. invoice dated March 29, 1956, NAMA curatorial files, Mont and Co. was a joint owner of the painting. The other owner(s) are currently unknown. | Contains 'unknown' indicating lack of specific details; Contains speculative language like 'possibly' or 'likely' |
| 54-35 | Samuel, Graf von Festetits (1806-1862);Vienna, by 1859;Possibly purchased from Graf von;Festetits by Georg Plach (d. 1885), Vienna, 1859;Possibly F. J. Gsell (1812-1871), by September;20, 1871;Possibly sold;at his posthumous sale, Versteigerung der;Grossen Gallerie und der übrigen Kunst-Sammlungen des am 20. September 1871;verstorbenen Herrn F. J. Gsell, Georg Plach, Sälen des Künstlerhauses;Vienna, March 14, 1872, no. 63, as Männliches;Portrait. Im Harnisch. Mit dem Ludwigskreuze [1];Baron Nathaniel Mayer von Rothschild;(1836-1905), Theresianumgasse, Vienna, probably by 1893-1905;By descent to his nephew, Baron Alphonse;Mayer von Rothschild (1878-1942) and his wife, Clarice Adelaide von Rothschild;(née Sebag-Montefiore, 1894-1967), Theresianumgasse, Vienna, 1905-1938;Confiscated from the Rothschilds by German;National Socialist (Nazi) forces, 1938-May 1945 [2];Recovered by Allied forces, May;1945-May 16, 1946 [3];Returned by Allied forces to Austria;May 16, 1946-September 24, 1947;Restituted by Austria to Clarice;Adelaide von Rothschild, New York, September 24, 1947-1954 [4];Purchased from Rothschild by Rosenberg and;Stiebel, New York, 1954;Purchased from Rosenberg and Stiebel by;The Nelson-Atkins Museum of Art, Kansas City, MO, 1954.;NOTES;[1] It is not clear from the;description if this is indeed NAMA’s painting, and there is no reproduction in;the sales catalogue.;[2] The;collections of Baron Alphonse and Clarice von Rothschild were confiscated by;the Gestapo soon after the German annexation of Austria in March 1938. This;painting was taken to the Nazi depot for confiscated art objects at the Kunsthistorisches;Museum, Neue Burg, Vienna, in 1939, where it was inventoried as number AR 863, “König;Friedrich IV v. Dänemark” (see Katalog;beschlagnahmter Sammlungen, inbesondere der Rothschild-Sammlungen in Wien;Verlags-Nr. 4938, Staatsdruckerei Wien;1939, Privatarchiv, reproduced in Sophie Lille, Was einmal war: Handbuch der enteigneten Kunstsammlungen Wiens;(Vienna: Czernin Verlag, 2003), 1031). It was intended for Hitler’s;planned Führermuseum in Linz and included in inventories of Linz objects dated;October 20, 1939 and July 31, 1940 (National Archives and Records;Administration, RG 260, Records Concerning the Central Collecting Points;Munich, Restitution Research Records, Linz Museum: Consolidated Interrogation;Report No. 4, Catalog ID 3725274). The painting was transferred to the Nazi;repository at the Kremsmünster Abbey, where it was assigned inventory number;K976. From there it was moved to the Führerbau in Munich on December 16, 1943;and assigned inventory number 3219 (National Archives and Records;Administration, RG 260, Records Concerning the Central Collecting Points;Munich, Restitution Research Records, Reger, Hans: Transport Correspondence and;Lists, Catalog ID 3725274). It was subsequently transferred from the Führerbau;to the Nazi repository in a salt mine at Alt Aussee, Austria on August 24, 1944;(Bundesarchiv, Koblenz, Germany, B323/6).;Copies of Allied and German documents describing the painting’s wartime movements;are in the NAMA curatorial files.;[3] Following;the discovery of the art objects in the Alt Aussee salt mine in May 1945, the;officers of the U.S. Army’s Monuments, Fine Arts and Archives Section (the;“Monuments Men”) worked to catalog every looted object and return it to its;rightful owner. This painting was sent to the Munich Central Collecting Point;on July 17, 1945, where;it was assigned numbers Aussee 3237 and Mun. 4588 (Bundesarchiv;Koblenz, Germany, B323/656, MCCP Restitution Card File). Upon its transfer to;the US Allied Commission of Austria on May 16, 1946, it returned to Kremsmünster;from where it was restituted to the Rothschild family (National Archives and;Records Administration, RG 260, Records of the Reparations and Restitutions;Branch of the USACA Section, General Administrative Records, Stift Kremsmünster;R&R 41, Catalog ID 1561451).;[4] Bundesdenkmalamt Archives, Vienna;Restitution Materials, Sammlung Alphons Rothschild, Kartons 53/1 and 53/3.;Copies of restitution documents provided by Anneliese Schallmeiner, Commission;for Provenance Research at the Bundesdenkmalamt, see NAMA curatorial files. Also;Rothschild Archive, London, 000/2135/12. | Contains speculative language like 'possibly' or 'likely' |
| F73-30 | Purchased by Louisine Waldron Elder (later Mrs. H. O.;Havemeyer, 1855-1929), New York, by 1877-no later than January 6, 1929 [1];By descent to her daughter, Mrs. Peter Hood Ballantine Frelinghuysen;(née Adaline Havemeyer, 1884-1963), Morristown, NJ, and Palm Beach, FL, by;April 10, 1930-July 25, 1932 [2];Given to her son, George Griswold Frelinghuysen (1911-2004);Beverly Hills, CA, 1932-April 14, 1965 [3];Purchased at his sale, Impressionist;and Modern Paintings, Sculptures, Drawings: “La Glace Haute” and “Ma Maison à;Vernon” by Bonnard, “La Barque à St. Jean” and “La Madone du Village” by;Chagall, “Répétition de Ballet” by Degas, “La Baignade devant le Port de;Pont-Aven” by Gauguin, “Femme à l’Ombrelle Verte” by Matisse, “Les Peupliers”;and “Nymphéas” by Monet, “Volume de Choses” by Staël, “Les Déchargeurs” by Van;Gogh, “Portrait de la Comtesse de Noailles” by Vuillard, Sotheby’s, New;York, April 14, 1965, lot 49, as Répétition;de ballet, through Stephen Hahn, New York, by Norton Simon (1907-1993), Beverly Hills, CA, 1965- May 2, 1973;Purchased at his sale, Ten;Important Paintings and Drawings from the Private Collection of Norton Simon;Sotheby’s, New York, May 2, 1973, lot 7, as Repetition;[sic] de ballet, by Marlborough Gallery, Vaduz;Liechtenstein, May 2-November 16, 1973;Purchased from Marlborough Gallery by The Nelson-Atkins;Museum of Art, Kansas City, MO, 1973.;NOTES;[1] Elder wrote in her memoirs that she purchased the pastel;at an unnamed color shop. Scholars have not been able to definitively identify;which one, but Portier, Latouche and Père Tanguy have all been proposed.;Tanguy’s shop is cited by Susan Alyson Stein in Elder’s memoirs. See Frances;Weitzenhoffer, The Havemeyers;Impressionism Comes to America (New York: Harry;N. Abrams, 1986), 21, and Louisine W. Havemeyer, Sixteen to Sixty: Memoirs of a Collector, ed. Susan Alyson Stein;2nd ed. (New York: Ursus Press, 1993), 331n291.;The date of Elder’s purchase of the work is not certain, but;it was one of Elder’s first purchases, bought on the advice of her friend;artist Mary Cassatt (American, 1844-1926). Most scholars agree that Elder;bought the pastel by 1877, see Havemeyer, Sixteen;to Sixty, 331n291. Elder definitely owned the pastel before February 1878;when she lent it to the Eleventh Annual;Exhibition of the American Water Color Society.;[2] Louisine Havemeyer may have given the pastel to her;daughter when she married on February 7, 1907. Havemeyer writes, “As each of;you acquired a home of your own I gave to you works of art to beautify it;believing it would be the wish of Father to have me do so. These objects are;yours and the disposition you finally make of them, your responsibility.”;Havemeyer also noted, “Degas: I have given Adaline…the one I bought when a;girl.” This was probably in reference to the Nelson-Atkins’ pastel, which;Havemeyer fondly recalled her in memoires as her first Degas purchase when she;was still a teenager. See Louisine Waldron Elder Havemeyer, “Notes to My;Children” regarding disposition of Havemeyer art collection, Series II. Miscellaneous, box 3;folder 23, pp. 1, 7, The Havemeyer Family Papers relating to Art Collecting;The Metropolitan Museum of Art Archives, New York. In any case, the pastel was;not in Havemeyer’s will listing artworks to be donated to the Metropolitan;Museum of Art, New York, and it was also not among the artworks donated by;Havemeyer’s three children in 1929. It was published in the 1931 H. O. Havemeyer Collection catalogue as;being in Frelinghuysen’s collection.;[3] Paper label on the pastel’s verso inscribed: “To George;on his / 21 st birthday / from Mother”. | Mentions 'private collection' without specifying owner or dates |
| F61-68 | Commissioned by Guiliano della;Rovere (later Pope Julius II, 1443-1513) for the Church of SS. Apostoli, Rome;by 1513;With Domenico Corvisieri, Rome, by;1911;Purchased;from Corvisieri by Count Grégoire Stroganoff (1829-1910), Rome, as Saint Andrew, by 1910;Possibly with Galleria Sangiorgi;Rome [1];With Jacob Hirsch, New York;With Harold Woodbury Parsons, New;York, on joint account with Jacques Seligmann and Co., New York, stock no.;8001, August 4, 1950-March 27, 1952 [2];Purchased from Parsons and Jacques;Seligmann and Co. by the Samuel H. Kress Foundation, New York, stock no.;K-1923, March 27, 1952-1961;Their gift to The Nelson-Atkins;Museum of Art, Kansas City, MO, 1961.;NOTES;[1] Galleria Sangiorgi is listed as;a former owner on a photograph in the Kunsthistorisches Institut in Florenz;Photo Library, copy in NAMA curatorial files.;[2] Archives of American Art;Washington, DC, Jacques Seligmann and Co. records, Box 286, folder 2, bound;stock lists: all stock, 1950-1960s, copy in NAMA curatorial file. | Contains speculative language like 'possibly' or 'likely' |
| F83-36 | Marchese Carlo Gerini (d. 1757), by 1757;Purchased by the collector’s father, Vienna, ca. 1930;Private collection, San Francisco, by 1981;Purchased at Sotheby Parke Bernet, Los Angeles, November 4;1981, no. 752, as Leda and the Swan with;Amore, by Alex Wengraf, Ltd., London, 1981-July 25, 1983;Purchased from Alex Wengraf, Ltd. by The Nelson-Atkins Museum;of Art, 1983. | Mentions 'private collection' without specifying owner or dates |
| 92-35 | Possibly;posthumous sale of the artist, Tableaux;esquisses, dessins, études diverses, estampes, livres à figures, etc., appartenant;à la succession de feu Géricault, peintre d’histoire, Hôtel de Buillon, Paris, November 2-3, 1824, lots 12 or;14 [1];Possibly;posthumous sale of M.G., ancien Pair de France, Tableaux anciens, dont un très beau de Nicolas Poussin, dessins;estampes, etc., provenant du Cabinet de M. G***, Hôtel des ventes, Rue;Drouot, nº 2, Paris, January 31-February 1, 1853, lot 5, as Mort de Lucrèce [2];Possibly Maillet collection;Dr. Gillon, Paris, by August 30, 1953;With Drouot-Richelieu, Paris, by;November 27, 1991;Purchased at sale;Importants bijoux, estampes et tableaux;modernes, art antique, afrique, amérique, océanie, Drouot-Richelieu, Paris;November 27, 1991, lot 84, as Le serment;de Brutus après la mort de Lucrèce, dit aussi la mort de Camille, by;Richard L. Feigen and Company, New York, November 27, 1991-May 18, 1992;Purchased from Feigen by the;Nelson-Atkins Museum of Art, Kansas City, MO, 1992.;NOTES;[1] See Lorenz Eitner, “The Sale of;Géricault’s Studio in 1824,” Gazette des;Beaux-Arts 53, no. 1081 (February 1959): 119, Jacques Thullier and Philippe;Grunchec, Tout l’oeuvre peint de;Géricault, rev. ed. (Paris: Flammarion, 1991), p. 89, letter from Lorenz;Eitner, Stanford University, to Ann Guite, Richard L. Feigen and Company, January 30, 1992, NAMA curatorial;files.;[2] See note 1. | Contains speculative language like 'possibly' or 'likely' |
| F62-46 | With Galerie;Barbazanges Hodebert, Paris, as Sannois;rue Carnot, by January 2, 1925;Adele Rosenwald;Levy (1892-1960), New York, possibly by 1936-1960 [1];By;inheritance to the Adele R. Levy Fund, 1960-1962;Its gift to;The Nelson-Atkins Museum of Art, Kansas City, MO, 1962.;NOTES;[1] According to Alfred Frankfurter, “Adele Levy;and her Pictures,” in The Mrs. Adele R.;Levy Collection: a Memorial Exhibition, exh. cat. (Museum of Modern Art;New York, 1961), 9, Levy had an Utrillo in her collection by 1936, although it;is unclear if this was the NAMA painting. | Contains speculative language like 'possibly' or 'likely' |
| F79-42 | Possibly;with Chiltern Street Gallery, London, ca. 1959 [1];Fine Old Master Pictures, Christie;Manson & Woods, London, November 3, 1978, lot 95, as The Church Triumphing over Evil;With;Somerville & Simpson, Ltd., London, by March 20, 1979;Purchased;from Somerville & Simpson, through the generosity of Mrs. Joseph Real;Brown, by The Nelson-Atkins Museum of Art, Kansas City, MO, 1979.;NOTES;[1] Michael;Simpson, Somerville & Simpson, Ltd., to Edgar Peters Bowron, Curator, March;20, 1979, NAMA curatorial files. | Contains speculative language like 'possibly' or 'likely' |
| 38-5 | Paul Gauguin (1848-1903);Tahiti and Paris, 1891-no later than September 29;1901 [1];Purchased from Gauguin by Georges-Daniel de;Monfreid (1856-1929), Paris;by September 29, 1901-December 21, 1901 [2];Purchased from Monfreid by Ambroise Vollard (1866-1939), Paris, December 21, 1901-at least;March 15, 1912, Stockbook B, no. 3330, as Femme en rouge dans un fauteuil, and no. 4506, Femme assise sur un;fauteuil [3];Probably purchased from Vollard by Johann Erwin;Wolfensberger (1873-1944), Zurich, ca. spring 1912-at least September 15, 1928;[4];Probably purchased from Wolfensberger through;Justin Kurt Thannhauser (1892-1976), Berlin, by Josef Stransky (1872-1936), New;York, ca. October 1928-March 6, 1936 [5];Stransky estate, New;York, 1936-January 4, 1938 [6];Purchased from the;Stransky estate through Wildenstein, New York, by The Nelson-Atkins Museum of;Art, Kansas City, MO, 1938.;NOTES;[1] Some scholars believe that Faaturuma;was bought in by Gauguin at the following sale: Vente de tableaux et dessins par Paul Gauguin;Hôtel Drouot, Paris, February 18, 1895, no. 30, as Faturuma [sic], see;Richard Brettell et al., The Art of Paul;Gauguin, exh. cat. (Washington: National Gallery of Art, 1988), 228. Others;believe Te Faaturuma (Worcester Art Museum) is more likely to have been;included in this sale as no. 30, see Jonathan Pascoe Pratt, “Ambroise Vollard: Dealer;and Publisher 1893-1900,” (PhD diss., The Courtauld Institute of Art, 2006);77. The Wildenstein Institute and Worcester Art Museum both agree with Pratt, see;letter from Sylvie Crussard, Wildenstein Institute, to Meghan Gray and Simon;Kelly, November 6, 2009, e-mail from Sylvie Crussard, Wildenstein Institute, to;Brigid Boyle, August 24, 2015, and e-mail from Karysa Norris, Curatorial;Assistant, Worcester Art Museum, to Brigid Boyle, November 16, 2015, NAMA;curatorial files.;On June 28, 1895, Gauguin departed Marseille for;Tahiti, leaving behind the paintings from his first Tahitian trip, including Faaturuma.;He likely entrusted them to Georges-Daniel de Monfreid with instructions to;sell them. Monfreid purchased Faaturuma from Gauguin sometime between June 1895 and September 1901.;[2];In a letter dated September 29, 1901, Monfreid;informs Vollard that an amateur collector has expressed interest in purchasing Faaturuma;from him. Since Vollard “ avez;la priorité sur d’autres ” [has priority over others] as Gauguin’s agent;Monfreid gives him the option of purchasing Faaturuma himself, see;letter from Georges-Daniel de Monfreid to Ambroise Vollard, September 29, 1901;Harry Ransom Center, Carlton Lake Collection, Container 189.10. Vollard agreed;to purchase the painting, see letter from Ambroise Vollard to Georges-Daniel de;Monfreid, October 2, 1901, Getty Research Institute, Miscellaneous Papers Regarding;Ambroise Vollard (1890-1939), Series I, Box 1, Folder 18. He completed his;purchase on December 21, 1901, see letter from Ambroise Vollard to;Georges-Daniel de Monfreid, December 23, 1901, Getty Research Institute, Miscellaneous;Papers Regarding Ambroise Vollard (1890-1939), Series I, Box 1, Folder 19.;Bengt Danielsson claims erroneously that Vollard;purchased Faaturuma as early as 1893, after it was exhibited at the Galeries Durand-Ruel, see Gauguin in the South Seas, trans.;Reginald Spink (1964, Garden City, NY: Doubleday, 1966), 155.;[3] Faaturuma remained in Vollard’s;possession until at least March 15, 1912, when Vollard shipped the painting to;Zurich for the Ausstellung von Werken Paul Gauguin’s im;Kunstsalon Wolfsberg (March 17-April 15, 1912), see Musée d’Orsay;Paris, Documentation Center;Fonds Vollard, Ms 421 (4,13), Registre consignant des expéditions, avec;adresses des destinataires, du 33 mai 1907 au 15 février 1923, fº 46-47.;Stockbook B is preserved at the Musée d’Orsay, Paris;Documentation Center, Fonds Vollard, Ms 421 (4,5), Registre des entrées et sorties de juin 1904 à décembre;1907 avec des achats aux artistes Gauguin, Redon, Cézanne, Valtat, Denis;Cassatt, K. X. Roussel. There is also a glass;plate of Faaturuma preserved at the Musée d’Orsay, Paris, Documentation;Center, Archives photographiques du fonds Vollard, ODO;1996-56-3722, which bears the stock number 4506.;[4] After the close of the Ausstellung von Werken Paul;Gauguin’s im Kunstsalon Wolfsberg, an exhibition of works loaned by;Ambroise Vollard, Johann Erwin Wolfensberger (owner of the Kunstsalon Wolfsberg);purchased a Gauguin painting from Vollard for 9000 francs, which he paid in two;installments. The first installment of 2000 francs was received on June 18;1912 and the second installment of 7000 francs was received on July 12, 1912;see Musée d’Orsay, Paris, Documentation Center, Fonds Vollard, Ms 421 (5,8), Agenda de;bureau pour 1912, p. 112 and 131. Vollard’s agenda book does not identify the;painting by title or stock number, but Lukas Gloor believes the painting;Wolfensberger purchased was Faaturuma, see Raphaël Bouvier and Martin Schwander;eds., Paul Gauguin, exh. cat. (Basel;Beyeler Museum, 2015), 189. As Gloor points out, Faaturuma disappears;from Vollard’s books after the spring of 1912, see e-mail from Lukas Gloor;Director, Sammlung E. G. Bührle;to Brigid Boyle, July 23, 2015, NAMA curatorial files.;Faaturuma remained in Wolfensberger’s;collection until at least September 15, 1928, when the Kunsthalle Basel;returned it to him after the close of their exhibition, Paul Gauguin, 1848-1903 (July 1-September 9, 1928), see letter from;the Kunsthalle Basel to J. E. Wolfensberger, September 15, 1928, Staatsarchiv des Kanton Basel-Stadt, Basel;Pa 888a N6 (1) 239.;The Wildenstein catalogue raisonné of 1964;tentatively suggests that a certain “Dr. Hahnloser, Zurich” owned Faaturuma;between Vollard and Wolfensberger. The best-known collectors fitting this;description are Arthur Hahnloser (1870-1936) and his brother Emil Hahnloser;(1874-1940). However, neither began collecting works by Gauguin until after;World War I. As Lukas Gloor notes, “an acquisition by Arthur Hahnloser of Faaturuma;in 1912 would…have been totally out of sync with Arthur’s collecting behaviour at that time” and;“an acquisition by Emil Hahnloser of Faaturuma in 1912 would have been a;totally isolated affair”, see e-mail from Lukas Gloor, Director, Sammlung E. G. Bührle, to Brigid Boyle;July 23, 2015, NAMA curatorial files.;[5] The Wildenstein catalogue raisonné of 1964 claims;that Justin K. Thannhauser owned Faaturuma between Wolfensberger and;Stransky, but there is no documentary evidence to support this. Shortly after;receiving Faaturuma back from the Kunsthalle Basel in September 1928;Wolfensberger presumably shipped it to Berlin for the exhibition Paul Gauguin, 1848-1903 (October 1928) at;the Galerien Thannhauser. Sylvie Crussard believes that Justin K. Thannhauser;acted as an intermediary for Wolfensberger when he sold Faaturuma, see;e-mail from Sylvie Crussard, Wildenstein Institute, to Brigid Boyle, August 24;2015, NAMA curatorial files. This was not without precedent: in 1920, Stransky;purchased Gauguin’s A Farm in Brittany (Metropolitan Museum of Art;54.143.2) from Thannhauser, who had it on consignment from a private collector.;However, Dr. Günter Herzog found no reference to Faaturuma in the archives;of the Galerien Thannhauser, Zentralarchiv;des internationalen Kunsthandels, Cologne, see e-mail from Günter Herzog;to Brigid Boyle, August 12, 2015, NAMA curatorial files.;Stransky definitely owned Faaturuma by May 16;1931, when his collection was featured in Art News. Mark Aitken;Stransky’s great-nephew, does not know how Faaturuma came into;Stransky’s possession, nor does he believe any documentation of Stransky’s;collection has survived, see phone conversation between Mark Aitken and Brigid;Boyle, June 16, 2015, NAMA curatorial files.;[6] When Stransky died in 1936, married but;childless, Faaturuma passed to his estate. Wildenstein negotiated with the;estate on behalf of the Nelson-Atkins, see Trustees’ Meeting, December 10;1937, NAMA curatorial files. | Contains speculative language like 'possibly' or 'likely' |
| F78-13 | With;Moderne Galerie Thannhauser, Munich, stock no. 6920, by 1919 [1];With Galerie M. Goldschmidt, Frankfurt, by 1929;Rathe;Richter, Berlin;Karen Gutmann (neé Rosin, 1906-2000), New;York, by February 1975 [2];Purchased;from Gutmann through D. Zargar, New York, by The Nelson-Atkins Museum of Art;Kansas City, MO, 1978.;NOTES;[1];A partial label on the back of the painting was confirmed to be from Moderne;Galerie Thannhauser by Brigitte Jacobs van Renswou, Zentralarchiv des;internationalen kunsthandels E.V., in an email to MacKenzie Mallon, Specialist;Provenance, September 21, 2015, NAMA curatorial files. According;to Günter Herzog, Archives Director, Zentralarchiv des internationalen;kunsthandels E.V., in conversation with MacKenzie Mallon, October 17, 2016, the;painting must have been with Thannhauser prior to 1919, based on the extant;label and the lack of documentation of the painting in the Thannhauser records;at the Zentralarchiv.;[2];There is some confusion surrounding Karen Gutmann’s acquisition of the;painting. According to Mark Sussman, Gutmann’s grandson, in an email to;MacKenzie Mallon, Specialist, Provenance, January 4, 2016, NAMA curatorial;files, Gutmann told a family member she purchased the painting in Paris as a;young woman of about 20 years old, or ca. 1924-26. However, according to Harry;Bober, Gutmann’s art advisor, in a letter to Ralph Coe, Director, May 17, 1978;NAMA curatorial files, Gutmann told Bober the painting had been in her;possession for 27 years (purchased ca. 1951). According to an unknown contact;at Gutmann Frames, New York, in a phone call dated February 17, 1987 and noted;in NAMA curatorial files, Gutmann purchased the painting from Thannhauser. Karen;Gutmann consigned the painting to Wildenstein and Co. from February 1975 to;January 1977. | Contains 'unknown' indicating lack of specific details |
| 48-43 | Possibly;commissioned from the artist by Ferdinando Gonzaga (1587-1626), 6th Duke of;Mantua, Palazzo Ducale, Mantua, by 1626 [1];Possibly;with Gonzaga heirs, 1626-at least 1709;Possibly;Pierre Crozat (1665-1740), Paris, by 1740;Possibly;inherited by his nephew, Louis-François Crozat, marquis du Châtel (1691-1750);Paris, 1740-1750;Possibly;inherited by his brother, Joseph Antoine Crozat, baron de Tugny (1696-1751);Paris, 1750-1751;Possibly purchased at Tableaux;et sculptures, tant en bronze qu'en marbre, du cabinet de feu M. le président;de Tugny et de celui de M. Crozat, Chez L.-F. Delatour, Paris, June 15;1751, lot 118, by Goüy;Sir;Arthur Willert, K.B.E. (1882-1973), Headington Hill, Oxfordshire, England, by;April 19, 1944;Purchased;at his sale, Drawings & Paintings;Sotheby’s, London, April 19, 1944, lot 76, as A Market Scene with Jewellers in the Foreground, by Koetser;Gallery, New York, 1944-at least 1945 [2];Purchased;from Koetser by Arthur C. Tate (b. 1877), New Canaan, CT, by February 7;1948-December 18, 1948 [3];Purchased;from Tate by Schaeffer Galleries, New York, stock no. 1232, December 18, 1948 [4];Purchased;from Schaeffer by The Nelson-Atkins Museum of Art, Kansas City, MO, 1948.;NOTES;[1];For the possible identification of the Nelson-Atkins painting with the work;commissioned by the Duke of Mantua and its descent through the Gonzaga and;Crozat families, see Eliot W. Rowlands, The;Collections of the Nelson-Atkins Museum of Art: Italian Paintings 1300-1800;(Kansas City, MO: Trustees of the Nelson Gallery Foundation, 1996): 256-257 and;Eduard A. Safarik, Galleria Doria Pamphilj, in a letter to Eliot W. Rowlands;Assistant Curator, November 27, 1989, NAMA curatorial files.;[2];According to Hans Tietze, in a letter to Koetser Gallery, March 4, 1945, NAMA;curatorial files.;[3];Tate placed the painting on consignment with Schaeffer from February;21-December 18, 1948. Getty Research Institute, Los Angeles, Schaeffer;Galleries Records, Box 178, Folder 2.;[4];Getty Research Institute, Los Angeles, Schaeffer Galleries Records, Box 178;Folder 2. | Contains speculative language like 'possibly' or 'likely' |
| 59-1 | Probably Marin De la Haye (1684-1753), Paris;1740-October 3, 1753;To his wife, Madame de la Haye (née Marie-Edmée de;Saint-Mars, d. 1776), Paris, 1753-1776 [1];Purchased from her posthumous sale, Catalogue de Tableaux Originaux De Jacques Bassan, Gaspre Dughet;Philippe Wouwermans, Lenain, Baptiste Monoyer, Desportes, François Boucher;Charles Natoire, MM. Pierre, La Grenée, et autres Maîtres de diverses Écoles;Figures et grouppes [sic] de bronze;et de marbre, Tables et Consoles de marbre, Glaces, etc., après le décès de;Madame veuve de M. De La Haye, Fermier-Général, Hôtel Lambert, Paris, December 1, 1778, no. 30, as Un paysage, des fabriques, un moulin à eau;plusieurs figures et des animaux sur des plans différens [sic], by Pierre;Rémy (1715-1797), Paris, 1778-April 5, 1782 [2];Sold by Rémy at Tableaux;dont le plus grand nombre des bons Maîtres des trois Ecoles, de peintures à;Gouache et Miniatures, Dessins et Estampes en feuilles et sous verre, Livres et;suites d’Estampes. Après le décès de Madame Lancret, et de M**, Hôtel de;Bullion, Paris, April 5, 1782, no. 157, and purchased by Ribouret, 1782 [3];A[lphonse-Louis];Pinard (1815-1871), Paris, by 1860-October 18, 1871 [4];Inherited;by his wife, Adèle Emélie Pinard (née Robert, 1823-1915), Paris, 1871- March;25, 1915 [5];By;descent to her granddaughter, Fernande de Cardevac d’Havrincourt, Marquise;d’Havrincourt (née Pinard, b. 1891), Château d’Havrincourt, Havrincourt, by;July 2, 1958 [6];Purchased;from her anonymous sale, Important Old;Master Drawings and Paintings Including Fine early Drawings of the Italian and;Flemish Schools, Three views near Venice by Canaletto, St Blaise attributed to;Raphael, Examples by Sir Peter Paul Rubens, Antoine Watteau, Nicolas Lancret;and Francesco Guardi, Fine Dutch Paintings, The Property of Mrs. Maud Barchard;and The Meeting of Abraham and Melchizedek by Rubens, Christ in the Act of;Blessing from the Studio of Jan van Eyck, Also Fine Paintings of the English;School, The Property of Lt.-Col. Harold Boyd-Rochfort, A View of Old Hall East;Bergholt by Constable, The Property of Miss M. Gore, and A Portrait of Charles;Lennox, Duke of Richmond by George Romney, The Property of Rt. Hon. Viscount;Ednam, Sotheby’s, London, July 2, 1958, no. 111, as Paysage aux Environs de Beauvais et Souvenir d’Italie, by Leggatt;Brothers, London, 1958 [7];Probably;purchased from Leggatt by Frederick Mont, Inc., New York, by October 1;1958-1959 [8];Purchased;from Mont by The Nelson-Atkins Museum of Art, Kansas City, MO, 1959.;NOTES;[1];Alastair Laing suggests that Landscap e with a Water Mill and its;pendant, La Forêt (Musée du Louvre, Paris) were painted by;Boucher for Marin de la Haye and retained by his widow. See François;Boucher: 1703-1770, exh. cat. (New York: Metropolitan Museum of Art, 1986);186.;[2] An;annotated sales catalogue owned by Pierre Rémy that is now at the Philadelphia;Museum of Art Library records “Remy” as the buyer. Pierre Rémy was the;auctioneer and expert for the sale.;[3];Alastair Laing (François Boucher: 1703-1770, 187) has suggested that Mme;Lancret probably never owned NAMA’s painting despite the title of this sale.;Rather, he proposes that the auctioneer Pierre Rémy inserted NAMA’s painting;into her posthumous sale. An annotated sales catalogue housed in the Rijksbureau voor kunsthistorische en;ikonografische Documentatie, The Hague, records the name of the buyer, however;it is mostly illegible. The Getty Provenance Index transcribes it as;“Ricouret,” however we defer here to the Musée du Louvre’s use of Ribouret as;the name of the buyer of both this picture and its pendant, La Forêt, in its collection.;[4];“M. Pinard” was listed as the owner of the Boucher pendants, which are now in;the Louvre and NAMA, in the catalogue accompanying the exhibition of 18 th -century;French paintings held at the galerie Martinet in 1860. According to his posthumous inventory;Alphonse-Louis Pinard owned “deux grands tableaux à Boucher prisés trois mille;francs,” and “deux petits tableaux représentant des paysages peints par Boucher;prisés mille francs” (see Centre d’Accueil et;de Recherche des Archives Nationales (CARAN), Paris, actes notariés;AN/MC/XIV/911, Records of Marie Louis Ernest Pitaux, Notaire à Paris, 2, Rue du;Faubourg Poissonnière, 1871-novembre et décembre, “Inventaire après le décès de;Monsieur Pinard, 16 novembre 1871,” nos. 178 and 234, in NAMA curatorial files). It is very likely that the entry for two large Boucher paintings;references the NAMA and Louvre pendants, particularly as the latter was in the;collection of Jacques Dubois de Chefdebien, Alphonse-Louis Pinard’s grandson;by 1932. In Chefdebien’s posthumous sale of 1941, “A. Pinard” is listed as the;owner of the Louvre’s painting during the 1860 exhibition held at galerie;Martinet. Although the catalogue accompanying Sotheby’s, London, sale of July;2, 1958, lists Chefdebien as the owner;of the NAMA picture, there is no documentation or evidence to support this.;[5] According to Alphonse-Louis Pinard’s will and;testament, he left his entire estate to his wife, Adèle Emélie;Pinard. See Centre d’Accueil et de Recherche des Archives;Nationales (CARAN), Paris, actes notariés, AN/MC/XIV/911, Records of Marie;Louis Ernest Pitaux, Notaire à Paris, 2, Rue du Faubourg Poissonnière;1871-novembre et décembre, “Dépôt judicaire du testament olographe de Monsieur;Pinard, 7 novembre 1871” in NAMA;curatorial files.;[6] Adèle;Emélie Pinard’s will has not yet been catalogued and was therefore not;available for research as of December 2, 2015 (see Centre d’Accueil et de Recherche des Archives Nationales;(CARAN), Paris, actes notariés, C/RE/XIV/[unnumbered], Minutes et répertoires du;notaire Jean PANHARD, 27 avril 1892 - 2 mars 1922, Testament olographe de;Adèle-Emélie Robert, veuve de M. Alphonse-Louis Pinard, 25 mars 1915). However, Fernande Pinard most likely acquired the;painting by descent, either directly from her grandmother or through her;father, André Pinard (d. 1926). The Marquise had;multiple residences in France: Château d’Havrincourt, Amphion, Évian-les-Bains, Cloyes-sur-le-Loir, and Paris (see Annuaire des Chateaux et des;Villégiatures 47 (1933): 391).;[7];Annotated sales catalogue at the Spencer Art Reference Library, Kansas City;records “Leggatt” as the buyer.;[8];Letter from Betty and Frederick Mont to NAMA on October 1, 1958, indicates that;Frederick had just returned from Europe with the painting. See NAMA curatorial files. | Contains speculative language like 'possibly' or 'likely' |
| 50-4/2 | Possibly Richard Ederheimer, New York;With Philip Hofer (1898-1984), Cambridge, MA, by 1949;Purchased from Philip Hofer by Durlacher Brothers, New York;February 24, 1949-1950;Purchased from Durlacher Brothers by The Nelson-Atkins Museum;of Art, Kansas City, MO, 1950. | Contains speculative language like 'possibly' or 'likely' |
| 61-25/2 | Unknown collector with mark of cursive D (not in Lugt) on the verso, bottom left corner;Marsden J. Perry (1850-1935), Providence, RI [1];Wilhelm Reinhold Otto Valentiner (1880-1958), Raleigh, NC;Harry Bertoia (1915-1978), Bally, PA;Purchased from Harry Bertoia by The Nelson-Atkins Museum of;Art, Kansas City, MO, 1961.;NOTES;[1] Lugt 1880 | Contains 'unknown' indicating lack of specific details |
| 61-5 | Robert Mayer;(1873-1973), Vienna, by 1927-at least June 1, 1938 [1];With Edward;R. Lubin, Inc., New York, by November 21, 1960-1961;Purchased;from Edward R. Lubin, Inc. by The Nelson-Atkins Museum of Art, Kansas City, MO;1961.;NOTES;[1] This;sculpture is listed in a June 1, 1938 inventory of Mayer’s collection that was;included with the Vermögensanmeldungen, or Jewish Property Declarations, which Mayer;and his wife Amalie submitted to the National Socialist (Nazi) government in;Austria on June 25, 1938 (Österreichisches Staatsarchiv, Vienna, AdR, VVst, VA 1917 and VA 1930, copies in NAMA;curatorial files). It was later determined that Robert Mayer did not have;enough Jewish ancestry to classify him as Jewish, and his collection was not;confiscated by the Nazi government. According to a dossier on Mayer prepared by;the Kommission für Provenienzforschung dated July 26, 2012, copy in NAMA;curatorial files, Mayer’s collection most likely remained in his possession;throughout World War II. | Contains speculative language like 'possibly' or 'likely' |
| 83-27 | François Renaud, Paris;Jan Baptist de Graaf (1742-1804), Amsterdam;Fine Old;Master Drawings, Including…François Boucher, Three Putti in Clouds;Sotheby and Company, London, December 10, 1968, lot 75, as Three Putti in Clouds;Thomas Agnew and Sons, Ltd., London;Private collection;Purchased from Thomas Agnew and Sons, Ltd., London by The;Nelson-Atkins Museum of Art, Kansas City, MO, 1983. | Mentions 'private collection' without specifying owner or dates |
| F61-59 | With Paolo Paolini, Rome, by November 5, 1916;[1];With Giuseppe Salvadori, Florence, by 1925;Probably Achillito Chiesa, Milan, by 1925 [2];Purchased from Chiesa by Count Alessandro Contini;Bonacossi (1878-1955), Rome and Florence, by October 10, 1936;Purchased from Bonacossi by Samuel H. Kress (1863-1955);New York, October 10, 1936-1939;His gift to the National;Gallery of Art, Washington, DC, 1939-1952;Returned by the National Gallery of Art to the;Samuel H. Kress Foundation, 1952-1961;Its gift to The Nelson-Atkins Museum of Art;Kansas City, MO, 1961.;NOTES;[1] According to Harold Woodbury Parsons, in a;letter to Bernard Berenson, November 5, 1916, Biblioteca Berenson, Villa I Tatti;– The Harvard University Center for Italian Renaissance Studies;Florence, Bernard and Mary Berenson Papers, Harold Woodbury Parsons, folder 1.;[2] Raimond van Marle, The Development of the Italian Schools of Painting, Volume V (The;Hague: Nijhoff, 1925), 473-74, locates the painting in a private collection in;Milan, probably that of Achillito Chiesa. Hans D. Gronau, “Notes on Trecento;Painting: Some Unpublished Works by Jacopo di Casentino,” Burlington Magazine 53, no. 305 (August 1928): 82, places it in a;private collection in Florence as by Taddeo Gaddi, while footnoting van Marle;as citing it in Milan. The inclusion of Chiesa in this narrative is by;recommendation of the National Gallery of Art, Kress Provenance Research;Project. | Mentions 'private collection' without specifying owner or dates |
| F61-67 | Commissioned;by Guiliano della Rovere (later Pope Julius II, 1443-1513) for the Church of;SS. Apostoli, Rome, by 1513;With Domenico Corvisieri, Rome, by 1911;Purchased from Corvisieri by Count Grégoire Stroganoff (1829-1910), Rome, as Saint Jude, by 1910;Possibly;with Galleria Sangiorgi, Rome [1];With Jacob Hirsch, New York, by 1952;Purchased from Hirsch by the Samuel H. Kress Foundation, New York, stock;no. K-1922, 1952-1961;Their gift to The Nelson-Atkins Museum of Art, Kansas City, MO, 1961.;NOTES;[1] Galleria Sangiorgi is listed as a former;owner on a photograph in the Kunsthistorisches Institut in Florenz Photo Library;copy in NAMA curatorial files. | Contains speculative language like 'possibly' or 'likely' |
| 50-4/1 | Possibly Richard Ederheimer, New York;With Philip Hofer (1898-1984), Cambridge, MA, by 1949;Purchased from Philip Hofer by Durlacher Brothers, New York, February;24, 1949-1950;Purchased from Durlacher Brothers by The Nelson-Atkins Museum;of Art, Kansas City, MO, 1950. | Contains speculative language like 'possibly' or 'likely' |
| 91-14 | Probably Pope Paul;V Borghese (1552-1621), Palazzo Vaticano, Rome, by 1621 [1];Vatican collection;Anticamera de’ Cavalieri detti di Spada e Cappa, Palazzo di Sisto V, Palazzo;Vaticano, Rome, 1621-at least 1766;Possibly seized;from the Vatican by French troops, March-June 1798 [2];Jean-Baptiste-Joseph;Wicar (1762-1834), Rome and Naples, by 1834 [3];Private educational;institution, Philadelphia;With Charles A.;Sterling (1946-2008), Philadelphia, by October 11, 1990 [4];Purchased at his;sale, Old Master Paintings, Sotheby’s;New York, October 11, 1990, lot 136, by P. and D. Colnaghi, New York, on joint;account with Newhouse Galleries, New York, 1990-1991 [5];Purchased from;Colnaghi and Newhouse by The Nelson-Atkins Museum of Art, Kansas City, MO;1991.;NOTES;[1] According to;Dr. Herwarth Röttgen, Institut für Kunstgeschichte, Stuttgart, in a letter to;Nicholas Hall, Colnaghi, February 1, 1991, NAMA curatorial files.;[2] The Vatican;collections were sacked by French troops March 9-June 2, 1798.;Jean-Baptiste-Joseph Wicar, the French arts commissioner in Rome, participated;in the looting, although it is unclear if he acquired the painting at this;time.;[3] Wicar bequeathed;this painting to Pope Gregory XVI. “Spiegazione di Fiducia emessa Dal Sig.;Giuseppe Carattoli per l’Eredità del fù Cav. r Gio: Batta Wicar…,” 1834;Istromenti di Filippo Bacchetti, fol. 331v, 30 Notari Capitolini, Ufficio I, vol. 658, Archivio di Stato, Rome.;However, according to Röttgen, February 1, 1991, NAMA curatorial files, the;painting must have either disappeared from the Vatican soon after the bequest;or never came into Gregory XVI’s possession.;[4] According to;Eliot Rowlands, Assistant Curator, in a letter to Joseph Rishel, Curator of;Paintings, Philadelphia Museum of Art, October 21, 1991, NAMA curatorial files.;[5] Colnaghi;Archive, Waddesdon Archive at Windmill Hill, Stock files series. | Contains speculative language like 'possibly' or 'likely' |
| 57-55 | Possibly a Saxon private collection, before 1932 [1];Possibly Boynich, Berlin, on behalf of Ms. Hollander, 1947;or 1948 [2];With Ante Topic Mimara (1898-1986), Tangier, Morocco, as by;Anthony van Dyck, by August 13, 1950-1957 [3];Purchased from Mimara by The Nelson-Atkins Museum of Art;Kansas City, MO, 1957.;NOTES;[1] According to Ante Topic Mimara, in a letter to Patrick;J. Kelleher, Curator of European Art, September 14, 1957, NAMA curatorial files.;[2] According to Mimara, in a report of the American;Legation, Tangier, Morocco, to the U.S. Department of State, December 19, 1955;copy in NAMA curatorial files.;[3];The painting was attributed to Anthony van Dyck by art historian Friedrich;Winkler. His handwritten authentication, dated August 13, 1950 and indicating;Mimara as the owner, is on the back of a photograph of the painting at the;Staatliche Museen zu Berlin, Kupferstichkabinett, Friedrich Winkler archives. | Mentions 'private collection' without specifying owner or dates; Contains speculative language like 'possibly' or 'likely' |
| 60-37 | Cornelis Hoogendijk (1866-1911), Amsterdam, by 1907-1911 [1];By descent to Hoogendijk heirs, Amsterdam, 1911-May 14, 1912;Their sale, Tableaux anciens dépendant des collections;formées par M.-C. Hoogendijk de la Haye, Frederik Muller et Cie, Amsterdam;May 14, 1912, lot 18;Musée van Stolk, Haarlem, The Netherlands, 1912-May 8, 1928;Its sale, 300 Sculptures et Tableaux, Xe-XVIe siècles;Objets de vitrine – Art Textile, etc., Frederik Muller et Cie, Amsterdam;May 8, 1928, lot 379;Possibly Johanna Grossmann-Kanoldt (1890-1940), Munich, by;November 22, 1928 [2];With Gottschewski-Schäffer Galleries, Berlin, by 1932;Florenz Wigger (b. 1873), Garmisch-Partenkirchen, Germany, by;1932-at least June 1937;Inherited by his wife, Karoline Wigger, Garmisch-Partenkirchen;Germany, by August 30, 1947 [3];Purchased from Wigger by Peter Nathan, Zürich, on joint;account with Schaeffer Galleries, New York, by September 1959-1960 [4];Purchased from Schaeffer by The Nelson-Atkins Museum of;Art, Kansas City, MO, 1960.;NOTES;[1] The painting was on loan to the Rijksmuseum, Amsterdam;from 1907-1911 and is included in the 1911 Rijksmuseum collection catalogue. According;to Dr. A van Schendel, Director of the Department of Paintings, Rijksmuseum, in;a letter to Mr. H. Schaeffer, Schaeffer Galleries, June 22, 1959, Getty;Research Institute, Los Angeles, Schaeffer Galleries Records, box 59, the;painting was returned to the Hoogendijk heirs in 1911.;[2] The Grossmann-Kanoldt collection is listed in the;painting’s provenance as published in Schaeffer Galleries, Schaeffer Galleries: Twenty-Fifth Anniversary, 1936-1961 (New York;Schaeffer Galleries, 1961), unpaginated, but no date of ownership is given. In;a letter from Ludwig Burchard, art historian, to Johanna Grossmann-Kanoldt;Getty Research Institute, Los Angeles, Schaeffer Galleries Records, box 59;Burchard tells Grossmann-Kanoldt that the painting is a genuine work by Cranach;and is in good condition.;[3] According to an unaddressed note from Karoline Wigger;August 30, 1947, Getty Research Institute, Los Angeles, Schaeffer Galleries;Records, box 59, she had already sold the painting but it was still in her;possession for safety reasons.;[4] According to Hanns Schaeffer, Schaeffer Galleries, in a;letter to Peter Nathan, May 9, 1960, Getty Research Institute, Los Angeles;Schaeffer Galleries Records, box 117, Correspondence, Nathan and Schaeffer had;joint ownership of the painting. According to Jakob Rosenberg, Professor;Emeritus, Harvard University, in a letter to Ross Taggart, Senior Curator, May;29, 1973, NAMA curatorial files, Kate Schaeffer told Rosenberg that Hanns;Schaeffer bought the painting back from its owner in Garmisch-Partenkirchen;before selling it to NAMA. | Contains speculative language like 'possibly' or 'likely' |
| F86-32 | Conte Segni, Bologna, by 1678;Senatore Conte Ludovico Segni, Strada Maggiore, Bologna, by 1769;Conte Cav. Avvocato Luigi Salina (1762-1845), Casa Salina (formerly Casa Alamandini), Bologna, by 1841;Probably by descent to his son, Conte Camillo Salina (1792-1855), Bologna, by 1855;Private collection, London, by 1984-1986;With Orbis Pictus S. A., Chiasso, Switzerland, 1986;Purchased from Orbis Pictus S. A. through Matthiesen Fine Art, London, by The Nelson-Atkins Museum of Art, Kansas City, MO, 1986. | Mentions 'private collection' without specifying owner or dates |
| 71-22 | Purchased;from the artist by Galerie L’Effort Moderne, Paris, stock no. 5175, January 31;1918;Private collection, Paris, by November 16;1927 [1];With Galerie Jeanne Bucher, Paris;Mrs. B. Raymond, Los Angeles;With;Dalzell Hatfield Galleries, Ambassador Hotel, Los Angeles, as Le Journal;Earle W.;Grant (1890-1971), San Diego, CA, by November 1970-1971;Bequeathed;by Grant to The Nelson-Atkins Museum of Art, Kansas City, MO, 1971.;NOTES;[1] According to Léonce Rosenberg, in a letter to Amédée;Ozenfant, November 16, 1927, Musée national d’art moderne-Centre de création;industrielle, Paris, Fonds Léonce Rosenberg. | Mentions 'private collection' without specifying owner or dates |
| 80-49 | Joséphine de Beauharnais (1763-1814), Château de Malmaison, as by Carle Maratte [sic], by 1811-1814;By descent to her son, Eugène de Beauharnais, 1st Duke of Leuchtenberg (1781-1824), Munich, 1814-1824;By descent to his son, Auguste de Beauharnais, 2nd Duke of Leuchtenberg (1810-1835), Munich, 1824-1835;Inherited by his brother, Maximilian de Beauharnais, 3rd Duke of Leuchtenberg (1817-1852), Munich and St. Petersburg, 1835-1852;Inherited by his wife, Grande-Duchesse Maria Nikolaevna (1819-1876), St. Petersburg and Florence, 1852-1876;By descent to her son, Nikolai de Beauharnais, 4th Duke of Leuchtenberg (1843-1891), St. Petersburg, 1876-1891;By descent to his son, Nikolai de Beauharnais (1868-1928), St. Petersburg, 1891;With A.-B. Nordiska Kompaniet, Stockholm, by 1917;Private collection, by December 14, 1979 [1];Purchased at Fine Old Master Pictures, Christie, Manson and Woods, London, December 14, 1979, lot 88, as by Carlo Maratti, by Robert L. and Barbara Bloch, Mission Hills, Kansas, 1979-1980;Their gift to The Nelson-Atkins Museum of Art, Kansas City, MO, 1980.;NOTES;[1] Offered for sale at Fine Old Master Pictures, Christie's, London, July 13, 1979, lot 103, as by Carlo Maratti, but failed to sell. | Mentions 'private collection' without specifying owner or dates |
| 34-132 | Pierre-Jean Mariette (1694-1774), Paris, by 1774 [1];Possibly his sale, Chez François Basan, Paris, May 1775 or;November 15, 1775-January 30, 1776, lot 1228 or 1229, erroneously as by Daniel;Dumoutier [sic], as either Cinq grosses Têtes;d’hommes et femmes, faites avec precisions, aux crayons rouge, noir et blanc or;Deux-neuf autres Têtes idem, dessinées d’après;nature, et représentant différentes personnes de distinction du siècle [sic];dernier, faites on 1630;Jean-Baptiste-Florentin-Gabriel de Meyran, marquis de Lagoy;(1764-1829), Aix-en-Provence, France, by 1829 [2];Henry Danby Seymour (1820-1877), London, by 1877 [3];Possibly to his brother, Alfred Seymour (1824-1888), Knoyle;House, Wiltshire, UK and Trent, Dorset, UK, by 1877;To his wife, Isabella Seymour (née Leighton, d. 1911), Knoyle;House, Wiltshire, UK and Trent, Dorset, UK, by 1888;Possibly her posthumous sale, A Valuable Collection of Drawings by Old Masters of the Italian, Dutch;and French Schools, also Choice Old Master Engravings and Etchings, Comprising;Very Fine Impressions by A. Dürer, Lucas van Leyden, and Rembrandt van Rhyn.;Sold by Order of Miss Seymour’s Trustee, Sotheby’s, London, April 26, 1927;lot 17, erroneously as by Daniel Dumonstier, as Portrait of a Gentleman, bust turned to the left;With Wildenstein and Co., New York, by 1934;Given by Wildenstein to The Nelson-Atkins Museum of Art;Kansas City, MO, 1934.;NOTES;[1] Lugt 1852;[2] Lugt 1710. His posthumous sale featured two drawings by;Dumoustier [sic] that do not appear to be ours.;[3] Lugt 176. Henry Danby Seymour never married. Since “Miss;Seymour’s Trustee” is listed as being in charge of the collection in the;Sotheby’s sale of April 26, 1927, it makes the most sense that Henry Danby;Seymour passed his collection onto his brother, Alfred Seymour, and then Alfred’s;wife, Isabella Seymour inherited it after his death in 1888. | Contains speculative language like 'possibly' or 'likely' |
| 47-34 | Possibly;Borghese collection [1];With Ettore;Sestieri, Rome, as by Melchior Caffà, by 1947;Purchased;from Sestieri, through Gabriel Sonnino and Harold Woodbury Parsons, by The;Nelson-Atkins Museum of Art, Kansas City, MO, 1947.;NOTES;[1] According;to Harold Woodbury Parsons, in a letter to Laurence Sickman, Director, January;5, 1956, NAMA Archives, Laurence Sickman Papers, MS 001, box 1c, Parsons;thought the sculpture may have come from the Borghese collection. | Contains speculative language like 'possibly' or 'likely' |
| 44-38 | With;Simonetti, by October 13, 1936;Purchased;from Simonetti, through Jandolo, by Brummer Gallery, New York, stock no.;P13134, October 13, 1936-September 11, 1944 [1];Purchased;from Brummer, through Harold Woodbury Parsons, by The Nelson-Atkins Museum of;Art, Kansas City, MO, 1944.;NOTES;[1] The Metropolitan Museum of Art, New York, Cloisters Library and Archive, Brummer Gallery Records, Greek and Roman marbles and stones, Object inventory card number P13134. This is most;likely either Ugo Jandolo or his son, Aldo Jandolo. | Contains speculative language like 'possibly' or 'likely' |
| F77-14 | To the sitter, Esther;de Jaussaud, Marquise d’Usson de Bonnac (ca. 1654-1748), 1707 [1];Paul Meyerheim (1842–1915), Berlin, by;1896-March 14, 1916;His posthumous;sale, Nachlass Paul Meyerheim;Rudolph Lepke’s Kunst-Auctions-Haus, Berlin, March 14, 1916, lot 92, as by;Alexandre Roslin (1718-1793), as Weibliches;Bildnis [2];U.S. art;market, ca. 1967;Purchased on;the U.S. art market by an unknown private collector, ca. 1967 [3];Purchased from;the private collector, through an unknown intermediary, by Heim Gallery;London, stock no. 30/77, by March 1977;Purchased from;Heim by The Nelson-Atkins Museum of Art, Kansas City, MO, 1977.;NOTES;[1] Rigaud’s Livre de Raison, published by Joseph;Roman in 1919, lists that he charged 500 livres in the year 1707 for a portrait;of Mad e la marquise d’Usson de Bonnac. There has been some confusion;regarding the sitter’s identity. In the 2011 online version of his Dictionary of pastellists before 1800;Neil Jeffares noted that Rigaud had painted Madeleine-Françoise de;Gontaut-Biron (1692-1739), the second Marquise de Bonnac. In his 2016 in-depth;essay on Louis Vigée’s portrait of Le;marquis de Bonnac (c. 1752), Jeffares clarified that Rigaud had painted;Esther de Jaussaud, the first Marquise de Bonnac and the mother of the sitter;in Vigée’s portrait. See Neil Jeffares;“Vigée, Le marquis de Bonnac, ”;Pastels and Pastellists Online;(February 3, 2016): 3, 3n13.;[2] Alexandre Roslin (1718-1793) was a Swedish portrait;painter best known for his depictions of European aristocrats and skill at;rendering fabrics. His style is quite similar to Rigaud’s. If our date of 1707;for the Portrait of the Marquise d'Usson de Bonnac is correct, then Alexandre Roslin could not;have painted it as he was born in 1718.;[3] According to A. S. Ciechanowiecki;Heim Gallery, London, in a letter to Ross Taggart, April 19, 1977, NAMA;curatorial files, the unknown private collector purchased the painting in the;U.S. “about ten years ago,” then sold the painting indirectly to Heim on the;Continental art market “quite recently.” | Contains 'unknown' indicating lack of specific details |
| F84-71 | With Hadfield and Burrowes, London, by May 10, 1785;Their sale, First;Part of the Large Collection of Pictures, made by Messrs. Hadfield and;Burrowes, during their tour Through Flanders, France, Germany and Holland, Greenwood’s;London, May 10, 1785, lot 79;With Philip Hill, by June 20, 1807;Purchased at his sale, A;Most Capital and Valuable Collection of Pictures, Christie’s, London, June;20, 1807, lot 44, by Michael Bryan (1757-1821), London, 1807;The;Properties of a Gentleman and a Baronet, H. Phillips’s, London, June;2, 1815, lot 5;With Alexis Delahante, Esq., Paris, by May 30, 1817;His sale, A Select and Pleasing Collection of Cabinet;Pictures, H. Phillips’s, London, May 30, 1817, lot 84;Sir Edward Cockburn, 8th Baronet (1834-1903), Herefordshire;England, by 1903;Purchased at his sale, Important;Pictures of the Early English School and Works by Old Masters, Christie;Manson and Woods, London, April 25, 1903, lot 139, by Hamblin, 1903 [1];With Van der Perre, Paris, by 1905-1906;With S.A. L’Antiquaille, Paris, by 1937-1938 [2];With M. Samuel, Paris, 1938;Purchased from Samuel by an unknown private collector;France, 1938-June 25, 1984;Purchased at the private collector’s sale, Tableaux Anciens, Sotheby Parke Bernet;Monte Carlo, June 25, 1984, lot 3305, by Galerie Bruno Meissner, Zürich, 1984;[3];Purchased from Meissner and Newhouse Galleries, New York, by;The Nelson-Atkins Museum of Art, Kansas City, MO, 1984.;NOTES;[1] The handwritten notation ‘Hamblin’ is located in the;right margin of a copy of the 1903 sale catalogue in the Getty Research;Institute, Los Angeles.;[2] According to letters between S. A. “L’Antiquaille” and;the Centraal Museum, Utrecht, December 10, 1937-February 12, 1938, concerning;the latter’s attempt to purchase the painting, Centraal Museum, Utrecht;Archives, copies in the NAMA curatorial files. According Edwin Buijsen, Curator;of Early Netherlandish Painting, Rijksbureau voor Kunsthistorische;Documentatie, in a letter dated July 9, 1998, NAMA curatorial files, a notation;on the back of an old photograph in the Rijksbureau voor Kunsthistorische;Documentatie states the painting was offered to dealer P. Graupe (1881-1953) in;1938, but it is unclear who offered it.;[3] Galerie Bruno Meissner sold a quarter share of the;painting to Newhouse Galleries following the Sotheby’s sale. See a letter to;the editor from Bruno Meissner, Art;Auction (December 1984). | Contains 'unknown' indicating lack of specific details |
| F85-20 | Possibly Pierre-Charles, marquis du Plessis-Villette;(1700-1765), Paris, by April 8, 1765;Possibly purchased at his sale, Tableaux, de Diffe’rens Bons Maîtres des Trois Écoles, De Figures de;Bronze, de Bustes de Marbre, d’Estampes montées sous verre, et d’Estampes en;Feuilles, après le Décès de M. le Marquis de Villette, Pere [sic], l’Hôtel;d’Elbeuf, rue de Vaugirard, Paris, April 8, 1765, lot 30, as Sébastien Bourdon;Une Adoration des Rois, by;Jean-Baptiste-Pierre Le Brun (1748-1813), Paris, 1765 [1];Possibly;purchased at the sale of M. ***, Tableaux;du Cabinet de Monsieur ***. Sçavoir, Tableaux, Desseins, Estampes, Bronzes, Bustes de;marbre, Gaînes de marbre et de bois, Porcelaines différentes, montées et non;montées, Meubles, Pendules, Feux, Bras de cheminées, Secrétaires, etc., Hôtel des Américains, rue Saint Honoré, Paris, December 15, 1766, lot 16, as;Sébastien Bourdon, l’Adoration des Rois;by Pierre-François Basan (1723-1797), Paris, 1766 [2];Possibly le Doux Collection, by 1775 [3];Possibly purchased at his sale, Une Précieuse Collection de Tableaux, Bronzes, Marbres, Porcelaines;Lacques, Pierres gravées et autres Pierres précieuses, Meubles et objets de;curiosité, Provenans du Cabinet de M. le Doux., Maison de Saint Louis, rue;Saint Antoine, Paris, April 24, 1775, lot 46, as Sébastien Bourdon, L’adoration des Rois, by Feullet, Paris;1775 [4];Possibly Joseph-Hyacinthe-François de Paule de Rigaud;Comte de Vaudreuil (1740-1817), Paris, by 1787;Possibly purchased at his sale, Une Très-Belle Collection de Tableaux, d’Italie de Flandres, de;Hollande, et de France […] Provenans;du Cabinet de M. ***., grande;Salle, 96 rue de Cléry, Paris, November 26, 1787, lot 42, as Sébastien Bourdon;L’Adoration des Rois, by;Jean-Baptiste-Pierre Le Brun, for Laurent Grimod de La Reynière (1734-1793);1787-April 3, 1793 [5];Possibly purchased at his sale, Tableaux Formant le Cabinet de M. de Lareynière, Composé en partie des;Tableaux des plus grands Maîtres de l’Ecole Française: on y distingue;par-dessus tout, les chef-d’œuvres de l’immortel Lemoyne, les seuls, pour ainsi;dire, qui soient connus., Salle;de Vente, 96 rue de Cléry, Paris, April 3, 1793, lot 8, as Sébastien Bourdon, L’adoration des Rois, by Defer, 1793 [6];Possibly purchased at the sale of M. ***, Une Belle Collection de Tableaux des Trois;Écoles, Et autres Objets curieux, du Cabinet de M. ***, ancien hôtel;Notre-Dame, rue du Bouloy, Paris, June 16, 1797, lot 6, as Sébastien Bourdon, l’Adoration des Mages, by Trudaine, 1797;[7];Laurens;Collection, Montpellier [8];With;André de Haspe, Paris, by May 15, 1961-June 2, 1961 [9];Purchased;from de Haspe by Germain Seligman (1893-1978), New York, June 2, 1961-March 27;1978 [10];Possibly;inherited by his wife, Ethlyne Jackson Seligman (1906-1993), New York, 1978 [11];Purchased;at Important Paintings by Old Masters;Christie’s, New York, June 5, 1980, lot 29, as attributed to Sébastien Bourdon, The Adoration of the Magi, by Robert L.;Bloch, Shawnee Mission, KS, 1980-1985;Given;by Mr. and Mrs. Robert L. Bloch to The Nelson-Atkins Museum of Art, Kansas;City, MO, 1985.;NOTES;[1];Annotated sales catalogue at the Bibliothèque Publique et Universitaire, Geneva;records “LeBrun” as the buyer. It is unclear whether the painting in this sale;was the Nelson-Atkins’ or the version attributed to Bourdon in the collection;of the Rijksmuseum Twenthe, Enschede.;[2] Annotated sales;catalogue at the Bibliothèque;Publique et Universitaire, Geneva, records “Basan” as the buyer. It is unclear;whether the painting in the sale was the Nelson-Atkins’ or the version;attributed to Bourdon in the collection of the Rijksmuseum Twenthe, Enschede.;[3];M. le Doux may have been Paul-Guillaume Ledoux (d. 1781), a painter at the;Académie de Saint-Luc who was active as a dealer from the early-1750s through;the mid-1770s.;[4];Annotated sales catalogue at the Bibliothèque;municipale de Versailles records “Feullet” (believed to be a misspelling of;“Feuillet”) as the buyer. Between 1768 and 1784, a buyer named “Feuillet”;bid on 249 works of art in 49 different sales. This may have been Jean-Baptiste;Feuillet (d. 1806), a director of the Académie de Saint-Luc and well-known;dealer. It is;unclear whether the painting in this sale was the Nelson-Atkins’ or the version;attributed to Bourdon in the collection of the Rijksmuseum Twenthe, Enschede.;[5];Annotated sales catalogues at the Bibliothèque;d’Art et d’Archéologie, Paris, the Bibliothèque Municipale, Orléans, and;the British Museum, London, record “LeBrun” as the buyer. Lebrun acted as an;agent for Grimod de La Reynière. It is unclear whether the painting in the sale;was the Nelson-Atkins’ or the version attributed to Bourdon in the collection;of the Rijksmuseum Twenthe, Enschede. The version featured in this sale was;subsequently sold in the Grimod de La Reynière sale, see description for lot 8.;[6];Annotated sales catalogue at the Bibliothèque d’Art et d’Archéologie, Paris;records “Defer” as the buyer of lots 8 and 14. Lot 14 was later resold at Radix;de Sainte-Foy’s sale on January 16, 1811 (lot 33), and an annotated sales;catalogue at the Bibliothèque d’Art et d’Archéologie, Paris, records “de Fer de;Lanoray” in the provenance of lot 33. “De Fer de Lanoray” may thus be the full;name of the buyer that purchased lot 8 at the Grimod de La Reynière sale.;[7];Annotated sales catalogue at the Bibliothèque Publique et Universitaire, Geneva;records the buyer as “Trudaine.” It is unclear whether the painting in the sale;was the Nelson-Atkins’ or the version attributed to Bourdon in the collection;of the Rijksmuseum Twenthe, Enschede.;[8];Per Jacques Seligmann & Co. records, Archives of American Art, Smithsonian;Institution, Washington D.C., Series 12.2 “Private Art Collection,” Box 426;Folder 13. This collector is usually described as “Madame Laurens” in the;literature.;[9];See letter from André de Haspe to Germain Seligman, May 15, 1961, Jacques;Seligmann & Co. records, Archives of American Art, Smithsonian Institution;Washington D.C., Series 1.3, General Correspondence (1913-1978), Box 29, Folder;21.;[10];Per Jacques Seligmann & Co. records, Archives of American Art, Smithsonian;Institution, Washington D.C., Series 7.11.2 “Sales Ledgers, 1931-1973,” Box;331, Folder 5, no. 8637. Although the painting was assigned a stock number (no.;8637), Seligman purchased it for his private collection, not his gallery.;[11];Although most of Germain Seligman’s private collection was purchased by Artemis;S. A. and E. V. Thaw and Co. and published in John Richardson, The Collection of Germain Seligman;Paintings, Drawings, and Works of Art (New York: E. V. Thaw, 1979), this;painting may have been one of the few personal bequests Seligman made to his;wife. | Mentions 'private collection' without specifying owner or dates; Contains speculative language like 'possibly' or 'likely' |
| 40-44/1 | Private collection, Austria [1];Harry Martin Evans (1859-1939), Pasadena, California, by 1937-1939;Inherited by his wife, Mary Ellison Evans (1861-1963), Pasadena, and their daughter, Helen Wheeler (née Evans), Pasadena, 1939-1940 [2];Given by Evans and Wheeler to The Nelson-Atkins Museum of Art, Kansas City, MO, 1940.;NOTES;[1] The painting was photographed by Kunstverlag Wolfrum (negative no. 2818), a Viennese firm that specialized in reproducing works of art in Austrian collections. Wolfrum has been unable to identify the owner of the painting (see letter from Kunstverlag Wolfrum, Vienna, February 8, 1989, NAMA curatorial files).;[2] On loan by the Evans to NAMA from 1937 to 1940. | Mentions 'private collection' without specifying owner or dates |
| 55-40 | Possibly commissioned from the artist by Marc de Comans (1563-1644) and François de la Planche (1573-1627), Paris, 1622-1627 [1];Possibly inherited by Comans’ son, Hippolyte de Comans (d. 1671), Paris;Henri de Valois (1603-1676);Phillipe II, Duc d’Orléans (1674-1723), Paris, by 1723;By descent to Louis, Duc d’Orléans (1703-1752), 1723-1752;Probably by descent to Louis Philippe I, Duc d’Orléans (1725-1785), 1752-1785;By descent to Louis-Phillipe-Joseph (Philippe Égalité), Duc d’Orléans (1747-1793), Palais Royal, Paris, 1785-1792;Purchased from the Duc d’Orléans by Thomas Moore Slade and Associates, including Thomas Hammersley (1748-1812), London, 1792-1801 [2];Thomas Hammersley, London, 1801 [3];Richard Troward, London, by 1808 [4];Purchased at a sale, Mr. Stanley’s, London, by Henry Brooksbank, 1823-1830;Stamp Brooksbank (1773-1833), London, by 1833-1834;His posthumous sale, A Valuable collection of Italian, Dutch, and Flemish Pictures, the Property of the Late Stamp Brooksbank, Esq., Mr. Stanley’s, London, May 31, 1834, lot 86, as The Battle of Constantine and Maxentius;Henry Francis Hope Pelham-Clinton-Hope, 8th Duke of Newcastle-under-Line, 15th Earl of Lincoln (1866-1941), Clumber Park, Nottinghamshire, England, 1925-1939;Purchased at his sale, Pictures by Old Masters, the Property of the Honorable the Earl of Lincoln, Christie’s, London, March 31, 1939, lot 51, by "Ginser" for Frederic A. Stern, Inc., New York, 1939-at least 1940 [5];Probably purchased from Stern by the dealer Jacob Hirsch (1874-1955), New York, 1948-1955;Purchased from Hirsch by The Nelson-Atkins Museum of Art, Kansas City, MO, 1955.;NOTES;[1] For a discussion of Comans and la Planche as possible commissioners of the tapestry series, see Koenraad Brosens, “Who commissioned Rubens’s Constantine series? A new perspective: the entrepreneurial strategy of Marc Comans and François de la Planche,” Simiolus (2007/2008): 166-182. Earlier scholarship favored a commission by Louis XIII, King of France.;[2] Slade was acting as a buying agent on behalf of a group of bankers: the 7th Lord Kinnaird, Mr. Morland and Mr. Hammersley. Originally arriving in Paris on the same day Louis XVI fled (June 21, 1791), Slade made a second trip to Paris in 1792, at which time he finally acquired the Flemish, Dutch and German paintings from the Orléans Collection after heavy negotiation with the cash-strapped Duc d’Orléans. Under threat by the Duc’s creditors and the French populace, who wanted the collection to remain in France, Slade shipped the paintings out under cover of night by barge to Le Havre. T his painting was offered for sale by Thomas Moore Slade, The Orleans Gallery now exhibiting at the;Great Rooms, late the Royal Academy, John Wilson, London, April 1793 and Orleans Gallery, De Cort, London, May;1795, but failed to sell.;[3] According to Burton Frederickson, Getty Research Institute, in a letter to NAMA, July 29, 1987, NAMA curatorial files, the painting was offered for sale by Hammersley at The Truly Capital, Valuable, & Well-Chosen Collection of Italian, French, Flemish, and Dutch Pictures, the Real Property of a Man of Fashion, Christie’s, London, lot 75, as The Battle between Constantine and Maxentius, March 7, 1801, but failed to sell.;[4] According to Burton B. Fredericksen, Getty Research Institute, in a letter to Roger Ward, February 17, 1988, NAMA curatorial files, the painting was offered by Troward at a sale held by the auctioneer Peter Coxe, London, June 11, 1808, lot 10, but failed to sell. Troward’s name was not printed in the sales catalogue, but is handwritten on two known copies. One of them is housed at the Getty Research Institute, Los Angeles, copy 3.;[5] Frick Art Reference Library, New York, Christie’s Art Sales;Index, 1910-1945, volume 3, page 81 and according to Frederic A. Stern, in a;letter to Ralph T. Coe, September 30, 1964, NAMA curatorial files. | Contains speculative language like 'possibly' or 'likely' |
| 50-4/3 | Possibly Richard Ederheimer, New York;With Philip Hofer (1898-1984), Cambridge, MA, by 1949;Purchased from Philip Hofer by Durlacher Brothers, New York;February 24, 1949-1950;Purchased from Durlacher Brothers by The Nelson-Atkins Museum;of Art, Kansas City, MO, 1950. | Contains speculative language like 'possibly' or 'likely' |
| 50-4/4 | Possibly Richard Ederheimer, New York;With Philip Hofer (1898-1984), Cambridge, MA, by 1949;Purchased from Philip Hofer by Durlacher Brothers, New York;February 24, 1949-1950;Purchased from Durlacher Brothers by The Nelson-Atkins Museum;of Art, Kansas City, MO, 1950. | Contains speculative language like 'possibly' or 'likely' |
| 37-1 | Possibly with Kunsthandel Wed. Oldenzeel, Rotterdam;Netherlands, by September 15, 1908, no. 75 [1];Anna Müller-Abeken (née Abeken, 1868-1922), Scheveningen, The;Hague, by May 19, 1920 [2];Her sale, Tableaux;et Aquarelles Modernes Provenant de I. Collection G. W. van N... à Amsterdam;II. Collection d'un amateur à B..., III. Collection W. P. van Ingenegeren à;Utrecht, IV. Collection M me A. Müller-Abeken à Schéveningue, V.;Collection M. H. Souget à Bussum, VI. Liquidation de la Société Fierens, De;Maeght et Cie á Bruxelles, VII. Diverses Provenances, Frederik Muller et Cie, Amsterdam, May 19;1920, no. 87, as Portrait d’homme;With Kunsthandel;Huinck und Scherjon, Utrecht, Netherlands, by 1928;Mlle E. Snellen;Utrecht, Netherlands, by December 10, 1935;Her sale, Tableaux;Anciens et Modernes Antiquités: Collections et Successions: M. lle. –;E. Snellen, Utrecht, M.- H. Klein Van Gogh, Amsterdam, M.-Ruys de Perez;Amsterdam, M.- L. J. Brantjes, Driebergen, Diverses Provenances, Frederik Muller et Cie, Amsterdam, December 10-11;1935, no. 103, as Portrait d’homme;Possibly Isaac Israël (1865-1934), The Hague [3];Purchased at the Hôtel des ventes d’Amsterdam by Bernheim-Jeune;et Cie., Paris, stock no. 26801, as Portrait;d’homme, December 13, 1935-February 25, 1936 [4];Purchased from the latter by Roche, February 25, 1936 [5];Purchased from Bernheim-Jeune et Cie, Paris, by the dealer, Theodore;Schempp, Brodhead, WI, on July 21, 1936-January 18, 1937 [6];Purchased from Theodore Schempp by The Nelson-Atkins Museum;of Art, Kansas City, MO, 1937.;NOTES;[1] See label on backing board, middle right side;decorative rectangular paper label with green Art Nouveau woman holding a;paintbrush, in printed text: Kunsthandel / Wed. Oldenzeel / Rotterdam / 20, Gedempte / Glashaven. / [at left corner of;label] Dagelijks / geopend / van / 10-4 [uur.] / [on right side of label];Permanente / Tentoonstelling / van Schilderijen / en Aquarellen / [handwritten;in pen] Vincent van Gogh. / N o 75 / 15 September 1908. It is;not clear if the painting was lent for exhibition there or was owned by;Oldenzeel.;[2] Anna Müller-Abeken was married to Gustav Harry Müller;(1865-1913). His sister was Helene;Kröller-Müller (1869-1939), who was an avid Van Gogh collector and later donated;her collection to the Dutch government (now the Kröller-Müller Museum in;Otterlo). In 1908, Helene Kröller-Müller began hosting lectures in her home by;van Gogh enthusiast, H. P. Bremmer, to which she also invited her brother and;sister-in-law.;[3] See label on backing board, bottom center side, on piece;of ledger paper, handwritten in ink: Hauteur HH. Largeur 32. / Peint à Nuenen entre 1883.1885 / Collection;M me: A Muller. Abeken, Schiveningue 1920 / “ [ditto marks indicating;Collection] M elle E Snellen, Utrecht. / “ [ditto marks indicating Collection];Israël / Reproduit dans: J. B. de la Faille, l’Œuvre de Vincent Van Gogh;/ catalogue raisonné n o: 165.;[4] Letter from;Guy-Patrice Dauberville, Director, Berheim-Jeune et Cie, Paris to Meghan Gray;NAMA, September 1, 2011, NAMA curatorial file. See also label on backing;board, middle left side, small rectangular label: [typewritten] 1936 / N o;[handwritten in pen] 26801 / Van Gogh / Paysan / L.Z. E. Z.;[5] ] Letter from Guy-Patrice Dauberville, Director;Berheim-Jeune et Cie, Paris to Meghan Gray, NAMA, September 1, 2011, NAMA curatorial;file. Roche might refer to Henri Pierre Roché (1879-1959), a French journalist;author, art collector, advisor, and dealer.;His cities of operation were Sèvres, Hauts-de-Seine, Paris and New York.;According to the letter from Bernheim-Jeune, they sold the painting to Roche on;February 25, 1936, but according to a letter from dealer Theodore Schempp, Schempp;purchased the painting from Bernheim-Jeune on July 21, 1936. It is possible;that Roche returned the painting to Bernheim-Jeune between February 25 and July;21, 1936.;[6] See Invoice for the purchase of the painting from;Theodore Schempp to NAMA, January 18, 1937. See also letter from Theodore;Schempp to Paul Gardner, NAMA, January 18, 1937, NAMA curatorial file. | Contains speculative language like 'possibly' or 'likely' |
| 2000.14 | The artist’s posthumous sale, Pictures, consisting of fine;originals of the Italian and Flemish schools, accurate copies from some of the;most distinguished works in Europe, as well as originals and studies by Mr.;Head, also, some beautiful Greek vases, sculpture, etc., the;artist’s home, London, April 27-June 27, 1801, lot 249;With Pawsey & Payne, London, by February 17, 1967 [1];Purchased at their sale, Paintings;and Drawings c. 1800-c. 1900, Christie, Manson & Woods, London, February;17, 1967, lot 74, by Brady [2];Private collection, Italy, by 2000 [3];Purchased from the latter through an anonymous intermediary;and Charles Beddington Ltd., London, by The Nelson-Atkins Museum of Art, Kansas;City, MO, 2000.;NOTES;[1] According to Jeff Pilkington, Principal Researcher;Christie’s Archives, in an email to MacKenzie Mallon, Specialist, Provenance;October 11, 2017, NAMA curatorial files.;[2] A price list included with a sale catalogue in the Richardson;Memorial Library at the Saint Louis Art Museum records the buyer’s name as;Brady.;[3];According to Charles Beddington, in an email to MacKenzie Mallon, March 30;2012, NAMA curatorial files, he received the painting on consignment from an;intermediary representing a private collection in Italy. | Mentions 'private collection' without specifying owner or dates |
| 2004.1 | Possibly Olimpia Aldobrandini (1567-1637), Rome, by 1626 [1];William Beckford (1760-1844), Fonthill Abbey, Wiltshire and;Lansdown Crescent, Bath, as by Marcello Venusti, by October 15, 1822-1844 [2];By descent to his daughter, Susan Euphemia Hamilton (née;Beckford, 1786-1859), and her husband, Alexander Hamilton, 10th Duke of;Hamilton (1767-1852), Portman Square, London, as by Marcello Venusti, 1844-1859;[3];By descent to their son, William Alexander Anthony Archibald;Hamilton, 11th Duke of Hamilton (1811-1863), Hamilton House, London, as by Marcello;Venusti, 1859-1863;By descent to his son, William Alexander Louis Stephen Douglas-Hamilton;12th Duke of Hamilton (1845-1895), Hamilton House, London and Hamilton Palace;Scotland, as by Marcello Venusti, 1863-June 24, 1882 [4];Purchased at his sale, The;Hamilton Palace Collection, Christie, Manson and Woods, London, June 24, 1882;lot 403, as by Marcello Venusti, by The Honorable William Frederick Barton;Massey-Mainwaring (1845-1907), London, 1882;Christopher Beckett Denison (1825-1884), London, by 1884 [5];Purchased at his posthumous sale, Ancient Pictures of the Italian, Spanish, Flemish, Dutch and French;Schools, Christie, Manson and Woods, London, June 5, 1886, lot 81, as by;Marcello Venusti, by Thomas Agnew and Sons, Ltd., London, Picture Stock Book 5, no. 4097, 1886 [6];Purchased from Thomas Agnew and Sons by Sir M. Stewart, Bt., June 5;1886 [7];Private collection, United Kingdom, by 1983;Purchased at Old Master;Pictures, Christie’s, London, April 24, 1998, lot 127, by Hall and Knight;Ltd., New York, 1998-2004 [8];Purchased from Hall and Knight by The Nelson-Atkins Museum of;Art, Kansas City, MO, 2004.;NOTES;[1] According to the sale catalogue for The Hamilton Palace Collection, Christie, Manson and Woods, London;June 24, 1882, this painting was once part of the Aldobrandini collection in;Rome. This may be the picture recorded in the 1626 inventory of Olimpia;Aldobrandini’s collection as “un quadro con la natività di N.S., copiato da;Girolamo da Carpi.” See P. della Pergola, “Gli inventari Aldobrandini,” Arte antica e moderna 19 (1962): 428.;[2] This painting was published in the catalogue for Beckford’s;sale, Magnificent Effects at Fonthill;Abbey, Wilts., Christie’s, Fonthill Abbey, Wiltshire, October 15, 1822, lot;94, as by Marcello Venusti, but the sale was never held. According to Godfrey;Evans, Principal Curator of European Decorative Arts, National Museums;Scotland, in an email to MacKenzie Mallon, Specialist, Provenance, November 14;2015, NAMA curatorial files, the painting is recorded as in the Dining Room of;Lansdown Crescent in the 1844 post-mortem inventory of William Beckford’s;properties in Bath (Bodleian Library, Oxford, MS. Beckford c. 58, p. 11).;[3] According to Godfrey Evans, in an email to MacKenzie;Mallon, November 14, 2015, NAMA curatorial files, the painting is recorded in;the list of “Furniture, Pictures, China, &c &c at Portman Square from;Bath Feb y 1850,” Lennoxlove House, East Lothian, Scotland, Hamilton;Archive, M12/51/1, p. 8.;[4] According to Godfrey Evans, in an email to MacKenzie;Mallon, November 14, 2015, NAMA curatorial files, the painting is recorded as;in the Yellow Drawing Room at Hamilton House in 1864 (Lennoxlove, Hamilton Archive;M4/79, 1864 Hamilton House Inventory, p. 100). The painting may have left;Hamilton House in 1870, when the Hamiltons gave up Hamilton House and sent a;large number of items to Hamilton Palace. It is recorded as in the Boudoir at;Hamilton Palace in 1876 (Hamilton, Hamilton Town House Library, 1876 Hamilton;Palace Inventory, p. 28).;[5] According to Godfrey Evans, in an email to MacKenzie;Mallon, October 21, 2015, NAMA curatorial files, Massey-Mainwaring passed on 35;of his own 63 purchases at the June 24, 1882 Hamilton Palace sale to Beckett;Denison, possibly as a friend bidding on Denison’s behalf. This painting was;probably one of them. According to Jeff Pilkington, Christie’s Archives, in an;email to MacKenzie Mallon, March 11, 2015, NAMA curatorial files, this painting;was offered for sale at Denison’s posthumous sale, The Valuable Collection of Pictures, Works of Art, and Decorative;Objects, of Christopher Beckett Denison, Esq., Christie, Manson and Woods;London, June 6, 1885, lot 912, as by Marcello Venusti, but failed to sell.;[6] According to Jeff Pilkington, Christie’s Archives, in an;email to MacKenzie Mallon, March 11, 2015, NAMA curatorial files.;[7] National Gallery London, Thomas Agnew and Sons Archive;NGA27/1/1/7, Picture Stock Book 5, 1881-1891, p. 92-93.;[8] According to Nicholas Hall, Christie’s, in an email to;MacKenzie Mallon, February 13, 2015, NAMA curatorial files. | Mentions 'private collection' without specifying owner or dates; Contains speculative language like 'possibly' or 'likely' |
| 2004.21 | Private Collection, by 1980s;Robert Bowman Gallery, London, no later than September;20, 2004;Purchased from the Robert Bowman Gallery by the;Nelson-Atkins Museum of Art, Kansas City, MO, 2004. | Mentions 'private collection' without specifying owner or dates |
| 2005.10.2 | Possibly Arthur Kay (1860-1939), Edinburgh, by 1939;Possibly Ancient and;Modern Drawings Pictures and Drawings also Original Ancient and Modern Etchings;and Engravings, The Property of Arthur Kay, H.R.S.A., F.S.A., deceased, late of;11, Regent Terrace, Edinburgh sale, Christie’s, Manson, and Woods, London;April 8-9, 1943, no. 243, as A Man;standing with his back to the spectator, wearing a wig;Bequeathed by Estelle (née Stone, 1924-2004) Ellis, Shawnee;Mission, KS, to The Nelson-Atkins Museum of Art, Kansas City, MO, 2005. | Contains speculative language like 'possibly' or 'likely' |
| 2005.10.1 | Possibly Arthur Kay (1860-1939), Edinburgh;Possibly Ancient and;Modern Pictures and Drawings also Original Ancient and Modern Etchings and;Engravings, The Property of Arthur Kay, H.R.S.A., F.S.A., deceased, late of 11;Regent Terrace, Edinburgh sale, Christie’s, Manson, and Woods, April 8-9;1943, no. 243, as A Man, standing with;his back to the spectator, wearing a hat;Bequeathed by Estelle (née Stone, 1924-2004) Ellis, Shawnee;Mission, KS, to The Nelson-Atkins Museum of Art, Kansas City, MO, 2005. | Contains speculative language like 'possibly' or 'likely' |
| 2006.9.37 | Possibly;Thomas Gillibrand (1780-1828), Gillibrand Hall, Chorley, England, 1817 [1];David T.;Beals, III (d. 1987), Mission Hills, KS, by 1987;Inherited;by his wife, Jeanne McCray Beals (1933-2005), Fairway, KS, 1987-2005;Her;bequest to The Nelson-Atkins Museum of Art, Kansas City, MO, 2006.;NOTES;[1];Thomas Gillibrand appears as an owner in several horse-related publications;from the period. | Contains speculative language like 'possibly' or 'likely' |
| 77-2 | Presumably commissioned by the sitter, Isidore Florimond;Marié de Toulle, Chevalier de l’Ordre Militaire de Saint Louis and Capitaine au;Régiment de Grammont-Cavalerie (1705-1792), Amiens and Foucaucourt-Hors-Nesle;France, by 1744-January 19, 1792;Presumably inherited by his son, Louis Jean Baptiste Marie Marié de Toulle (1759-1808);Amiens & Foucaucourt-Hors-Nesle, France, by 1792-October 4, 1808;Presumably inherited by his wife, Marie Marguerite de;Toulle (née François, 1769-1840), Foucaucourt-Hors-Nesle, France, 1808-January;14, 1840;Presumably inherited by her daughter, Louise Eugénie;Marie de Saisseval (née Marié de Toulle, 1790-1844), city?, by 1840-October 16;1844;Presumably inherited by her daughter, Louise Renée Roxane;Juliette de Chevigné (née de Saisseval, 1811-1896), Paris, by 1844-July 8;1896;Presumably inherited by her daughter, Marie Léonie Dary, Madame;la Marquise de Senarpont (née de Chevigné, 1836-1912), Château de;Foucaucourt-hors-Nesle, France, and Paris, by 1896-January 10, 1912;Possibly sold at her posthumous sale, Vente après;Décès D’un très Bon Mobilier Ancien et Moderne, Dépendant de la Succession de;Madame la Marquise de Senarpont et garnissant Le Château de;Foucaucourt-hors-Nesle, Commune de Foucaucourt-hors, Nesle, Somme, Château;de Foucaucourt-hors-Nesle, France, May 21, 1912, unnumbered, as Un Portrait;d’Homme, and dated 1747, to Hecquet, Amiens, 1912 [1];Watel-Dehaynin collection, Paris, by 1973 [2];Purchased at the sale, Tableaux anciens, dessins;pastels et tableaux par ou attribués à L.-L. Boilly, G.-M. Crespi, J.-H.;Fragonard, J.-B. Greuze, J.-B. Huet, Sir Th. Lawrence, M.-N. Lépicié, J.-M.;Nattier, J.-B. Perroneau, Rembrandt, H. Robert, J.-F. Van Son, C. Vernet, J.-M.;Vien, M.-L. Vigée Lebrun, des Écoles florentine, française et italienne des XVI e;et XVIII e siècles et de l’Atelier de Van Balen et Van Kessel;Palais Galliera, Paris, March 15, 1973, no. S, as Portrait d’un chevalier de Saint-Louis, by;Jacques Seligmann and Co., Inc., New York, through Henri Baderou, stock no.;8990, March 15, 1973-January 19, 1977 [3];Purchased from;Seligmann by The Nelson-Atkins Museum of Art, Kansas City, Missouri, 1977.;NOTES;[1] See copy of;fragments of calling cards once attached to the stretcher verso of the;painting, which say: “[?] me la C […?] de Sen… / 3[?] rue;C[…?]” and “[ me?] la C[…] de Senap / 3 rue[?] Cam[bacérès?]”;Copy of fragments are in the Archives of American Art, Smithsonian Institution;Washington, D.C., Jacques Seligmann and Co. Records, Series 2.2: Museum files;KC NAMA, box 220, folder 11, Nattier.;Raymond de Boissard;Marquis de Senarpont and great-great grandson to Léonie de Chevigné, visited the Seligmann gallery in New York in;1973 and agreed that the painting could depict one of his ancestors. De;Boissard explained that the Nattier painting sold from de Chevigné ’s collection in 1912 to a M. Hecquet from Amiens for;27,000 francs. See letter from de Boissard to Seligman, October 23, 1973, copy;in NAMA curatorial files. Unfortunately, the painting is not reproduced or;described in the sales catalogue, so this part of the provenance narrative is;tenuous.;[2];See letter from Henri Baderou to Germain Seligman, April 2, 1973, NAMA;curatorial file. The constituent might be Louis Watel-Dehaynin (1885-July 23;1972), who was the Managing Director of Compagnie française d’Éclairage and received;the Croix de guerre.;[3] The museum;was considering the purchase of the painting as early as April 1976, see letter;from Ted Coe, Curator of European Art, The Nelson-Atkins Museum of Art, Kansas;City, Missouri, to Germain Seligman, April 12, 1976, NAMA curatorial files. | Contains speculative language like 'possibly' or 'likely' |
| 81-30/12 | Jonathan Richardson, Sr. (1665-1745), London, by 1745 [1];John MacGowan (1726-1780), Edinburgh, by 1780 [2];Possibly his posthumous sale, Estampes et recueils, London, May 13-18, 1803 or his posthumous;sale, Dessins anciens et modernes de toutes les écoles, London, January 26-February 2, 1804;Nathan Chaikin, New York, by 1971 [3];Milton McGreevy (1903-1980), Shawnee Mission, KS;Bequeathed by Milton McGreevy to The Nelson-Atkins Museum of;Art, Kansas City, MO, 1981.;NOTES;[1] Lugt 2184 and 2983;[2] Lugt 1496;[3] See NAMA curatorial file. | Contains speculative language like 'possibly' or 'likely' |
| 34-101 | Monis Chapel, Dominican Church, Frankfurt am Main, Germany, 1491-17th;century [1];A. Schäffner, Tetschen an der Elbe, Bohemia (today Děčín, Czech Republic);possibly by 1923-at least April 1925 [2];With Galerie Fischer, Luzern, Switzerland;With A. S. Drey, New York, as by the Hausbuchmeister, by January 27, 1934;Purchased from Drey by The Nelson-Atkins Museum of Art, Kansas City, MO, 1934.;NOTES;[1];According to Otto Lauffer, "Ein neugefundenes Altarwerk des ausgehenden;15. Jahrhunderts aus der Dominikanerkirche zu Frankfurt a. M.," Hessen-Kunst: Kalender fur alte und neue;Kunst (1907): 5, Lauffer found a document in the Stadtarchiv, Frankfurt am;Main, originally from the Dominican Church of that city, which states;The chapel of Wynrich Monis with its altar was consecrated in the year of;the Lord 1491 by the venerable Lord Heinrich of Rubenach, bishop of;Venecomponense, in honor of Saints Dominic, our original confrere, John the;Baptist, Nicholas the Bishop, Wolfgang the bishop, Quirinus the martyr, [and];Catherine, Barbara, and Margaret the virgins." (Translated from the;original Latin by Reverend Paul Turner, Diocese of Kansas City-St. Joseph, MO.);[2] According;to Heinrich Weizsäcker, Die Kunstschze;des ehemaligen Dominikaner-closters in Frankfurt a. M. (München: Verlag von;F. Bruckmann A.-G., 1923), 7, the painting was in a private collection in;Prague in 1923. According to Dr. Christiane Andersson, Curator, Städel Museum, Frankfurt;am Main, to Dr. Eliot Rowlands, Assistant Curator, January 15, 1990, NAMA;curatorial files, an old photograph of the painting at the Städelsches;Kunstinstitut, Frankfurt am Main, contains a handwritten note on the verso indicating;the painting was offered for sale by Schäffner to the Städelsches Kunstinstitut;in April 1925. | Mentions 'private collection' without specifying owner or dates; Contains speculative language like 'possibly' or 'likely' |
| F74-7 | Private collection, Paris;With Edward R. Lubin, Inc., New York, by 1974;Purchased from Edward R. Lubin, Inc., by The;Nelson-Atkins Museum of Art, Kansas City, MO, 1974. | Mentions 'private collection' without specifying owner or dates |
| F79-47 | Paul-Antoine (1833-1905);and Marguerite Blanche (née Girod, 1844-1901) Bérard, Paris and Wargemont, near;Dieppe, France, as Rêverie, by May;25, 1892 [1];With C. Martin et G. Camentron, Paris by March 5, 1896;Auguste Pellerin (1853-1929), Paris, by January 29, 1899-March;27, 1911;Acquired from Pellerin in an exchange by Galerie Bernheim-Jeune;Paris, March 27, 1911-at least 1933 [2];With Sam Salz (1894-1981), New York, by 1961;Leigh B. (1905-1987) and Mary Lasker (1904-1981) Block;Chicago, by September 1966;Purchased from the Blocks by;E. V. Thaw and Co., Inc., by June 18, 1979 [3];Purchased from Thaw by Norton Simon (1907-1993), Beverly Hills, June 18-November;16, 1979 [4];Returned by Simon to E. V. Thaw, November 16, 1979;Purchased from E. V. Thaw and Co., Inc. by The Nelson-Atkins;Museum of Art, Kansas City, MO, 1979.;NOTES;[1] Marie-Louise Bataille and Georges Wildenstein identified;the pastel lent by Bérard to the 1892 exhibition, Exposition de Tableaux, Pastels et Dessins par Berthe Morisot, as;the Nelson-Atkins pastel. See Bataille and Wildenstein, Berthe Morisot: Catalogue;des Peintures, Pastels et Aquarelles (Paris: Les Beaux-Arts, 1961), no.;434, p. 52.;[2] Possible stock no. 18645. Pellerin used Bernheim-Jeune;as his intermediary in an exchange with dealer Ambroise Vollard on March 27;1911, where Pellerin acquired Cezanne’s Maison;dans les Arbres. In exchange, Pellerin gave away several works including;the Morisot pastel, Femme sur un canapé. Possibly due to his role in the transaction;Bernheim-Jeune kept the Morisot pastel. For a complete listing of the exchange;see John Rewald, The Paintings of Paul;Cézanne: A Catalogue Raisonné (New York: Harry N. Abrams, 1996), 341. It is;not clear if the pastel was part of the gallery’s stock or part of the private;collection of Jossé (called Joseph, 1870-1941), and Gaston (1870-1953);Bernheim-Jeune, see Henri de Régnier, L’art;moderne et quelques aspects de l’art d’autrefois, cent-soixante-treize planches;d’après la collection privée de MM. J. et G. Bernheim-Jeune (Paris;Bernheim-Jeune, 1919).;[3] See letter from Eugene Victor Thaw to Meghan Gray, NAMA;July 14, 2011, NAMA curatorial files. According to Thaw, the gallery had the pastel;for a very short time, as it was purchased by NAMA almost immediately.;[4] See Sara Campbell, Collector Without Walls;Norton Simon and His Hunt for the Best (New Haven, CT: Yale University;Press, 2010), 426. | Contains speculative language like 'possibly' or 'likely' |
| 2006.10 | Private collection, United Kingdom;Robert Bowman, Ltd, London, by April 5, 2006;Purchased from Bowman by The Nelson-Atkins Museum of;Art, Kansas City, Missouri, 2006. | Mentions 'private collection' without specifying owner or dates |
| 2015.13.11 | The;artist, Paris, 1871-1879;Purchased;from the artist by Gustave Caillebotte (1848-1894), Paris, 1879-February 21;1894 [1];To his;brother, Martial Caillebotte (1853-1910), Paris, 1894-January 16, 1910 [2];Inherited;by his wife, Marie Caillebotte (née Minoret, 1863-1931), Paris or Pornic;France, 1910-October 5, 1931;By;descent to her daughter, Geneviève Chardeau (née Caillebotte, 1890-1986);Paris, 1931-1973 [3];Deposited;with Galerie Lorenceau, Paris, by a member of the Chardeau family, January 23;1973 [4];Possibly;with Galerie Schmit, Paris, after January 23, 1973 [5];Purchased;[from Galerie Schmit?] by Juan Guillermo de Beistegui (1930-2017), Paris, after;January 23, 1973-January 7, 1986 [6];Purchased;from de Beistegui, through Margo Pollins Schab, New York, by Marion (née;Helzberg, 1931-2013) and Henry (1922-2019) Bloch, Shawnee Mission, KS;1986-June 15, 2015 [7];Given by Henry and Marion Bloch to The Nelson-Atkins;Museum of Art, Kansas City, MO, 2015.;NOTES;[1] See Étienne Moreau-Nélaton;“Copie faite pour E. Moreau-Nélaton de documents sur Manet appartenant à Léon;Leenhoff,” ca. 1910, Bibliothèque nationale de France;Département des Estampes et photographie, RESERVE 8-YB3-2401, folio 79, as Croquet. On;November 20, 1883, Caillebotte added a codicil to his will stipulating that his;collection should be given to the musée du Luxembourg after his death. The;museum was notified of this bequest in early March 1894, but many of the;paintings, including The Croquet Party, were refused by the Comité;consultatif des musées nationaux after 18 months of deliberation and returned;to his brother, Martial Caillebotte. See [Adolphe] Tabarant, “Le peintre Caillebotte et sa;collection,” Bulletin de la Vie Artistique, no. 15 (August 1, 1921);405-13, and A[dolphe] Tabarant, Manet: Histoire catalographique (Paris: Éditions;Montaigne, 1931), 244.;[2] Martial;Caillebotte, the artist’s younger brother, offered The Croquet Party to;the French government in 1904 and 1908, but it was refused both times. See;Bernard Denvir, The Chronicle of;Impressionism: an Intimate Diary of the Lives and World of the Great Artists;(London: Thames and Hudson, 1993), 198.;[3];See emails from Gilles Chardeau, grandson of Geneviève Chardeau, to Brigid;Boyle, NAMA, July 30, 2015, Sylvie Brame, Galerie Brame et Lorenceau, to Mary;Frances Ivey, NAMA, November 30, 2018, and Sophie Pietri, Wildenstein-Plattner;Institute, to Mary Frances Ivey, NAMA, December 17, 2018, NAMA curatorial;files.;On;August 4, 1970, seventeen paintings in Chardeau’s collection, including “ The Croquet Game, ” were stolen. They;were returned anonymously to a Paris metro station in November 1970 and;restituted to Chardeau. See Janet Flanner;“Letters from Paris,” New Yorker (August;22, 1970): 85, as The Croquet Game.;[4];See emails from Sophie Pietri, Wildenstein-Plattner Institute, to Mary Frances;Ivey, NAMA, December 17, 2018, and Sylvie Brame, Galerie Brame et Lorenceau, to;Mary Frances Ivey, NAMA, November 30, 2018, NAMA curatorial files.;A;sales receipt from Margo Pollins Schab;indicates that the painting was owned by the Peugeot family, France, before its;purchase by de Beistegui. This was published in Richard R. Brettell and;Joachim Pissarro, Manet to Matisse;Impressionist Masters from the Marion and Henry Bloch Collection, exh. cat.;(Kansas City, MO: Nelson-Atkins Museum of Art, 2007), 155. However, both;Pollins Schab and the Peugeot family cannot confirm this information.;Conversation with Margo Pollins Schab and Mary Frances Ivey, NAMA, January 11;2019, and email from Dominix Kirchner, Peugeot family descendant, to Mary;Frances Ivey, NAMA, February 13, 2019, NAMA curatorial files.;[5] See email from Miguel de Beistegui, son of Juan;Guillermo de Beistegui, to Brigid Boyle, NAMA, May 15, 2015, NAMA curatorial;files. Galerie Schmit has not responded to emails.;[6] According to Denis Rouart and Daniel Wildenstein, Edouard;Manet: Catalogue raisonné, vol. 1, Peintures;(Lausanne: Bibliothèque des arts, 1975), no. 173, the painting was owned by P.;A., Suisse, or “propriété anonyme.” De Beistegui did not live in Switzerland;and was living in Paris at the time that he purchased the work, see email from;Miguel de Beistegui, son of Juan Guillermo de Beistegui, to Brigid Boyle, NAMA;May 15, 2015, NAMA curatorial files.;[7] Conversation with Margo Pollins Schab to Brigid;Boyle, NAMA, May 18, 2015, notes in NAMA curatorial files. According to Ms.;Schab, her gallery had The Croquet Party on consignment from Juan de;Beistegui. | Contains speculative language like 'possibly' or 'likely' |
| 2015.13.24 | Possibly purchased from the artist by Galerie;Durand-Ruel, Paris, stock no. 774, as L’Ecluse de St. Mammes, December 22, 1885-August 1888 [1];Possibly sold by Durand-Ruel, Paris, to Durand-Ruel;New York, August 1888 [2];Erwin Davis (ca. 1831-ca. 1902), New York, no later;than April 14, 1899;Purchased from Davis by Durand-Ruel, New York, stock;no. 2232, as L’Ecluse de Saint-Mammès;April 14, 1899-February 1, 1943 [3];Purchased from Durand-Ruel by Sam Salz Inc., New;York, stock no. 596, as L’Écluse de St Mammé;February 1-March 22, 1943 [4];Purchased from Salz by Georges Gregory (b. ca. 1896), New York, March 22;1943-at least 1959 [5];Irmgard Strauss, no later than April 7 1987 [6];Purchased from Strauss by Richard L. Feigen and Co.;Inc., New York, stock no. 19627-D, as Le;Loing à Saint-Mammès (The River Loing at Saint-Mammès ), April 7, 1987- November 8, 1994 [7];Purchased from Feigen by Marion (née Helzberg, 1931-2013) and Henry (1922-2019) Bloch, Shawnee;Mission, KS, 1994- June 15, 2015;Given;by Henry W. and Marion H. Bloch to the Nelson-Atkins Museum of Art, Kansas;City, MO, 2015.;NOTES;[1] This painting might be the same as one in the;stock books of Durand-Ruel, Paris, titled L’Ecluse;de Saint-Mammès, which was stock no. 774. Durand-Ruel does not have any;information about an eventual sale of this picture. See email from Paul-Louis;Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel & Cie., Paris, to Nicole;Myers, NAMA, January 11, 2016, NAMA curatorial file. There are not any labels;or inscriptions on the verso of this painting which match this stock number.;[2] See email from Paul-Louis Durand-Ruel and Flavie;Durand-Ruel, Durand-Ruel & Cie., Paris, to Nicole Myers, NAMA, January 11;2016, NAMA curatorial file.;[3] Ibid. See also verso, p aper label, upper right on stretcher, handwritten: Sisley No.;2232/[E?]clu[se?] de St. Mammès/[illegible]. See also photo stock card with;both Durand-Ruel stock numbers, National Gallery of Art, Washington, D.C.;Photo Archives, Durand-Ruel, NY.;[4] Durand-Ruel sold the painting to Sam Salz on;February 1, 1943. See email from Paul-Louis Durand-Ruel and Flavie Durand-Ruel;Durand-Ruel & Cie., Paris, to Nicole Myers, NAMA, January 11, 2016, NAMA;curatorial file. See also inventory book, 1940-1944, Sam Salz Archive, Department of Image;Collections, National Gallery of Art Library, Washington, D.C. Gift of Marc;Salz in memory of his father Sam Salz.;[5] Date from François Daulte;Alfred Sisley: Catalogue Raisonné de l’Œuvre Peint" (Lausanne;Durand-Ruel, 1959), no. 605.;[6] Email from Emelia Scheidt, Richard L. Feigen;Co., New York, to Meghan Gray, April 13, 2015, NAMA curatorial files.;[7] Ibid. The invoice from Feigen is dated November;8, 1994, see NAMA curatorial files. See;verso, paper label on backing board, typewritten: Richard;L. Feigen & Co./ Incorporated/ 49 East 68th Street * New York, N.Y. 10021/;Artist Alfred Sisley No. 19627-D/ Title;Le Loing à Saint-Mammès (The River Loing at Saint Mammès)/ Date 1883 Medium oil;on canvas Size 15 x 21-1/2;[handwritten above strike-through] 22 in./ 38 x 54.6 cm. | Contains speculative language like 'possibly' or 'likely' |
| 2015.13.21 | Probably with the artist, Paris and Les Collettes, near Cagnes-sur-Mer, France, 1890-December 3, 1919;Probably inherited by the artist’s family, Les Collettes, near Cagnes-sur-Mer, France, 1919-October 1922 [1];Probably by descent to one of the artist’s sons, Pierre Renoir (1885-1952), Jean Renoir (1894-1979), or Claude Renoir (1901-1969), Paris and Les Collettes, near Cagnes-sur-Mer, France, 1922;George N. Richard (1882-1972), New York, by January 20, 1965 - February 1972 [2];Inherited by his widow, Bernice Richard (née Rougeot, 1920-1989), 1972-February 10, 1976 [3];Purchased from Richard, through Knoedler and Co., New York, no. CA 9756, by Marion (née Helzberg, 1931-2013) and Henry (1922-2019) Bloch, Shawnee Mission, KS, February 10, 1976-June 15, 2015;Given by Henry W. and Marion H. 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] George N. Richard often bought and sold works through Knoedler, New York. Knoedler made an inventory and appraisal of Richard’s art collection on January 21, 1965. The painting appears as Femme Accoudée “83”, with a short description of its location and value. See appraisal, 1965, Richard, George N. Richard, Series VI.A, box 1091, folder 4, M. Knoedler and Co. records, approximately 1848-1971,, The Getty Research Institute, Los Angeles. A label on the verso of the painting reads “A83-63 Renoir” in red ballpoint and “P” in blue ballpoint (see examination report, Forrest R. Bailey, NAMA conservator, September 24, 1979, NAMA curatorial files. This number might be Richard’s inventory number and may indicate that the painting was the 83rd item purchased by him and that it was bought in 1963.;[3] See correspondence from Jack Tanzer, Knoedler and Co., New York, to Henry Bloch, Shawnee Mission, KS, January 9, 1975, NAMA curatorial files. | Contains 'unknown' indicating lack of specific details |
| 2015.13.20 | 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). | Contains 'unknown' indicating lack of specific details; Mentions 'private collection' without specifying owner or dates; Contains speculative language like 'possibly' or 'likely' |
| 2015.13.10 | With the;artist, Paris, 1887;To his brother;Theo van Gogh (1857-1891), Paris, 1887- January;25, 1891;Inherited by;his widow, Johanna van Gogh-Bonger;(1862-1925), Bussum and Amsterdam, The Netherlands, stock no. 307, as Vue d’Asnières, avec;Marronniers en fleurs, by 1891 [1];By descent to;her son, Vincent Willem van Gogh;(1890-1978), Laren, The Netherlands, by 1925-1927;Purchased from Vincent;Willem van Gogh through Leicester Galleries, London, by Nathan Charles Beechman;(ca. 1861-1935), London, February 9, 1927-at least 1928 [2];With Alex Reid;and Lefèvre Ltd., London, stock no. 146/29, as Restaurant Rispal à Asnières, on joint account with C. W. Kraushaar;Art Galleries, New York, stock no. 24707, [painting is untitled], [and on join;account with Étienne Bignou, Paris and New York,?], by July 19, 1929- January;30, 1930 [3];Purchased from the;latter by Galerie Raphaël Gérard, Paris, January 30, 1930 [4];With Galerie;Georges Bernheim, Paris;With Hugo L. Moser;(1881-1972), Berlin, Zurich, Heemstede, The Netherlands, and New York, by;December 1930-until at least 1970 [5];Transferred to;his wife, Mrs. Hugo L. Moser (née Maria Werner, 1893-1987), New York, by the;late 1960s-November 7, 1979 [6];Purchased from;the Moser Family Collection sale, Impressionist and Modern Paintings and;Sculpture, Sotheby Parke Bernet Inc., New York, November 7, 1979, no. 541;as Le Restaurant Rispal à Asnières, through Richard L. Feigen and Co.;New York, stock no. 16435-C, by Marion (née Helzberg, 1931-2013) and Henry W. (1922-2019) Bloch, Shawnee Mission, KS, 1979-June 11, 2015 [7];Given;by Henry W. and Marion H. Bloch to the Nelson-Atkins Museum of Art, Kansas;City, MO, 2015.;NOTES;[1];Although, formally speaking, Vincent Willem van Gogh was joint owner of the Van;Gogh collection from 1891, his mother, Johanna van Gogh-Bonger, managed the;collection until her death in 1925. See the inventory of van Gogh’s works then;in van Gogh-Bonger’s collection, Andries Bonger, “Catalogue des œuvres de;Vincent van Gogh,” 1891, Brieven en Documenten, b 3055 V/1962 (document),Van;Gogh Museum, Amsterdam, no. 307, as Vue;d’Asnières, avec Marronniers en fleurs.;[2];The date February 9, 1927 is from Walter;Feilchenfeldt, Vincent van Gogh: The Years in France, Complete Paintings;1886-1890: Dealers, Collectors, Exhibitions, Provenance (London: Philip;Wilson, 2013), 84. Feilchenfeldt, 30, 33n53, notes that V. W. van Gogh sold the;painting through Leicester Galleries on the occasion of the second exhibition;at Leicester Galleries in November-December 1926. It is possible that the sale;to the next constituent was not finalized until February after the exhibition;closed. The;catalogue raisonné, J.-B. De La Faille, L’Œuvre de Vincent Van Gogh: Catalogue Raisonné (Paris: éditions G. Van;Oest, 1928), no. 355, has the painting in Beechman’s collection in 1928. This might be Nathan;Charles Beechman (d. 1935), Middlesex, England.;[3];See letter from Alex Reid and Lefèvre to Kraushaar, July 19, 1929, Archives of;American Art, Smithsonian Institution, Washington, D.C., Kraushaar Galleries;Records, 1885-2006, Series II, Incoming Letters, Re General, 1929, box 14;folder 23. See Alex Reid and Lefèvre stock book entry, Tate Britain, London;Alex Reid and Lefèvre archives, TGA 200211, p. 290. See also Archives of;American Art, Smithsonian Institution, Washington, D.C., Kraushaar Galleries;Records, 1885-2006, Series 6.4, Financial Records, 1885-1957, Purchase Journal;1928-1940, Box 74, Folder 7, page 63. For the relationship between Bignou and Reid and Lefèvre, see Alex Reid & Lefevre 1926-1976 (London;Lefèvre Gallery, 1976), 17-21.;[4];See record of sale to Gérard in Alex Reid and Lefèvre stock book, Tate Britain;London, Alex Reid and Lefèvre archives, TGA 200211, p. 290.;[5];Possibly;Moser stock no. L.64.23.2. Moser was an art dealer in Berlin until 1933, when;he and his family fled the Nazis, first living in Zurich and then in Heemstede;The Netherlands. In February 1940, just before the Nazis’ invasion of The;Netherlands, they crossed through France, Italy, Spain, and Cuba before finally;arriving in New York. Prior to their flight from Europe, they sent their art collection;from The Netherlands to the Baltimore Museum of Art, which arrived at the;museum on May 1, 1939. The present painting appears on the wall of the Moser;apartment in New York City in a photograph published in Aftonbladet on January 24, 1953. Letter from Ann Moser, Hugo L.;Moser’s daughter-in-law, to Meghan Gray, April 21, 2015, NAMA curatorial files.;[6] The;painting was sent on long-term loan to the Museum of Fine Arts, Boston, from;February 16, 1968 until April 28, 1976, and then was transferred to the;Baltimore Museum of Art. It remained on loan in Baltimore until it was transported;to Sotheby’s on September 14, 1979, where it was sold by Maria Moser on;November 7, 1979. All of Hugo L. Moser’s paintings were transferred to his;wife, Maria Moser, in the late 1960’s when his health was failing. See email;from Ann Moser, Hugo L. Moser’s daughter-in-law, to Meghan Gray, April 21, 2015;and May 6, 2015. See also email from Mary Allen, Assistant Registrar, Museum of;Fine Arts, Boston, April 22, 2015, and email from Caitlin Draayer, Assistant;Registrar, Baltimore Museum of Arts, April 22, 2015, to Meghan Gray, NAMA;curatorial files.;[7];While Maria Moser was the primary owner of the painting, she gave a portion of each;painting in the collection to her two sons, daughters-in-law, and grandchildren;each year. By 1979, the present painting was collectively owned by the Moser;family. Email from Ann Moser to NAMA on April 30, 2015.;Richard;L. Feigen & Co. was purchaser as agent for the Blochs. See email from Ann;Moser to Meghan Gray, April 30, 2015, NAMA curatorial files. Richard L. Feigen;Co. purchased the painting at Sotheby’s on behalf of Henry and Marion;Bloch. See email from Emelia Scheidt, Richard L. Feigen & Co., New York, to;Meghan Gray, April 13, 2015, NAMA curatorial files. | Contains speculative language like 'possibly' or 'likely' |
| 2015.13.26 | Possibly General;Raymond-Adolphe Séré de Rivières (1815-1895), by 1895 [1];By descent to his;granddaughter, Aline Séré de Riviéres (1879-1972), Nice, by May 1955;Purchased from;Aline Séré de Riviéres by Wildenstein and Co., New York, May 1955-1960 [2];Purchased from;Wildenstein by James W. Johnson (d. 1970), 1960;With Waterloo Fine;Art, London [3];Purchased at;Impressionist and Modern Drawings and Watercolors," Sotheby’s, New;York, November 14, 1990, lot 101, through Susan L. Brody and Associates, Inc.;New York, by Marion (née Helzberg, 1931-2013) and Henry (1922-2019 2) Bloch;Shawnee Mission, KS, 1990-June 15, 2015;Given;by Henry W. and Marion H. Bloch to the Nelson-Atkins Museum of Art, Kansas;City, MO, 2015.;NOTES;[1] General;Raymond-Adolphe Séré de Rivières (1815-1895) was Toulouse-Lautrec’s cousin.;[2] See email from Joseph Baillio, Wildenstein and Co., to MacKenzie Mallon, NAMA, May 21, 2015, NAMA;curatorial files.;[3] This;watercolor was offered for sale at "Important Impressionist and Modern;Drawings and Watercolours," Sotheby Parke Bernet & Co., London, March;30, 1977, but failed to sell. The consignor of this sale is unknown, nor is it;known whether this sale preceded or succeeded ownership by Waterloo Fine Art. | Contains 'unknown' indicating lack of specific details; Contains speculative language like 'possibly' or 'likely' |
| 66-26/7 | Private collection, England;Given by Michael Hall Fine Arts, Inc., New York, to The;Nelson-Atkins Museum of Art, Kansas City, MO, 1966. | Mentions 'private collection' without specifying owner or dates |
| F61-65 | Possibly Countess Vosdari, Ferrara [1];With Count Alessandro Contini Bonacossi (1878-1955), Rome and Florence, by 1950;Purchased from Bonacossi by the Samuel H. Kress Foundation, New York, July 17, 1950-1961;Its gift to The Nelson-Atkins Museum of Art, Kansas City, MO, 1961.;NOTES;[1] There appear to be no records of a Countess Vosdari or her collection in Ferrara. Possibly, this collector was instead a member of the noble Bosdari family, which can be traced to the cities of Ragusa, Ancona, and Bologna. See letter from Lucio Scardino, Liberty House Casa Editrice, Ferrara, October 14, 1993, NAMA curatorial files. | Contains speculative language like 'possibly' or 'likely' |
| F92-1 | Private collection, Berlin, possibly after 1918;With Frieda Hintze, Berlin, possibly by 1939 [1];Private collection, South America, possibly by 1940 [2];Possibly by descent to Mrs. Pallavicini, Buenos Aires, Argentina, by January 11, 1991 [3];Purchased at her sale, Important Paintings by Old Masters, Christie, Manson and Woods, New York, January 11, 1991, lot 81, by Hazlitt, Gooden and Fox, London, 1991-1992;Purchased from Hazlitt, Gooden and Fox by The Nelson-Atkins Museum of Art, Kansas City, MO, 1992.;NOTES;[1] According to Erich Schleier, Staatliche Museen Preußischer Kulturbesitz, Berlin, in a letter dated August 21, 1992, NAMA curatorial files, Hintze probably sold the painting sometime between the start of her career in the 1920s and the outbreak of World War II.;[2] Ian Kennedy, former NAMA curator, in conversation, 1993.;[3] According to Ian Kennedy, in an email to MacKenzie Mallon, July 13, 2013, NAMA curatorial files, he saw the painting in the home of Mrs. Pallavicini in Buenos Aires just prior to her consignment of it to Christie’s. Mrs. Pallavicini told him her family brought the painting to Argentina from Italy in the 1930s. | Mentions 'private collection' without specifying owner or dates; Contains speculative language like 'possibly' or 'likely' |
| 46-9/2 | Private collection, Scotland, by 1936;Purchased from the latter by an unknown dealer, England, by 1936;Purchased from the latter by Albert Duveen (1892-1965), New York, 1936 [1];Private collection, U.S., by January 16, 1946 [2];Purchased from the latter through Clyfford Trevor, New York, by The Nelson-Atkins Museum of Art, Kansas City, MO, 1946.;NOTES;[1] Comments by Albert Duveen dated March 5, 1940, preserved in the Frick Art Reference Library, New York, indicate the picture was once in a castle in Scotland where it had been attributed to Hans Holbein the Younger. It was sold through an unnamed English dealer to Duveen in 1936.;[2] See correspondence from Clyfford Trevor, NAMA curatorial files. Trevor described himself as a “consultant on art matters.” | Contains 'unknown' indicating lack of specific details; Mentions 'private collection' without specifying owner or dates |
| 75-6 | With Gaston-Alexandre Camentron, Paris, by 1892;Purchased from;Camentron by Durand-Ruel, Paris, stock no. 2021, as La berge à Bellancourt, February 23, 1892-July 1897 [1];Transferred from;Durand-Ruel, Paris, to Durand-Ruel, New York, stock no. N. Y. L 1902, July 1897-March 16, 1927 [2];Purchased from;Durand-Ruel by Effie Seachrest, New York and Kansas City, MO, March 16, 1927;[3];Private;Collection, by 1959;Mr. William James;(1875-1960) and Mrs. Mildred (née White, 1882-1975) Brace, Kansas City, MO, by 1966-March;31, 1975 [4];Bequeathed by Mr.;and Mrs. Brace to The Nelson-Atkins Museum of Art, Kansas City, MO, 1975.;NOTES;[1] See email from Paul-Louis Durand-Ruel and;Flavie Durand-Ruel, Durand-Ruel & Cie., Paris, to Nicole Myers, NAMA;January 11, 2016, NAMA curatorial file.;[2] Ibid.;[3] Ibid. Seachrest (1869-1952) had a gallery called Little Gallery in;the Woods in Kansas City. She encouraged Kansas Citians, particularly women, to;buy modern art. She was heavily involved in the decision of NAMA to purchase;van Gogh’s Olive Trees (32-2).;[4] Mrs. Brace lent the painting to an exhibition at NAMA in 1966;honoring Seachrest. The catalogue states that the painting was “acquired by;Kansas City collectors through the efforts of Miss Effie.” It’s possible that;the Braces are the “private collection” in the line above and that they;purchased the work directly from Seachrest. | Mentions 'private collection' without specifying owner or dates |
| 53-80 | Possibly to the;presumed sitter, Élisabeth Fréret d’Héricourt (née Gonnet or Gounet or Gonet;b. ca. 1730, Lyon) or her husband, Nicolas Louis Fréret d’Héricourt (b. ca.;1732, Herbies), 1769;Count Pavel;Pavlovich Demidov, 2nd Prince of San Donato (1839-1885), Villa San Donato, Polverosa;Italy, and Villa Demidoff, Pratolino;Italy, by 1880 [1];Purchased;at his sale, Palais de San Donato: Objets;d’Art et d’Ameublement, Tableaux, Villa San Donato, Polverosa, March 15;1880, lot 1439, as by François-Hubert Drouais, Portrait de Femme, by Thomas Agnew and Sons, London, no. 1402;March 15, 1880-April 7, 1880 [2];Purchased;from Agnew by Alfred Charles de Rothschild (1842-1918), London and Halton, Buckinghamshire;England, April 7, 1880-at least 1884 [3];To his cousin, Constance;Flower, Lady Battersea (née de Rothschild, 1843-1931), Aston Clinton, Buckinghamshire;by 1918 [4];Possibly inherited;by her first cousin twice removed, Rosemary de Rothschild (1913-2013), 1931 [5];To;Edmund Leopold de Rothschild (1916-2009), London and Exbury Estate, Hampshire;England, until possibly 1942 [6];With Edward Speelman Ltd., London, on joint account with F. Kleinberger;Galleries, New York, no. 1187, as by Francois-Hubert Drouais, Woman with dog on her Lap, December;1950-December 8, 1953 [7];Purchased;from Speelman and Kleinberger by The Nelson-Atkins Museum of Art, Kansas City;MO, 1953.;NOTES;[1] This;constituent is also sometimes known as Paul Demidoff. Count Demidov inherited;the Villa San Donato from his uncle, Anatoly;Nikolaievich Demidov, Prince of Demidov (1813-1870), in 1870. He may;have also inherited the painting from his uncle Anatoly, his father Pavel;Nikolaievich Demidov (1798-1840), or his grandfather Nikolai Nikitich Demidov;(1773-1828), who were all art collectors. From around 1872 until 1880, Count;Demidov lived in the Villa Demidov in Pratolino, Italy, but he did not sell the;Villa San Donato until 1881 after the painting had sold.;[2] See;National Gallery, London, Thomas Agnew Archive, NGA 27/1/1/6, Picture Stock;Book 4, p. 70-71. See also paper label with ink script, partially encapsulated;on stretcher reverse of painting: Purchased for A de Rothschild Esq / by Thos;Agnew Sons from the / [S]a[n] Donato Collection March 1880.;[3] The;painting may have hung in Halton, Alfred’s mansion in Buckinghamshire, until;his death in January 1918. See Rothschild Archive, London, Alfred Charles de Rothschild (1842-1918): will;and estate papers, RAL 000/174, Halton, “Schedule of Furniture and General;Contents of the Mansion and Outbuildings, Messers. Knight, Frank and Rutley, Auctioneers;and Values,” August 1918, p. 127, as Library – Drouais, A three-quarter length portrait of a lady. However, as of 1884;Alfred also owned another Drouais, known then as Portrait of Mademoiselle Duthé (or Dutet), see Charles Davis, A Description of the Works of Art Forming;the Collection of Alfred de Rothschild, vol. 1 (London: [Chiswick Press];1884), nos. 50 and 198. If the Duplessis painting was still in Alfred’s;collection at the time of his death, it would have been inherited, along with;his estate, by his nephew, Lionel Nathan de Rothschild (1882-1942). Lionel sold;the estate to the War Office in May 1918, but retained ownership of the;contents of the mansion.;[4] See;small paper label on upper left corner of the stretcher reverse, faint graphite;which appears to read: Lord Barters[z?]e. The first and last Lord Battersea (né;Cyril Flower, 1843-1907) received his title to Baron on September 5, 1892. In;1877, he married Constance de Rothschild, who was Alfred de Rothschild’s first;cousin. By 1918, the painting hung in the “Blue Drawing Room” at Aston Clinton;which was Lady Battersea’s family home. See Constance Flower Battersea, Thoughts in Verse (Norwich: Goose and;Son, 1920), 8. After the death of Lady Battersea’s mother, Louisa, in;1910, and Alfred de Rothschild in 1918 (the last of Lionel Nathan de Rothschild’s;sons), Aston Clinton and its contents were inherited by Lady Battersea’s first;cousin once removed, N. Charles de Rothschild (1877-1923). Throughout this;time, Lady Battersea continued to live there. After Charles’ death in 1923, his;executors convinced Lady Battersea to sell Aston Clinton and its contents;although the Duplessis painting does not appear in the sales catalogues.;[5] The painting may have gone with Lady Battersea to;another one of her houses after 1923. She leased a London mansion at 10;Connaught Place, and owned an estate called The Pleasaunce in Overstrand;Norfolk, England, which were inherited by her first cousin twice removed;Rosemary de Rothschild, in 1931. See Lucy Cohen, Lady de Rothschild and her daughters, 1821-1931 (London: J. Murray;1937), 285. According to Michael Hall, curator of Exbury House, in an email to;Meghan Gray, Curatorial Associate, October 22, 2018, NAMA curatorial files, because;Rosemary was only 18 at the time, her father, Lionel Nathan de Rothschild;(1882-1942), took over Rosemary’s interest in the estates. He sold The;Pleasaunce in 1936 and 10, Connaught Place, sometime after 1931, but the;painting is not listed in either sales catalogue.;[6] In his memoirs, Edmund;de Rothschild, A Gilt-Edged Life;Memoir (London: John Murray, 1998), 7-8, Edmund de Rothschild recounts inheriting his great-uncle’s estate and artwork;through his father and Alfred;de Rothschild’s nephew, Lionel Nathan de Rothschild (1882-1942), London. It is;possible that this painting was among the works he inherited in this manner. Although;Edmund inherited his art collection from Lionel, the presence of Lady Battersea;and possibly Rosemary de Rothschild in the provenance makes a direct transfer;between Lionel and Edmund unlikely. Edmund was forced to sell most of the;family’s fine art and furniture in 1942 in order to raise funds for estate;duties. Many of the paintings were sold to Thomas Agnew and Sons and to the;Finnish dealer Tancred Borenius (1885-1948), who was also a part-time advisor;to Sotheby’s. This painting may have been one of them.;A;handwritten note in the NAMA curatorial files amends the provenance listed in;the accessioning paperwork, crossing out the name Edmund and replacing it with;Edouard. Alfred’s second cousin, Edouard;Alphonse de Rothschild (1868-1949) was a banker and art collector who lived in;Paris. The German National Socialist (Nazi) regime confiscated most of his art;collection in late 1941. This version of the provenance, in which Edmund is replaced;with Edouard, was published in the 1975 exhibition catalogue titled The Age of Louis XV. French Painting;1715-1774. It;is not clear who made this amendment, and though it appears very likely to have;been an error, research is being conducted in the appropriate archives to verify;the painting was in Edmund’s possession and that there are no known claims to;the painting.;[7];See The Metropolitan Museum of Art, New York, F. Kleinberger Galleries (New York;N.Y.), Stock cards, 1897-1973, and clipping file. | Contains speculative language like 'possibly' or 'likely' |
| 46-9/1 | Private collection, Scotland, by 1936;Purchased from the latter by an unknown dealer, England, by 1936;Purchased from the latter by Albert Duveen (1892-1965), New York, 1936 [1];Private collection, U.S., by January 16, 1946 [2];Purchased from the latter through Clyfford Trevor, New York, by The Nelson-Atkins Museum of Art, Kansas City, MO, 1946.;NOTES;[1] Comments by Albert Duveen dated March 5, 1940, preserved in the Frick Art Reference Library, New York, indicate the picture was once in a castle in Scotland where it had been attributed to Hans Holbein the Younger. It was sold through an unnamed English dealer to Duveen in 1936.;[2] See correspondence from Clyfford Trevor, NAMA curatorial files. Trevor described himself as a “consultant on art matters.” | Contains 'unknown' indicating lack of specific details; Mentions 'private collection' without specifying owner or dates |
| Accession Number | Provenance | CHATGPT4O Vagueness Analysis 6DEC2024 |
| F64-45 A,B | Antiquariato Coccoli, Brescia, Italy;Private collection, Zurich;J\'e1nos Scholz (1903-1993), New York, by 1963;Important;Old Master Drawings sale, Christie\'92s, London, March 26, 1963, lot 272;as by Giovanni Antonio Guardi, as The;Rape of Europe;Purchased from Mathias Komor (1909-1984), New York, by The;Nelson-Atkins Museum of Art, Kansas City, MO, 1964. | Mentions 'private collection' without specifying owner or dates |
| F56-66/1,2 | Possibly;by descent to Jeanne F\'e8vre, the artist\'92s niece, Nice, ca. 1919;Private collection, Paris;Purchased at the sale of a private collector, Tr\'e8s Belles Estampes, Monotypes par Degas;Tableaux, Pastels, Aquarelles, Gouaches, Dessins, H\'f4tel Drouot, Paris, lot;95 as Acad\'e9mie de jeune home, debout, de;face, bras crois\'e9s sur la t\'eate and au verso: Acad\'e9mie de jeune home, de dos, by Wi ldenstein & Co., Inc., New York, May 29, 1952- December 19, 1955;Purchased;from Wildenstein by Mr. Milton (1903-1981) and Mrs. Barbara James (1905-1996);McGreevy, Mission Hills, Kansas, December;19, 1955-May 17, 1956;Their gift to The Nelson-Atkins Museum of Art, Kansas City, MO;1956. | Mentions 'private collection' without specifying owner or dates; Contains speculative language like 'possibly' or 'likely' |
| 88-9 | Alejandro Maria de Aguado, Marqu\'e9s de las Marismas del Guadalquivir (1784-1842), Paris, 1837-1842;Tenc\'e9 collection, Lille, by December 10, 1881;Tenc\'e9 sale, Tableaux Anciens, H\'f4tel Drouot, Paris, December 12, 1881, lot 45;Jules Nolleval (d. 1902), Paris, by 1885;Probably inherited by his wife, Lucile Nolleval (n\'e9e Minoret, 1841-1908), Paris, 1902-1908;Probably inherited by her niece, Suzanne Rouxel, Marquise de Rochambeau (1874-1947), 1908-1947 [1];Rochambeau sale, Tableaux anciens, Galerie Charpentier, Paris, December 10, 1951, lot 48 [2];Dessins et tableaux anciens des XVIe, XVIIe, XVIIIe et XIXe si\'e8cles, Ader Picard Tajan, Nouveau Drouot, Paris, December 15-16, 1986, lot 42;With Piero Corsini Gallery, New York, 1987-1988;Purchased from Corsini by The Nelson-Atkins Museum of Art, Kansas City, MO, 1988.;NOTES;[1] Following Jules Nolleval\'92s ownership, the next piece of documentation on the painting\'92s whereabouts is the Rochambeau sale in 1951. As Nolleval\'92s wife, Lucile, gave most of her collection to her niece, Suzanne Rouxel, the Marquise de Rochambeau, upon her death in 1908, the painting very likely passed through the latter's hands prior to 1951.;[2] This anonymous sale is identified as "Collection de Rochambeau" in an annotated catalogue housed in the Getty Research Library, Los Angeles (see NAMA curatorial files). | Contains speculative language like 'possibly' or 'likely' |
| 63-17 | Charles;Baring-Wall (1795-1853), Norman Court, Salisbury, England, by 1853;By;descent to Sir Francis George Baring (1850-1929), Salisbury, England, by 1907;Purchased;at his sale, Ancient and Modern Pictures;Christie, Manson and Woods, London, May 4, 1907, lot 55, as by C. Amberger, Portrait of a Divine, by Colnaghi and;Co., London, 1907-1909;Purchased;from Colnaghi by Baron Rudolf von Gutmann (1880-1966), Vienna, 1909 [1];With;Walter Feilchenfeldt, Ascona, Switzerland, on joint account with Pinakos, Inc.;[Rudolf Heinemann], New York, Frederic Mont, Inc., New York and Knoedler and;Co., New York, Knoedler stock book 9, no. A3689, by June 16, 1947-November 11;1947 [2];Purchased;from Feilchenfeldt, Pinakos, Mont and Knoedler by Richard N. Ryan (d. 1949);New York, November 11, 1947;With;Paul Drey Gallery, New York, 1954;With;Frederick Mont, Inc., New York, 1962-1963;Purchased;from Mont by The Nelson-Atkins Museum of Art, Kansas City, MO, 1963.;NOTES;[1];Gutmann, a Jewish industrialist, fled Austria on March 11, 1938 at the time of;the Anschluss, travelling through Czechoslovakia and Switzerland before;arriving in Canada December 14, 1940, where he and his wife settled. According;to the List of Austrian Monuments created by the American Commission for the Protection and Salvage of Artistic and;Historic Monuments in War Areas (Roberts Commission), this painting was;located at Schloss Perlhof, Gutmann\'92s home outside of Vienna in Gie\'dfh\'fcbl. Most;of Gutmann\'92s collection at Schloss Perlhof was confiscated by the German;National Socialist (Nazi) Gestapo in March 1938. This painting, however, was;not included in the works from Gutmann\'92s collection inventoried by the Germans;at their Neuen Berg repository at the Kunsthistorisches Museum in Vienna (where;most of the Gutmann collection was taken). In a note dated November 19, 1938;an employee named Otto Demus of the Zentralstelle f\'fcr Denkmalschutz im;Bundesministerium f\'fcr Unterricht (Central Office for Monument Protection), who;was asked to investigate missing artworks from the Gutmann collection on behalf;of the Gestapo, describes the painting as missing from Gutmann\'92s Beethovenplatz;3 apartment, as well as his country houses Hagenbackhaus and Gie\'dfh\'fcbl. See Bundesdenkmalamt \'d6sterreich Archives, Vienna, Rudolf Gutmann;Restitutionsmaterialen (Zl. 4051/Dsch./1938). One of the paintings Demus was;searching for, a Schongauer, was sold to the Alte Pinakothek in Munich.;According to Anneliese Schallmeiner, Kommission f\'fcr Provenienzforschung;Bundesdenkmalamt, in an email to MacKenzie Mallon, Specialist, Provenance;April 28, 2016, Dr. Andrea Bambi of the Pinakothek verified that they have no;record of the Gossaert in their files. Most of Gutmann\'92s collection was;restituted to him (with the help of Austrian dealer Christian Nebehay);following the war in 1947, but this painting does not appear in Allied;restitution records. Internal correspondence within the Office of Military;Government for Germany (OMGUS) dated July 11, 1946, mentions that the location;of the Gossaert painting was unknown. For full documentation, see NAMA;curatorial files.;[2] The entry for;this painting in Knoedler\'92s stock book 9 indicates Knoedler received this;painting May 21, 1947. However, according to Walter Feilchenfeldt, the dealer\'92s;son, in an email to MacKenzie Mallon, Specialist, Provenance, November 1, 2015;NAMA curatorial files, a letter from the senior Feilchenfeldt to Dr. Grete;Ring, Paul Cassirer, Ltd., London, dated June 16, 1947 from Ascona;Switzerland, indicates Feilchenfeldt had the painting at that time and each of;the four dealers owned a quarter share. | Contains 'unknown' indicating lack of specific details |
| 61-1 | P. Mengarini, Rome, as by Joachim Patinir, by 1926 [1];Professor Niccol\'f2 Castellino (1893-1953), Rome, as by Joachim Patenier, by 1932;With Frederick Mont, New York, as by Joachim Patinier, by June 1960;Purchased from Mont by The Nelson-Atkins Museum of Art, Kansas City, MO, 1961.;NOTES;[1] G. J. Hoogewerff ("Joachim Patinir in Itali\'eb", Onze Kunst 43, no. 1 (January 1926): 20), notes this may possibly be Pietro Mengarini (1869-1924), an Italian Pointillist artist living in Rome. | Contains speculative language like 'possibly' or 'likely' |
| 61-2 | Private collection, Amsterdam;Martinus Joseph Antonius Maria Schretlen (1890-1972);Amsterdam, 1958-60;R.M Light and Company, Boston, 1960-61;Purchased from R.M. Light and Company by The Nelson-Atkins;Museum of Art, Kansas City, MO, 1961. | Mentions 'private collection' without specifying owner or dates |
| 46-69 | Probably;purchased from the artist by the dealer Paul Guillaume (1891-1934), Paris, as L\'92homme \'e0 la mandolin, by December 21;1928-at the latest February 14, 1929 [1];Purchased;from Paul Guillaume by Valentine Gallery, New York, by February 14, 1929;Purchased;from Valentine Gallery by Stephen C. Clark (1882-1960), New York, probably;February 14, 1929-March 20, 1941 [2];His gift to;The Museum of Modern Art, New York, March 20, 1941-May 11, 1944 [3];Its sale, Modern Paintings and Sculptures\'85Property of;The Museum of Modern Art, Parke-Bernet Galleries, New York, May 11, 1944;lot 85 [4];With Dalzell;Hatfield Galleries, Ambassador Hotel, Los Angeles, by September 19, 1946;Purchased;from Dalzell Hatfield by The Nelson-Atkins Museum of Art, Kansas City, MO;1946.;NOTES;[1] Andr\'e9;Derain was under contract with Paul Guillaume from 1924-1934. According to;Sylphide de Daranyi, Charg\'e9e d\'92\'e9tudes documentaires, Mus\'e9e de l\'92Orangerie, in;an email to MacKenzie Mallon, Specialist, Provenance, December 15, 2016, NAMA;curatorial files, this painting was included in an album Paul Guillaume;assembled, probably documenting works he owned, as \'93Derain A 390.\'94 The painting;also appears in Guillaume\'92s magazine, Les;Arts \'e0 Paris 16 (January 1929), 27.;[2] Stephen;Clark lent Guitar Player to the Painting in Paris exhibition at the;Museum of Modern Art in January 1930. According to Julia May Boddewyn, an;independent scholar researching the Valentine Gallery, in an email exchange;with MacKenzie Mallon, Specialist, Provenance, December 2016, NAMA curatorial;files, Clark purchased four Derains from the Valentine Gallery prior to January;1930. Based on Guitar Player \'92s date;size and subject matter in relation to the other Derains in Clark\'92s collection;NAMA\'92s painting is most likely the Derain listed in the Valentine Gallery\'92s;sales records (Museum of Modern Art, New York) as sold to Clark in February;1929.;[3] Museum;of Modern Art, New York, deaccessioning files. The painting was never formally;accessioned into the museum\'92s collection, and was placed on consignment with;Valentine Gallery prior to its sale at auction.;[4] According;to Christina Eberli, Sotheby\'92s New York, in an email to MacKenzie Mallon;Specialist, Provenance, December 20, 2016, NAMA curatorial files, the painting;was most likely bought by an agent or dealer. | Contains speculative language like 'possibly' or 'likely' |
| 44-45 | Berta Gerster-Gardini (d. 1951), Dresden, Cincinnati and New York, by October 9, 1941 [1];Purchased from Gerster-Gardini by Durlacher Brothers, New York, October 9, 1941-September 29, 1944;Purchased from Durlacher by Fred C. (d. 1945) and Susan Gay (d. 1955) Vincent, Mission Hills, KS, September 29, 1944;Their gift to The Nelson-Atkins Museum of Art, Kansas City, MO, 1944.;NOTES;[1] Gerster-Gardini moved to the U.S. in 1922. See Philip Hart, Fritz Reiner: a Biography (Evanston, IL: Northwestern University Press, 1994): 23-28. As the painting was lent by an unknown lender in 1937 to Durlacher Brothers, which purchased the painting from Gerster-Gardini three years later, it is possible that Gerster-Gardini owned it by 1937. | Contains 'unknown' indicating lack of specific details |
| 33-1388 | Possibly Hudson Collection;Possibly Nollekens Collection;Sir John Charles Robinson (1824-1913), London, possibly by;1902 [1];Possibly purchased from A;Valuable Collection of Drawings by Old Masters formed by a Well-Known Amateur;During the last Forty Years, Christie\'92s, London, May 12-14, 1902, lot 248;erroneously as by to Palma Giovine, as Piet\'e0;by Armitage;Purchased from E. Parsons and Sons, Ltd., London, through;Harold Woodbury Parsons, by The Nelson-Atkins Museum of Art, Kansas City, MO;1933.;NOTES;[1] Lugt 1433 | Contains speculative language like 'possibly' or 'likely' |
| 56-51 | Marie Caroline de Bourbon, Duchesse de Berry (1798-1870), Palazzo Vendramin-Calergi, Venice, as by Luca di Leida (Lucas van Leyden), by 1856-1865;Purchased at her sale, Tableaux Anciens et Modernes, H\'f4tel Drouot, Paris, April 19, 1865, lot 434, as by Lucas de Leyde, by Roger marquis de Podenas, on behalf of M. le Comte de la Ferronnays (d. 1867), Paris, 1865-at least 1866;Count Paul Demidoff, 2nd Prince of San Donato (1839-1885), Polverosa, Italy, by 1869;Purchased at his sale, Tableaux Anciens et Modernes, H\'f4tel Demidoff, Paris, April 1-3, 1869, lot 3, as by Petrus Christophsen, by \'c9tienne-Fran\'e7ois Haro (1827-1897), Paris, 1869;Possibly Henri, Comte de Chambord (1820-1883), 1873;Duc de Blacas [1];With Frederick Mont and Company, New York, by 1956 [2];Purchased from Mont by The Nelson-Atkins Museum of Art, Kansas City, MO, 1956.;NOTES;[1] The Duc de Blacas is listed in the provenance included in Frederick Mont and Co.\'92s invoice to NAMA dated March 29, 1956. This may be Pierre de Blacas d\'92Aulps (1853-1937). According to Patrick J. Kelleher, Curator of European Art, in a letter to Erwin Panofsky, March 5, 1956, NAMA curatorial files, the painting was bought from a descendant of the Duchess de Berry in Switzerland.;[2] According to the Frederick Mont and Co. invoice dated March 29, 1956, NAMA curatorial files, Mont and Co. was a joint owner of the painting. The other owner(s) are currently unknown. | Contains 'unknown' indicating lack of specific details; Contains speculative language like 'possibly' or 'likely' |
| 54-35 | Samuel, Graf von Festetits (1806-1862);Vienna, by 1859;Possibly purchased from Graf von;Festetits by Georg Plach (d. 1885), Vienna, 1859;Possibly F. J. Gsell (1812-1871), by September;20, 1871;Possibly sold;at his posthumous sale, Versteigerung der;Grossen Gallerie und der \'fcbrigen Kunst-Sammlungen des am 20. September 1871;verstorbenen Herrn F. J. Gsell, Georg Plach, S\'e4len des K\'fcnstlerhauses;Vienna, March 14, 1872, no. 63, as M\'e4nnliches;Portrait. Im Harnisch. Mit dem Ludwigskreuze [1];Baron Nathaniel Mayer von Rothschild;(1836-1905), Theresianumgasse, Vienna, probably by 1893-1905;By descent to his nephew, Baron Alphonse;Mayer von Rothschild (1878-1942) and his wife, Clarice Adelaide von Rothschild;(n\'e9e Sebag-Montefiore, 1894-1967), Theresianumgasse, Vienna, 1905-1938;Confiscated from the Rothschilds by German;National Socialist (Nazi) forces, 1938-May 1945 [2];Recovered by Allied forces, May;1945-May 16, 1946 [3];Returned by Allied forces to Austria;May 16, 1946-September 24, 1947;Restituted by Austria to Clarice;Adelaide von Rothschild, New York, September 24, 1947-1954 [4];Purchased from Rothschild by Rosenberg and;Stiebel, New York, 1954;Purchased from Rosenberg and Stiebel by;The Nelson-Atkins Museum of Art, Kansas City, MO, 1954.;NOTES;[1] It is not clear from the;description if this is indeed NAMA\'92s painting, and there is no reproduction in;the sales catalogue.;[2] The;collections of Baron Alphonse and Clarice von Rothschild were confiscated by;the Gestapo soon after the German annexation of Austria in March 1938. This;painting was taken to the Nazi depot for confiscated art objects at the Kunsthistorisches;Museum, Neue Burg, Vienna, in 1939, where it was inventoried as number AR 863, \'93K\'f6nig;Friedrich IV v. D\'e4nemark\'94 (see Katalog;beschlagnahmter Sammlungen, inbesondere der Rothschild-Sammlungen in Wien;Verlags-Nr. 4938, Staatsdruckerei Wien;1939, Privatarchiv, reproduced in Sophie Lille, Was einmal war: Handbuch der enteigneten Kunstsammlungen Wiens;(Vienna: Czernin Verlag, 2003), 1031). It was intended for Hitler\'92s;planned F\'fchrermuseum in Linz and included in inventories of Linz objects dated;October 20, 1939 and July 31, 1940 (National Archives and Records;Administration, RG 260, Records Concerning the Central Collecting Points;Munich, Restitution Research Records, Linz Museum: Consolidated Interrogation;Report No. 4, Catalog ID 3725274). The painting was transferred to the Nazi;repository at the Kremsm\'fcnster Abbey, where it was assigned inventory number;K976. From there it was moved to the F\'fchrerbau in Munich on December 16, 1943;and assigned inventory number 3219 (National Archives and Records;Administration, RG 260, Records Concerning the Central Collecting Points;Munich, Restitution Research Records, Reger, Hans: Transport Correspondence and;Lists, Catalog ID 3725274). It was subsequently transferred from the F\'fchrerbau;to the Nazi repository in a salt mine at Alt Aussee, Austria on August 24, 1944;(Bundesarchiv, Koblenz, Germany, B323/6).;Copies of Allied and German documents describing the painting\'92s wartime movements;are in the NAMA curatorial files.;[3] Following;the discovery of the art objects in the Alt Aussee salt mine in May 1945, the;officers of the U.S. Army\'92s Monuments, Fine Arts and Archives Section (the;\'93Monuments Men\'94) worked to catalog every looted object and return it to its;rightful owner. This painting was sent to the Munich Central Collecting Point;on July 17, 1945, where;it was assigned numbers Aussee 3237 and Mun. 4588 (Bundesarchiv;Koblenz, Germany, B323/656, MCCP Restitution Card File). Upon its transfer to;the US Allied Commission of Austria on May 16, 1946, it returned to Kremsm\'fcnster;from where it was restituted to the Rothschild family (National Archives and;Records Administration, RG 260, Records of the Reparations and Restitutions;Branch of the USACA Section, General Administrative Records, Stift Kremsm\'fcnster;R&R 41, Catalog ID 1561451).;[4] Bundesdenkmalamt Archives, Vienna;Restitution Materials, Sammlung Alphons Rothschild, Kartons 53/1 and 53/3.;Copies of restitution documents provided by Anneliese Schallmeiner, Commission;for Provenance Research at the Bundesdenkmalamt, see NAMA curatorial files. Also;Rothschild Archive, London, 000/2135/12. | Contains speculative language like 'possibly' or 'likely' |
| F73-30 | Purchased by Louisine Waldron Elder (later Mrs. H. O.;Havemeyer, 1855-1929), New York, by 1877-no later than January 6, 1929 [1];By descent to her daughter, Mrs. Peter Hood Ballantine Frelinghuysen;(n\'e9e Adaline Havemeyer, 1884-1963), Morristown, NJ, and Palm Beach, FL, by;April 10, 1930-July 25, 1932 [2];Given to her son, George Griswold Frelinghuysen (1911-2004);Beverly Hills, CA, 1932-April 14, 1965 [3];Purchased at his sale, Impressionist;and Modern Paintings, Sculptures, Drawings: \'93La Glace Haute\'94 and \'93Ma Maison \'e0;Vernon\'94 by Bonnard, \'93La Barque \'e0 St. Jean\'94 and \'93La Madone du Village\'94 by;Chagall, \'93R\'e9p\'e9tition de Ballet\'94 by Degas, \'93La Baignade devant le Port de;Pont-Aven\'94 by Gauguin, \'93Femme \'e0 l\'92Ombrelle Verte\'94 by Matisse, \'93Les Peupliers\'94;and \'93Nymph\'e9as\'94 by Monet, \'93Volume de Choses\'94 by Sta\'ebl, \'93Les D\'e9chargeurs\'94 by Van;Gogh, \'93Portrait de la Comtesse de Noailles\'94 by Vuillard, Sotheby\'92s, New;York, April 14, 1965, lot 49, as R\'e9p\'e9tition;de ballet, through Stephen Hahn, New York, by Norton Simon (1907-1993), Beverly Hills, CA, 1965- May 2, 1973;Purchased at his sale, Ten;Important Paintings and Drawings from the Private Collection of Norton Simon;Sotheby\'92s, New York, May 2, 1973, lot 7, as Repetition;[sic] de ballet, by Marlborough Gallery, Vaduz;Liechtenstein, May 2-November 16, 1973;Purchased from Marlborough Gallery by The Nelson-Atkins;Museum of Art, Kansas City, MO, 1973.;NOTES;[1] Elder wrote in her memoirs that she purchased the pastel;at an unnamed color shop. Scholars have not been able to definitively identify;which one, but Portier, Latouche and P\'e8re Tanguy have all been proposed.;Tanguy\'92s shop is cited by Susan Alyson Stein in Elder\'92s memoirs. See Frances;Weitzenhoffer, The Havemeyers;Impressionism Comes to America (New York: Harry;N. Abrams, 1986), 21, and Louisine W. Havemeyer, Sixteen to Sixty: Memoirs of a Collector, ed. Susan Alyson Stein;2nd ed. (New York: Ursus Press, 1993), 331n291.;The date of Elder\'92s purchase of the work is not certain, but;it was one of Elder\'92s first purchases, bought on the advice of her friend;artist Mary Cassatt (American, 1844-1926). Most scholars agree that Elder;bought the pastel by 1877, see Havemeyer, Sixteen;to Sixty, 331n291. Elder definitely owned the pastel before February 1878;when she lent it to the Eleventh Annual;Exhibition of the American Water Color Society.;[2] Louisine Havemeyer may have given the pastel to her;daughter when she married on February 7, 1907. Havemeyer writes, \'93As each of;you acquired a home of your own I gave to you works of art to beautify it;believing it would be the wish of Father to have me do so. These objects are;yours and the disposition you finally make of them, your responsibility.\'94;Havemeyer also noted, \'93Degas: I have given Adaline\'85the one I bought when a;girl.\'94 This was probably in reference to the Nelson-Atkins\'92 pastel, which;Havemeyer fondly recalled her in memoires as her first Degas purchase when she;was still a teenager. See Louisine Waldron Elder Havemeyer, \'93Notes to My;Children\'94 regarding disposition of Havemeyer art collection, Series II. Miscellaneous, box 3;folder 23, pp. 1, 7, The Havemeyer Family Papers relating to Art Collecting;The Metropolitan Museum of Art Archives, New York. In any case, the pastel was;not in Havemeyer\'92s will listing artworks to be donated to the Metropolitan;Museum of Art, New York, and it was also not among the artworks donated by;Havemeyer\'92s three children in 1929. It was published in the 1931 H. O. Havemeyer Collection catalogue as;being in Frelinghuysen\'92s collection.;[3] Paper label on the pastel\'92s verso inscribed: \'93To George;on his / 21 st birthday / from Mother\'94. | Mentions 'private collection' without specifying owner or dates |
| F61-68 | Commissioned by Guiliano della;Rovere (later Pope Julius II, 1443-1513) for the Church of SS. Apostoli, Rome;by 1513;With Domenico Corvisieri, Rome, by;1911;Purchased;from Corvisieri by Count Gr\'e9goire Stroganoff (1829-1910), Rome, as Saint Andrew, by 1910;Possibly with Galleria Sangiorgi;Rome [1];With Jacob Hirsch, New York;With Harold Woodbury Parsons, New;York, on joint account with Jacques Seligmann and Co., New York, stock no.;8001, August 4, 1950-March 27, 1952 [2];Purchased from Parsons and Jacques;Seligmann and Co. by the Samuel H. Kress Foundation, New York, stock no.;K-1923, March 27, 1952-1961;Their gift to The Nelson-Atkins;Museum of Art, Kansas City, MO, 1961.;NOTES;[1] Galleria Sangiorgi is listed as;a former owner on a photograph in the Kunsthistorisches Institut in Florenz;Photo Library, copy in NAMA curatorial files.;[2] Archives of American Art;Washington, DC, Jacques Seligmann and Co. records, Box 286, folder 2, bound;stock lists: all stock, 1950-1960s, copy in NAMA curatorial file. | Contains speculative language like 'possibly' or 'likely' |
| F83-36 | Marchese Carlo Gerini (d. 1757), by 1757;Purchased by the collector\'92s father, Vienna, ca. 1930;Private collection, San Francisco, by 1981;Purchased at Sotheby Parke Bernet, Los Angeles, November 4;1981, no. 752, as Leda and the Swan with;Amore, by Alex Wengraf, Ltd., London, 1981-July 25, 1983;Purchased from Alex Wengraf, Ltd. by The Nelson-Atkins Museum;of Art, 1983. | Mentions 'private collection' without specifying owner or dates |
| 92-35 | Possibly;posthumous sale of the artist, Tableaux;esquisses, dessins, \'e9tudes diverses, estampes, livres \'e0 figures, etc., appartenant;\'e0 la succession de feu G\'e9ricault, peintre d\'92histoire, H\'f4tel de Buillon, Paris, November 2-3, 1824, lots 12 or;14 [1];Possibly;posthumous sale of M.G., ancien Pair de France, Tableaux anciens, dont un tr\'e8s beau de Nicolas Poussin, dessins;estampes, etc., provenant du Cabinet de M. G***, H\'f4tel des ventes, Rue;Drouot, n\'ba 2, Paris, January 31-February 1, 1853, lot 5, as Mort de Lucr\'e8ce [2];Possibly Maillet collection;Dr. Gillon, Paris, by August 30, 1953;With Drouot-Richelieu, Paris, by;November 27, 1991;Purchased at sale;Importants bijoux, estampes et tableaux;modernes, art antique, afrique, am\'e9rique, oc\'e9anie, Drouot-Richelieu, Paris;November 27, 1991, lot 84, as Le serment;de Brutus apr\'e8s la mort de Lucr\'e8ce, dit aussi la mort de Camille, by;Richard L. Feigen and Company, New York, November 27, 1991-May 18, 1992;Purchased from Feigen by the;Nelson-Atkins Museum of Art, Kansas City, MO, 1992.;NOTES;[1] See Lorenz Eitner, \'93The Sale of;G\'e9ricault\'92s Studio in 1824,\'94 Gazette des;Beaux-Arts 53, no. 1081 (February 1959): 119, Jacques Thullier and Philippe;Grunchec, Tout l\'92oeuvre peint de;G\'e9ricault, rev. ed. (Paris: Flammarion, 1991), p. 89, letter from Lorenz;Eitner, Stanford University, to Ann Guite, Richard L. Feigen and Company, January 30, 1992, NAMA curatorial;files.;[2] See note 1. | Contains speculative language like 'possibly' or 'likely' |
| F62-46 | With Galerie;Barbazanges Hodebert, Paris, as Sannois;rue Carnot, by January 2, 1925;Adele Rosenwald;Levy (1892-1960), New York, possibly by 1936-1960 [1];By;inheritance to the Adele R. Levy Fund, 1960-1962;Its gift to;The Nelson-Atkins Museum of Art, Kansas City, MO, 1962.;NOTES;[1] According to Alfred Frankfurter, \'93Adele Levy;and her Pictures,\'94 in The Mrs. Adele R.;Levy Collection: a Memorial Exhibition, exh. cat. (Museum of Modern Art;New York, 1961), 9, Levy had an Utrillo in her collection by 1936, although it;is unclear if this was the NAMA painting. | Contains speculative language like 'possibly' or 'likely' |
| F79-42 | Possibly;with Chiltern Street Gallery, London, ca. 1959 [1];Fine Old Master Pictures, Christie;Manson & Woods, London, November 3, 1978, lot 95, as The Church Triumphing over Evil;With;Somerville & Simpson, Ltd., London, by March 20, 1979;Purchased;from Somerville & Simpson, through the generosity of Mrs. Joseph Real;Brown, by The Nelson-Atkins Museum of Art, Kansas City, MO, 1979.;NOTES;[1] Michael;Simpson, Somerville & Simpson, Ltd., to Edgar Peters Bowron, Curator, March;20, 1979, NAMA curatorial files. | Contains speculative language like 'possibly' or 'likely' |
| 38-5 | Paul Gauguin (1848-1903);Tahiti and Paris, 1891-no later than September 29;1901 [1];Purchased from Gauguin by Georges-Daniel de;Monfreid (1856-1929), Paris;by September 29, 1901-December 21, 1901 [2];Purchased from Monfreid by Ambroise Vollard (1866-1939), Paris, December 21, 1901-at least;March 15, 1912, Stockbook B, no. 3330, as Femme en rouge dans un fauteuil, and no. 4506, Femme assise sur un;fauteuil [3];Probably purchased from Vollard by Johann Erwin;Wolfensberger (1873-1944), Zurich, ca. spring 1912-at least September 15, 1928;[4];Probably purchased from Wolfensberger through;Justin Kurt Thannhauser (1892-1976), Berlin, by Josef Stransky (1872-1936), New;York, ca. October 1928-March 6, 1936 [5];Stransky estate, New;York, 1936-January 4, 1938 [6];Purchased from the;Stransky estate through Wildenstein, New York, by The Nelson-Atkins Museum of;Art, Kansas City, MO, 1938.;NOTES;[1] Some scholars believe that Faaturuma;was bought in by Gauguin at the following sale: Vente de tableaux et dessins par Paul Gauguin;H\'f4tel Drouot, Paris, February 18, 1895, no. 30, as Faturuma [sic], see;Richard Brettell et al., The Art of Paul;Gauguin, exh. cat. (Washington: National Gallery of Art, 1988), 228. Others;believe Te Faaturuma (Worcester Art Museum) is more likely to have been;included in this sale as no. 30, see Jonathan Pascoe Pratt, \'93Ambroise Vollard: Dealer;and Publisher 1893-1900,\'94 (PhD diss., The Courtauld Institute of Art, 2006);77. The Wildenstein Institute and Worcester Art Museum both agree with Pratt, see;letter from Sylvie Crussard, Wildenstein Institute, to Meghan Gray and Simon;Kelly, November 6, 2009, e-mail from Sylvie Crussard, Wildenstein Institute, to;Brigid Boyle, August 24, 2015, and e-mail from Karysa Norris, Curatorial;Assistant, Worcester Art Museum, to Brigid Boyle, November 16, 2015, NAMA;curatorial files.;On June 28, 1895, Gauguin departed Marseille for;Tahiti, leaving behind the paintings from his first Tahitian trip, including Faaturuma.;He likely entrusted them to Georges-Daniel de Monfreid with instructions to;sell them. Monfreid purchased Faaturuma from Gauguin sometime between June 1895 and September 1901.;[2];In a letter dated September 29, 1901, Monfreid;informs Vollard that an amateur collector has expressed interest in purchasing Faaturuma;from him. Since Vollard \'93 avez;la priorit\'e9 sur d\'92autres \'94 [has priority over others] as Gauguin\'92s agent;Monfreid gives him the option of purchasing Faaturuma himself, see;letter from Georges-Daniel de Monfreid to Ambroise Vollard, September 29, 1901;Harry Ransom Center, Carlton Lake Collection, Container 189.10. Vollard agreed;to purchase the painting, see letter from Ambroise Vollard to Georges-Daniel de;Monfreid, October 2, 1901, Getty Research Institute, Miscellaneous Papers Regarding;Ambroise Vollard (1890-1939), Series I, Box 1, Folder 18. He completed his;purchase on December 21, 1901, see letter from Ambroise Vollard to;Georges-Daniel de Monfreid, December 23, 1901, Getty Research Institute, Miscellaneous;Papers Regarding Ambroise Vollard (1890-1939), Series I, Box 1, Folder 19.;Bengt Danielsson claims erroneously that Vollard;purchased Faaturuma as early as 1893, after it was exhibited at the Galeries Durand-Ruel, see Gauguin in the South Seas, trans.;Reginald Spink (1964, Garden City, NY: Doubleday, 1966), 155.;[3] Faaturuma remained in Vollard\'92s;possession until at least March 15, 1912, when Vollard shipped the painting to;Zurich for the Ausstellung von Werken Paul Gauguin\'92s im;Kunstsalon Wolfsberg (March 17-April 15, 1912), see Mus\'e9e d\'92Orsay;Paris, Documentation Center;Fonds Vollard, Ms 421 (4,13), Registre consignant des exp\'e9ditions, avec;adresses des destinataires, du 33 mai 1907 au 15 f\'e9vrier 1923, f\'ba 46-47.;Stockbook B is preserved at the Mus\'e9e d\'92Orsay, Paris;Documentation Center, Fonds Vollard, Ms 421 (4,5), Registre des entr\'e9es et sorties de juin 1904 \'e0 d\'e9cembre;1907 avec des achats aux artistes Gauguin, Redon, C\'e9zanne, Valtat, Denis;Cassatt, K. X. Roussel. There is also a glass;plate of Faaturuma preserved at the Mus\'e9e d\'92Orsay, Paris, Documentation;Center, Archives photographiques du fonds Vollard, ODO;1996-56-3722, which bears the stock number 4506.;[4] After the close of the Ausstellung von Werken Paul;Gauguin\'92s im Kunstsalon Wolfsberg, an exhibition of works loaned by;Ambroise Vollard, Johann Erwin Wolfensberger (owner of the Kunstsalon Wolfsberg);purchased a Gauguin painting from Vollard for 9000 francs, which he paid in two;installments. The first installment of 2000 francs was received on June 18;1912 and the second installment of 7000 francs was received on July 12, 1912;see Mus\'e9e d\'92Orsay, Paris, Documentation Center, Fonds Vollard, Ms 421 (5,8), Agenda de;bureau pour 1912, p. 112 and 131. Vollard\'92s agenda book does not identify the;painting by title or stock number, but Lukas Gloor believes the painting;Wolfensberger purchased was Faaturuma, see Rapha\'ebl Bouvier and Martin Schwander;eds., Paul Gauguin, exh. cat. (Basel;Beyeler Museum, 2015), 189. As Gloor points out, Faaturuma disappears;from Vollard\'92s books after the spring of 1912, see e-mail from Lukas Gloor;Director, Sammlung E. G. B\'fchrle;to Brigid Boyle, July 23, 2015, NAMA curatorial files.;Faaturuma remained in Wolfensberger\'92s;collection until at least September 15, 1928, when the Kunsthalle Basel;returned it to him after the close of their exhibition, Paul Gauguin, 1848-1903 (July 1-September 9, 1928), see letter from;the Kunsthalle Basel to J. E. Wolfensberger, September 15, 1928, Staatsarchiv des Kanton Basel-Stadt, Basel;Pa 888a N6 (1) 239.;The Wildenstein catalogue raisonn\'e9 of 1964;tentatively suggests that a certain \'93Dr. Hahnloser, Zurich\'94 owned Faaturuma;between Vollard and Wolfensberger. The best-known collectors fitting this;description are Arthur Hahnloser (1870-1936) and his brother Emil Hahnloser;(1874-1940). However, neither began collecting works by Gauguin until after;World War I. As Lukas Gloor notes, \'93an acquisition by Arthur Hahnloser of Faaturuma;in 1912 would\'85have been totally out of sync with Arthur\'92s collecting behaviour at that time\'94 and;\'93an acquisition by Emil Hahnloser of Faaturuma in 1912 would have been a;totally isolated affair\'94, see e-mail from Lukas Gloor, Director, Sammlung E. G. B\'fchrle, to Brigid Boyle;July 23, 2015, NAMA curatorial files.;[5] The Wildenstein catalogue raisonn\'e9 of 1964 claims;that Justin K. Thannhauser owned Faaturuma between Wolfensberger and;Stransky, but there is no documentary evidence to support this. Shortly after;receiving Faaturuma back from the Kunsthalle Basel in September 1928;Wolfensberger presumably shipped it to Berlin for the exhibition Paul Gauguin, 1848-1903 (October 1928) at;the Galerien Thannhauser. Sylvie Crussard believes that Justin K. Thannhauser;acted as an intermediary for Wolfensberger when he sold Faaturuma, see;e-mail from Sylvie Crussard, Wildenstein Institute, to Brigid Boyle, August 24;2015, NAMA curatorial files. This was not without precedent: in 1920, Stransky;purchased Gauguin\'92s A Farm in Brittany (Metropolitan Museum of Art;54.143.2) from Thannhauser, who had it on consignment from a private collector.;However, Dr. G\'fcnter Herzog found no reference to Faaturuma in the archives;of the Galerien Thannhauser, Zentralarchiv;des internationalen Kunsthandels, Cologne, see e-mail from G\'fcnter Herzog;to Brigid Boyle, August 12, 2015, NAMA curatorial files.;Stransky definitely owned Faaturuma by May 16;1931, when his collection was featured in Art News. Mark Aitken;Stransky\'92s great-nephew, does not know how Faaturuma came into;Stransky\'92s possession, nor does he believe any documentation of Stransky\'92s;collection has survived, see phone conversation between Mark Aitken and Brigid;Boyle, June 16, 2015, NAMA curatorial files.;[6] When Stransky died in 1936, married but;childless, Faaturuma passed to his estate. Wildenstein negotiated with the;estate on behalf of the Nelson-Atkins, see Trustees\'92 Meeting, December 10;1937, NAMA curatorial files. | Contains speculative language like 'possibly' or 'likely' |
| F78-13 | With;Moderne Galerie Thannhauser, Munich, stock no. 6920, by 1919 [1];With Galerie M. Goldschmidt, Frankfurt, by 1929;Rathe;Richter, Berlin;Karen Gutmann (ne\'e9 Rosin, 1906-2000), New;York, by February 1975 [2];Purchased;from Gutmann through D. Zargar, New York, by The Nelson-Atkins Museum of Art;Kansas City, MO, 1978.;NOTES;[1];A partial label on the back of the painting was confirmed to be from Moderne;Galerie Thannhauser by Brigitte Jacobs van Renswou, Zentralarchiv des;internationalen kunsthandels E.V., in an email to MacKenzie Mallon, Specialist;Provenance, September 21, 2015, NAMA curatorial files. According;to G\'fcnter Herzog, Archives Director, Zentralarchiv des internationalen;kunsthandels E.V., in conversation with MacKenzie Mallon, October 17, 2016, the;painting must have been with Thannhauser prior to 1919, based on the extant;label and the lack of documentation of the painting in the Thannhauser records;at the Zentralarchiv.;[2];There is some confusion surrounding Karen Gutmann\'92s acquisition of the;painting. According to Mark Sussman, Gutmann\'92s grandson, in an email to;MacKenzie Mallon, Specialist, Provenance, January 4, 2016, NAMA curatorial;files, Gutmann told a family member she purchased the painting in Paris as a;young woman of about 20 years old, or ca. 1924-26. However, according to Harry;Bober, Gutmann\'92s art advisor, in a letter to Ralph Coe, Director, May 17, 1978;NAMA curatorial files, Gutmann told Bober the painting had been in her;possession for 27 years (purchased ca. 1951). According to an unknown contact;at Gutmann Frames, New York, in a phone call dated February 17, 1987 and noted;in NAMA curatorial files, Gutmann purchased the painting from Thannhauser. Karen;Gutmann consigned the painting to Wildenstein and Co. from February 1975 to;January 1977. | Contains 'unknown' indicating lack of specific details |
| 48-43 | Possibly;commissioned from the artist by Ferdinando Gonzaga (1587-1626), 6th Duke of;Mantua, Palazzo Ducale, Mantua, by 1626 [1];Possibly;with Gonzaga heirs, 1626-at least 1709;Possibly;Pierre Crozat (1665-1740), Paris, by 1740;Possibly;inherited by his nephew, Louis-Fran\'e7ois Crozat, marquis du Ch\'e2tel (1691-1750);Paris, 1740-1750;Possibly;inherited by his brother, Joseph Antoine Crozat, baron de Tugny (1696-1751);Paris, 1750-1751;Possibly purchased at Tableaux;et sculptures, tant en bronze qu'en marbre, du cabinet de feu M. le pr\'e9sident;de Tugny et de celui de M. Crozat, Chez L.-F. Delatour, Paris, June 15;1751, lot 118, by Go\'fcy;Sir;Arthur Willert, K.B.E. (1882-1973), Headington Hill, Oxfordshire, England, by;April 19, 1944;Purchased;at his sale, Drawings & Paintings;Sotheby\'92s, London, April 19, 1944, lot 76, as A Market Scene with Jewellers in the Foreground, by Koetser;Gallery, New York, 1944-at least 1945 [2];Purchased;from Koetser by Arthur C. Tate (b. 1877), New Canaan, CT, by February 7;1948-December 18, 1948 [3];Purchased;from Tate by Schaeffer Galleries, New York, stock no. 1232, December 18, 1948 [4];Purchased;from Schaeffer by The Nelson-Atkins Museum of Art, Kansas City, MO, 1948.;NOTES;[1];For the possible identification of the Nelson-Atkins painting with the work;commissioned by the Duke of Mantua and its descent through the Gonzaga and;Crozat families, see Eliot W. Rowlands, The;Collections of the Nelson-Atkins Museum of Art: Italian Paintings 1300-1800;(Kansas City, MO: Trustees of the Nelson Gallery Foundation, 1996): 256-257 and;Eduard A. Safarik, Galleria Doria Pamphilj, in a letter to Eliot W. Rowlands;Assistant Curator, November 27, 1989, NAMA curatorial files.;[2];According to Hans Tietze, in a letter to Koetser Gallery, March 4, 1945, NAMA;curatorial files.;[3];Tate placed the painting on consignment with Schaeffer from February;21-December 18, 1948. Getty Research Institute, Los Angeles, Schaeffer;Galleries Records, Box 178, Folder 2.;[4];Getty Research Institute, Los Angeles, Schaeffer Galleries Records, Box 178;Folder 2. | Contains speculative language like 'possibly' or 'likely' |
| 59-1 | Probably Marin De la Haye (1684-1753), Paris;1740-October 3, 1753;To his wife, Madame de la Haye (n\'e9e Marie-Edm\'e9e de;Saint-Mars, d. 1776), Paris, 1753-1776 [1];Purchased from her posthumous sale, Catalogue de Tableaux Originaux De Jacques Bassan, Gaspre Dughet;Philippe Wouwermans, Lenain, Baptiste Monoyer, Desportes, Fran\'e7ois Boucher;Charles Natoire, MM. Pierre, La Gren\'e9e, et autres Ma\'eetres de diverses \'c9coles;Figures et grouppes [sic] de bronze;et de marbre, Tables et Consoles de marbre, Glaces, etc., apr\'e8s le d\'e9c\'e8s de;Madame veuve de M. De La Haye, Fermier-G\'e9n\'e9ral, H\'f4tel Lambert, Paris, December 1, 1778, no. 30, as Un paysage, des fabriques, un moulin \'e0 eau;plusieurs figures et des animaux sur des plans diff\'e9rens [sic], by Pierre;R\'e9my (1715-1797), Paris, 1778-April 5, 1782 [2];Sold by R\'e9my at Tableaux;dont le plus grand nombre des bons Ma\'eetres des trois Ecoles, de peintures \'e0;Gouache et Miniatures, Dessins et Estampes en feuilles et sous verre, Livres et;suites d\'92Estampes. Apr\'e8s le d\'e9c\'e8s de Madame Lancret, et de M**, H\'f4tel de;Bullion, Paris, April 5, 1782, no. 157, and purchased by Ribouret, 1782 [3];A[lphonse-Louis];Pinard (1815-1871), Paris, by 1860-October 18, 1871 [4];Inherited;by his wife, Ad\'e8le Em\'e9lie Pinard (n\'e9e Robert, 1823-1915), Paris, 1871- March;25, 1915 [5];By;descent to her granddaughter, Fernande de Cardevac d\'92Havrincourt, Marquise;d\'92Havrincourt (n\'e9e Pinard, b. 1891), Ch\'e2teau d\'92Havrincourt, Havrincourt, by;July 2, 1958 [6];Purchased;from her anonymous sale, Important Old;Master Drawings and Paintings Including Fine early Drawings of the Italian and;Flemish Schools, Three views near Venice by Canaletto, St Blaise attributed to;Raphael, Examples by Sir Peter Paul Rubens, Antoine Watteau, Nicolas Lancret;and Francesco Guardi, Fine Dutch Paintings, The Property of Mrs. Maud Barchard;and The Meeting of Abraham and Melchizedek by Rubens, Christ in the Act of;Blessing from the Studio of Jan van Eyck, Also Fine Paintings of the English;School, The Property of Lt.-Col. Harold Boyd-Rochfort, A View of Old Hall East;Bergholt by Constable, The Property of Miss M. Gore, and A Portrait of Charles;Lennox, Duke of Richmond by George Romney, The Property of Rt. Hon. Viscount;Ednam, Sotheby\'92s, London, July 2, 1958, no. 111, as Paysage aux Environs de Beauvais et Souvenir d\'92Italie, by Leggatt;Brothers, London, 1958 [7];Probably;purchased from Leggatt by Frederick Mont, Inc., New York, by October 1;1958-1959 [8];Purchased;from Mont by The Nelson-Atkins Museum of Art, Kansas City, MO, 1959.;NOTES;[1];Alastair Laing suggests that Landscap e with a Water Mill and its;pendant, La For\'eat (Mus\'e9e du Louvre, Paris) were painted by;Boucher for Marin de la Haye and retained by his widow. See Fran\'e7ois;Boucher: 1703-1770, exh. cat. (New York: Metropolitan Museum of Art, 1986);186.;[2] An;annotated sales catalogue owned by Pierre R\'e9my that is now at the Philadelphia;Museum of Art Library records \'93Remy\'94 as the buyer. Pierre R\'e9my was the;auctioneer and expert for the sale.;[3];Alastair Laing (Fran\'e7ois Boucher: 1703-1770, 187) has suggested that Mme;Lancret probably never owned NAMA\'92s painting despite the title of this sale.;Rather, he proposes that the auctioneer Pierre R\'e9my inserted NAMA\'92s painting;into her posthumous sale. An annotated sales catalogue housed in the Rijksbureau voor kunsthistorische en;ikonografische Documentatie, The Hague, records the name of the buyer, however;it is mostly illegible. The Getty Provenance Index transcribes it as;\'93Ricouret,\'94 however we defer here to the Mus\'e9e du Louvre\'92s use of Ribouret as;the name of the buyer of both this picture and its pendant, La For\'eat, in its collection.;[4];\'93M. Pinard\'94 was listed as the owner of the Boucher pendants, which are now in;the Louvre and NAMA, in the catalogue accompanying the exhibition of 18 th -century;French paintings held at the galerie Martinet in 1860. According to his posthumous inventory;Alphonse-Louis Pinard owned \'93deux grands tableaux \'e0 Boucher pris\'e9s trois mille;francs,\'94 and \'93deux petits tableaux repr\'e9sentant des paysages peints par Boucher;pris\'e9s mille francs\'94 (see Centre d\'92Accueil et;de Recherche des Archives Nationales (CARAN), Paris, actes notari\'e9s;AN/MC/XIV/911, Records of Marie Louis Ernest Pitaux, Notaire \'e0 Paris, 2, Rue du;Faubourg Poissonni\'e8re, 1871-novembre et d\'e9cembre, \'93Inventaire apr\'e8s le d\'e9c\'e8s de;Monsieur Pinard, 16 novembre 1871,\'94 nos. 178 and 234, in NAMA curatorial files). It is very likely that the entry for two large Boucher paintings;references the NAMA and Louvre pendants, particularly as the latter was in the;collection of Jacques Dubois de Chefdebien, Alphonse-Louis Pinard\'92s grandson;by 1932. In Chefdebien\'92s posthumous sale of 1941, \'93A. Pinard\'94 is listed as the;owner of the Louvre\'92s painting during the 1860 exhibition held at galerie;Martinet. Although the catalogue accompanying Sotheby\'92s, London, sale of July;2, 1958, lists Chefdebien as the owner;of the NAMA picture, there is no documentation or evidence to support this.;[5] According to Alphonse-Louis Pinard\'92s will and;testament, he left his entire estate to his wife, Ad\'e8le Em\'e9lie;Pinard. See Centre d\'92Accueil et de Recherche des Archives;Nationales (CARAN), Paris, actes notari\'e9s, AN/MC/XIV/911, Records of Marie;Louis Ernest Pitaux, Notaire \'e0 Paris, 2, Rue du Faubourg Poissonni\'e8re;1871-novembre et d\'e9cembre, \'93D\'e9p\'f4t judicaire du testament olographe de Monsieur;Pinard, 7 novembre 1871\'94 in NAMA;curatorial files.;[6] Ad\'e8le;Em\'e9lie Pinard\'92s will has not yet been catalogued and was therefore not;available for research as of December 2, 2015 (see Centre d\'92Accueil et de Recherche des Archives Nationales;(CARAN), Paris, actes notari\'e9s, C/RE/XIV/[unnumbered], Minutes et r\'e9pertoires du;notaire Jean PANHARD, 27 avril 1892 - 2 mars 1922, Testament olographe de;Ad\'e8le-Em\'e9lie Robert, veuve de M. Alphonse-Louis Pinard, 25 mars 1915). However, Fernande Pinard most likely acquired the;painting by descent, either directly from her grandmother or through her;father, Andr\'e9 Pinard (d. 1926). The Marquise had;multiple residences in France: Ch\'e2teau d\'92Havrincourt, Amphion, \'c9vian-les-Bains, Cloyes-sur-le-Loir, and Paris (see Annuaire des Chateaux et des;Vill\'e9giatures 47 (1933): 391).;[7];Annotated sales catalogue at the Spencer Art Reference Library, Kansas City;records \'93Leggatt\'94 as the buyer.;[8];Letter from Betty and Frederick Mont to NAMA on October 1, 1958, indicates that;Frederick had just returned from Europe with the painting. See NAMA curatorial files. | Contains speculative language like 'possibly' or 'likely' |
| 50-4/2 | Possibly Richard Ederheimer, New York;With Philip Hofer (1898-1984), Cambridge, MA, by 1949;Purchased from Philip Hofer by Durlacher Brothers, New York;February 24, 1949-1950;Purchased from Durlacher Brothers by The Nelson-Atkins Museum;of Art, Kansas City, MO, 1950. | Contains speculative language like 'possibly' or 'likely' |
| 61-25/2 | Unknown collector with mark of cursive D (not in Lugt) on the verso, bottom left corner;Marsden J. Perry (1850-1935), Providence, RI [1];Wilhelm Reinhold Otto Valentiner (1880-1958), Raleigh, NC;Harry Bertoia (1915-1978), Bally, PA;Purchased from Harry Bertoia by The Nelson-Atkins Museum of;Art, Kansas City, MO, 1961.;NOTES;[1] Lugt 1880 | Contains 'unknown' indicating lack of specific details |
| 61-5 | Robert Mayer;(1873-1973), Vienna, by 1927-at least June 1, 1938 [1];With Edward;R. Lubin, Inc., New York, by November 21, 1960-1961;Purchased;from Edward R. Lubin, Inc. by The Nelson-Atkins Museum of Art, Kansas City, MO;1961.;NOTES;[1] This;sculpture is listed in a June 1, 1938 inventory of Mayer\'92s collection that was;included with the Verm\'f6gensanmeldungen, or Jewish Property Declarations, which Mayer;and his wife Amalie submitted to the National Socialist (Nazi) government in;Austria on June 25, 1938 (\'d6sterreichisches Staatsarchiv, Vienna, AdR, VVst, VA 1917 and VA 1930, copies in NAMA;curatorial files). It was later determined that Robert Mayer did not have;enough Jewish ancestry to classify him as Jewish, and his collection was not;confiscated by the Nazi government. According to a dossier on Mayer prepared by;the Kommission f\'fcr Provenienzforschung dated July 26, 2012, copy in NAMA;curatorial files, Mayer\'92s collection most likely remained in his possession;throughout World War II. | Contains speculative language like 'possibly' or 'likely' |
| 83-27 | Fran\'e7ois Renaud, Paris;Jan Baptist de Graaf (1742-1804), Amsterdam;Fine Old;Master Drawings, Including\'85Fran\'e7ois Boucher, Three Putti in Clouds;Sotheby and Company, London, December 10, 1968, lot 75, as Three Putti in Clouds;Thomas Agnew and Sons, Ltd., London;Private collection;Purchased from Thomas Agnew and Sons, Ltd., London by The;Nelson-Atkins Museum of Art, Kansas City, MO, 1983. | Mentions 'private collection' without specifying owner or dates |
| F61-59 | With Paolo Paolini, Rome, by November 5, 1916;[1];With Giuseppe Salvadori, Florence, by 1925;Probably Achillito Chiesa, Milan, by 1925 [2];Purchased from Chiesa by Count Alessandro Contini;Bonacossi (1878-1955), Rome and Florence, by October 10, 1936;Purchased from Bonacossi by Samuel H. Kress (1863-1955);New York, October 10, 1936-1939;His gift to the National;Gallery of Art, Washington, DC, 1939-1952;Returned by the National Gallery of Art to the;Samuel H. Kress Foundation, 1952-1961;Its gift to The Nelson-Atkins Museum of Art;Kansas City, MO, 1961.;NOTES;[1] According to Harold Woodbury Parsons, in a;letter to Bernard Berenson, November 5, 1916, Biblioteca Berenson, Villa I Tatti;\'96 The Harvard University Center for Italian Renaissance Studies;Florence, Bernard and Mary Berenson Papers, Harold Woodbury Parsons, folder 1.;[2] Raimond van Marle, The Development of the Italian Schools of Painting, Volume V (The;Hague: Nijhoff, 1925), 473-74, locates the painting in a private collection in;Milan, probably that of Achillito Chiesa. Hans D. Gronau, \'93Notes on Trecento;Painting: Some Unpublished Works by Jacopo di Casentino,\'94 Burlington Magazine 53, no. 305 (August 1928): 82, places it in a;private collection in Florence as by Taddeo Gaddi, while footnoting van Marle;as citing it in Milan. The inclusion of Chiesa in this narrative is by;recommendation of the National Gallery of Art, Kress Provenance Research;Project. | Mentions 'private collection' without specifying owner or dates |
| F61-67 | Commissioned;by Guiliano della Rovere (later Pope Julius II, 1443-1513) for the Church of;SS. Apostoli, Rome, by 1513;With Domenico Corvisieri, Rome, by 1911;Purchased from Corvisieri by Count Gr\'e9goire Stroganoff (1829-1910), Rome, as Saint Jude, by 1910;Possibly;with Galleria Sangiorgi, Rome [1];With Jacob Hirsch, New York, by 1952;Purchased from Hirsch by the Samuel H. Kress Foundation, New York, stock;no. K-1922, 1952-1961;Their gift to The Nelson-Atkins Museum of Art, Kansas City, MO, 1961.;NOTES;[1] Galleria Sangiorgi is listed as a former;owner on a photograph in the Kunsthistorisches Institut in Florenz Photo Library;copy in NAMA curatorial files. | Contains speculative language like 'possibly' or 'likely' |
| 50-4/1 | Possibly Richard Ederheimer, New York;With Philip Hofer (1898-1984), Cambridge, MA, by 1949;Purchased from Philip Hofer by Durlacher Brothers, New York, February;24, 1949-1950;Purchased from Durlacher Brothers by The Nelson-Atkins Museum;of Art, Kansas City, MO, 1950. | Contains speculative language like 'possibly' or 'likely' |
| 91-14 | Probably Pope Paul;V Borghese (1552-1621), Palazzo Vaticano, Rome, by 1621 [1];Vatican collection;Anticamera de\'92 Cavalieri detti di Spada e Cappa, Palazzo di Sisto V, Palazzo;Vaticano, Rome, 1621-at least 1766;Possibly seized;from the Vatican by French troops, March-June 1798 [2];Jean-Baptiste-Joseph;Wicar (1762-1834), Rome and Naples, by 1834 [3];Private educational;institution, Philadelphia;With Charles A.;Sterling (1946-2008), Philadelphia, by October 11, 1990 [4];Purchased at his;sale, Old Master Paintings, Sotheby\'92s;New York, October 11, 1990, lot 136, by P. and D. Colnaghi, New York, on joint;account with Newhouse Galleries, New York, 1990-1991 [5];Purchased from;Colnaghi and Newhouse by The Nelson-Atkins Museum of Art, Kansas City, MO;1991.;NOTES;[1] According to;Dr. Herwarth R\'f6ttgen, Institut f\'fcr Kunstgeschichte, Stuttgart, in a letter to;Nicholas Hall, Colnaghi, February 1, 1991, NAMA curatorial files.;[2] The Vatican;collections were sacked by French troops March 9-June 2, 1798.;Jean-Baptiste-Joseph Wicar, the French arts commissioner in Rome, participated;in the looting, although it is unclear if he acquired the painting at this;time.;[3] Wicar bequeathed;this painting to Pope Gregory XVI. \'93Spiegazione di Fiducia emessa Dal Sig.;Giuseppe Carattoli per l\'92Eredit\'e0 del f\'f9 Cav. r Gio: Batta Wicar\'85,\'94 1834;Istromenti di Filippo Bacchetti, fol. 331v, 30 Notari Capitolini, Ufficio I, vol. 658, Archivio di Stato, Rome.;However, according to R\'f6ttgen, February 1, 1991, NAMA curatorial files, the;painting must have either disappeared from the Vatican soon after the bequest;or never came into Gregory XVI\'92s possession.;[4] According to;Eliot Rowlands, Assistant Curator, in a letter to Joseph Rishel, Curator of;Paintings, Philadelphia Museum of Art, October 21, 1991, NAMA curatorial files.;[5] Colnaghi;Archive, Waddesdon Archive at Windmill Hill, Stock files series. | Contains speculative language like 'possibly' or 'likely' |
| 57-55 | Possibly a Saxon private collection, before 1932 [1];Possibly Boynich, Berlin, on behalf of Ms. Hollander, 1947;or 1948 [2];With Ante Topic Mimara (1898-1986), Tangier, Morocco, as by;Anthony van Dyck, by August 13, 1950-1957 [3];Purchased from Mimara by The Nelson-Atkins Museum of Art;Kansas City, MO, 1957.;NOTES;[1] According to Ante Topic Mimara, in a letter to Patrick;J. Kelleher, Curator of European Art, September 14, 1957, NAMA curatorial files.;[2] According to Mimara, in a report of the American;Legation, Tangier, Morocco, to the U.S. Department of State, December 19, 1955;copy in NAMA curatorial files.;[3];The painting was attributed to Anthony van Dyck by art historian Friedrich;Winkler. His handwritten authentication, dated August 13, 1950 and indicating;Mimara as the owner, is on the back of a photograph of the painting at the;Staatliche Museen zu Berlin, Kupferstichkabinett, Friedrich Winkler archives. | Mentions 'private collection' without specifying owner or dates; Contains speculative language like 'possibly' or 'likely' |
| 60-37 | Cornelis Hoogendijk (1866-1911), Amsterdam, by 1907-1911 [1];By descent to Hoogendijk heirs, Amsterdam, 1911-May 14, 1912;Their sale, Tableaux anciens d\'e9pendant des collections;form\'e9es par M.-C. Hoogendijk de la Haye, Frederik Muller et Cie, Amsterdam;May 14, 1912, lot 18;Mus\'e9e van Stolk, Haarlem, The Netherlands, 1912-May 8, 1928;Its sale, 300 Sculptures et Tableaux, Xe-XVIe si\'e8cles;Objets de vitrine \'96 Art Textile, etc., Frederik Muller et Cie, Amsterdam;May 8, 1928, lot 379;Possibly Johanna Grossmann-Kanoldt (1890-1940), Munich, by;November 22, 1928 [2];With Gottschewski-Sch\'e4ffer Galleries, Berlin, by 1932;Florenz Wigger (b. 1873), Garmisch-Partenkirchen, Germany, by;1932-at least June 1937;Inherited by his wife, Karoline Wigger, Garmisch-Partenkirchen;Germany, by August 30, 1947 [3];Purchased from Wigger by Peter Nathan, Z\'fcrich, on joint;account with Schaeffer Galleries, New York, by September 1959-1960 [4];Purchased from Schaeffer by The Nelson-Atkins Museum of;Art, Kansas City, MO, 1960.;NOTES;[1] The painting was on loan to the Rijksmuseum, Amsterdam;from 1907-1911 and is included in the 1911 Rijksmuseum collection catalogue. According;to Dr. A van Schendel, Director of the Department of Paintings, Rijksmuseum, in;a letter to Mr. H. Schaeffer, Schaeffer Galleries, June 22, 1959, Getty;Research Institute, Los Angeles, Schaeffer Galleries Records, box 59, the;painting was returned to the Hoogendijk heirs in 1911.;[2] The Grossmann-Kanoldt collection is listed in the;painting\'92s provenance as published in Schaeffer Galleries, Schaeffer Galleries: Twenty-Fifth Anniversary, 1936-1961 (New York;Schaeffer Galleries, 1961), unpaginated, but no date of ownership is given. In;a letter from Ludwig Burchard, art historian, to Johanna Grossmann-Kanoldt;Getty Research Institute, Los Angeles, Schaeffer Galleries Records, box 59;Burchard tells Grossmann-Kanoldt that the painting is a genuine work by Cranach;and is in good condition.;[3] According to an unaddressed note from Karoline Wigger;August 30, 1947, Getty Research Institute, Los Angeles, Schaeffer Galleries;Records, box 59, she had already sold the painting but it was still in her;possession for safety reasons.;[4] According to Hanns Schaeffer, Schaeffer Galleries, in a;letter to Peter Nathan, May 9, 1960, Getty Research Institute, Los Angeles;Schaeffer Galleries Records, box 117, Correspondence, Nathan and Schaeffer had;joint ownership of the painting. According to Jakob Rosenberg, Professor;Emeritus, Harvard University, in a letter to Ross Taggart, Senior Curator, May;29, 1973, NAMA curatorial files, Kate Schaeffer told Rosenberg that Hanns;Schaeffer bought the painting back from its owner in Garmisch-Partenkirchen;before selling it to NAMA. | Contains speculative language like 'possibly' or 'likely' |
| F86-32 | Conte Segni, Bologna, by 1678;Senatore Conte Ludovico Segni, Strada Maggiore, Bologna, by 1769;Conte Cav. Avvocato Luigi Salina (1762-1845), Casa Salina (formerly Casa Alamandini), Bologna, by 1841;Probably by descent to his son, Conte Camillo Salina (1792-1855), Bologna, by 1855;Private collection, London, by 1984-1986;With Orbis Pictus S. A., Chiasso, Switzerland, 1986;Purchased from Orbis Pictus S. A. through Matthiesen Fine Art, London, by The Nelson-Atkins Museum of Art, Kansas City, MO, 1986. | Mentions 'private collection' without specifying owner or dates |
| 71-22 | Purchased;from the artist by Galerie L\'92Effort Moderne, Paris, stock no. 5175, January 31;1918;Private collection, Paris, by November 16;1927 [1];With Galerie Jeanne Bucher, Paris;Mrs. B. Raymond, Los Angeles;With;Dalzell Hatfield Galleries, Ambassador Hotel, Los Angeles, as Le Journal;Earle W.;Grant (1890-1971), San Diego, CA, by November 1970-1971;Bequeathed;by Grant to The Nelson-Atkins Museum of Art, Kansas City, MO, 1971.;NOTES;[1] According to L\'e9once Rosenberg, in a letter to Am\'e9d\'e9e;Ozenfant, November 16, 1927, Mus\'e9e national d\'92art moderne-Centre de cr\'e9ation;industrielle, Paris, Fonds L\'e9once Rosenberg. | Mentions 'private collection' without specifying owner or dates |
| 80-49 | Jos\'e9phine de Beauharnais (1763-1814), Ch\'e2teau de Malmaison, as by Carle Maratte [sic], by 1811-1814;By descent to her son, Eug\'e8ne de Beauharnais, 1st Duke of Leuchtenberg (1781-1824), Munich, 1814-1824;By descent to his son, Auguste de Beauharnais, 2nd Duke of Leuchtenberg (1810-1835), Munich, 1824-1835;Inherited by his brother, Maximilian de Beauharnais, 3rd Duke of Leuchtenberg (1817-1852), Munich and St. Petersburg, 1835-1852;Inherited by his wife, Grande-Duchesse Maria Nikolaevna (1819-1876), St. Petersburg and Florence, 1852-1876;By descent to her son, Nikolai de Beauharnais, 4th Duke of Leuchtenberg (1843-1891), St. Petersburg, 1876-1891;By descent to his son, Nikolai de Beauharnais (1868-1928), St. Petersburg, 1891;With A.-B. Nordiska Kompaniet, Stockholm, by 1917;Private collection, by December 14, 1979 [1];Purchased at Fine Old Master Pictures, Christie, Manson and Woods, London, December 14, 1979, lot 88, as by Carlo Maratti, by Robert L. and Barbara Bloch, Mission Hills, Kansas, 1979-1980;Their gift to The Nelson-Atkins Museum of Art, Kansas City, MO, 1980.;NOTES;[1] Offered for sale at Fine Old Master Pictures, Christie's, London, July 13, 1979, lot 103, as by Carlo Maratti, but failed to sell. | Mentions 'private collection' without specifying owner or dates |
| 34-132 | Pierre-Jean Mariette (1694-1774), Paris, by 1774 [1];Possibly his sale, Chez Fran\'e7ois Basan, Paris, May 1775 or;November 15, 1775-January 30, 1776, lot 1228 or 1229, erroneously as by Daniel;Dumoutier [sic], as either Cinq grosses T\'eates;d\'92hommes et femmes, faites avec precisions, aux crayons rouge, noir et blanc or;Deux-neuf autres T\'eates idem, dessin\'e9es d\'92apr\'e8s;nature, et repr\'e9sentant diff\'e9rentes personnes de distinction du si\'e8cle [sic];dernier, faites on 1630;Jean-Baptiste-Florentin-Gabriel de Meyran, marquis de Lagoy;(1764-1829), Aix-en-Provence, France, by 1829 [2];Henry Danby Seymour (1820-1877), London, by 1877 [3];Possibly to his brother, Alfred Seymour (1824-1888), Knoyle;House, Wiltshire, UK and Trent, Dorset, UK, by 1877;To his wife, Isabella Seymour (n\'e9e Leighton, d. 1911), Knoyle;House, Wiltshire, UK and Trent, Dorset, UK, by 1888;Possibly her posthumous sale, A Valuable Collection of Drawings by Old Masters of the Italian, Dutch;and French Schools, also Choice Old Master Engravings and Etchings, Comprising;Very Fine Impressions by A. D\'fcrer, Lucas van Leyden, and Rembrandt van Rhyn.;Sold by Order of Miss Seymour\'92s Trustee, Sotheby\'92s, London, April 26, 1927;lot 17, erroneously as by Daniel Dumonstier, as Portrait of a Gentleman, bust turned to the left;With Wildenstein and Co., New York, by 1934;Given by Wildenstein to The Nelson-Atkins Museum of Art;Kansas City, MO, 1934.;NOTES;[1] Lugt 1852;[2] Lugt 1710. His posthumous sale featured two drawings by;Dumoustier [sic] that do not appear to be ours.;[3] Lugt 176. Henry Danby Seymour never married. Since \'93Miss;Seymour\'92s Trustee\'94 is listed as being in charge of the collection in the;Sotheby\'92s sale of April 26, 1927, it makes the most sense that Henry Danby;Seymour passed his collection onto his brother, Alfred Seymour, and then Alfred\'92s;wife, Isabella Seymour inherited it after his death in 1888. | Contains speculative language like 'possibly' or 'likely' |
| 47-34 | Possibly;Borghese collection [1];With Ettore;Sestieri, Rome, as by Melchior Caff\'e0, by 1947;Purchased;from Sestieri, through Gabriel Sonnino and Harold Woodbury Parsons, by The;Nelson-Atkins Museum of Art, Kansas City, MO, 1947.;NOTES;[1] According;to Harold Woodbury Parsons, in a letter to Laurence Sickman, Director, January;5, 1956, NAMA Archives, Laurence Sickman Papers, MS 001, box 1c, Parsons;thought the sculpture may have come from the Borghese collection. | Contains speculative language like 'possibly' or 'likely' |
| 44-38 | With;Simonetti, by October 13, 1936;Purchased;from Simonetti, through Jandolo, by Brummer Gallery, New York, stock no.;P13134, October 13, 1936-September 11, 1944 [1];Purchased;from Brummer, through Harold Woodbury Parsons, by The Nelson-Atkins Museum of;Art, Kansas City, MO, 1944.;NOTES;[1] The Metropolitan Museum of Art, New York, Cloisters Library and Archive, Brummer Gallery Records, Greek and Roman marbles and stones, Object inventory card number P13134. This is most;likely either Ugo Jandolo or his son, Aldo Jandolo. | Contains speculative language like 'possibly' or 'likely' |
| F77-14 | To the sitter, Esther;de Jaussaud, Marquise d\'92Usson de Bonnac (ca. 1654-1748), 1707 [1];Paul Meyerheim (1842\'961915), Berlin, by;1896-March 14, 1916;His posthumous;sale, Nachlass Paul Meyerheim;Rudolph Lepke\'92s Kunst-Auctions-Haus, Berlin, March 14, 1916, lot 92, as by;Alexandre Roslin (1718-1793), as Weibliches;Bildnis [2];U.S. art;market, ca. 1967;Purchased on;the U.S. art market by an unknown private collector, ca. 1967 [3];Purchased from;the private collector, through an unknown intermediary, by Heim Gallery;London, stock no. 30/77, by March 1977;Purchased from;Heim by The Nelson-Atkins Museum of Art, Kansas City, MO, 1977.;NOTES;[1] Rigaud\'92s Livre de Raison, published by Joseph;Roman in 1919, lists that he charged 500 livres in the year 1707 for a portrait;of Mad e la marquise d\'92Usson de Bonnac. There has been some confusion;regarding the sitter\'92s identity. In the 2011 online version of his Dictionary of pastellists before 1800;Neil Jeffares noted that Rigaud had painted Madeleine-Fran\'e7oise de;Gontaut-Biron (1692-1739), the second Marquise de Bonnac. In his 2016 in-depth;essay on Louis Vig\'e9e\'92s portrait of Le;marquis de Bonnac (c. 1752), Jeffares clarified that Rigaud had painted;Esther de Jaussaud, the first Marquise de Bonnac and the mother of the sitter;in Vig\'e9e\'92s portrait. See Neil Jeffares;\'93Vig\'e9e, Le marquis de Bonnac, \'94;Pastels and Pastellists Online;(February 3, 2016): 3, 3n13.;[2] Alexandre Roslin (1718-1793) was a Swedish portrait;painter best known for his depictions of European aristocrats and skill at;rendering fabrics. His style is quite similar to Rigaud\'92s. If our date of 1707;for the Portrait of the Marquise d'Usson de Bonnac is correct, then Alexandre Roslin could not;have painted it as he was born in 1718.;[3] According to A. S. Ciechanowiecki;Heim Gallery, London, in a letter to Ross Taggart, April 19, 1977, NAMA;curatorial files, the unknown private collector purchased the painting in the;U.S. \'93about ten years ago,\'94 then sold the painting indirectly to Heim on the;Continental art market \'93quite recently.\'94 | Contains 'unknown' indicating lack of specific details |
| F84-71 | With Hadfield and Burrowes, London, by May 10, 1785;Their sale, First;Part of the Large Collection of Pictures, made by Messrs. Hadfield and;Burrowes, during their tour Through Flanders, France, Germany and Holland, Greenwood\'92s;London, May 10, 1785, lot 79;With Philip Hill, by June 20, 1807;Purchased at his sale, A;Most Capital and Valuable Collection of Pictures, Christie\'92s, London, June;20, 1807, lot 44, by Michael Bryan (1757-1821), London, 1807;The;Properties of a Gentleman and a Baronet, H. Phillips\'92s, London, June;2, 1815, lot 5;With Alexis Delahante, Esq., Paris, by May 30, 1817;His sale, A Select and Pleasing Collection of Cabinet;Pictures, H. Phillips\'92s, London, May 30, 1817, lot 84;Sir Edward Cockburn, 8th Baronet (1834-1903), Herefordshire;England, by 1903;Purchased at his sale, Important;Pictures of the Early English School and Works by Old Masters, Christie;Manson and Woods, London, April 25, 1903, lot 139, by Hamblin, 1903 [1];With Van der Perre, Paris, by 1905-1906;With S.A. L\'92Antiquaille, Paris, by 1937-1938 [2];With M. Samuel, Paris, 1938;Purchased from Samuel by an unknown private collector;France, 1938-June 25, 1984;Purchased at the private collector\'92s sale, Tableaux Anciens, Sotheby Parke Bernet;Monte Carlo, June 25, 1984, lot 3305, by Galerie Bruno Meissner, Z\'fcrich, 1984;[3];Purchased from Meissner and Newhouse Galleries, New York, by;The Nelson-Atkins Museum of Art, Kansas City, MO, 1984.;NOTES;[1] The handwritten notation \'91Hamblin\'92 is located in the;right margin of a copy of the 1903 sale catalogue in the Getty Research;Institute, Los Angeles.;[2] According to letters between S. A. \'93L\'92Antiquaille\'94 and;the Centraal Museum, Utrecht, December 10, 1937-February 12, 1938, concerning;the latter\'92s attempt to purchase the painting, Centraal Museum, Utrecht;Archives, copies in the NAMA curatorial files. According Edwin Buijsen, Curator;of Early Netherlandish Painting, Rijksbureau voor Kunsthistorische;Documentatie, in a letter dated July 9, 1998, NAMA curatorial files, a notation;on the back of an old photograph in the Rijksbureau voor Kunsthistorische;Documentatie states the painting was offered to dealer P. Graupe (1881-1953) in;1938, but it is unclear who offered it.;[3] Galerie Bruno Meissner sold a quarter share of the;painting to Newhouse Galleries following the Sotheby\'92s sale. See a letter to;the editor from Bruno Meissner, Art;Auction (December 1984). | Contains 'unknown' indicating lack of specific details |
| F85-20 | Possibly Pierre-Charles, marquis du Plessis-Villette;(1700-1765), Paris, by April 8, 1765;Possibly purchased at his sale, Tableaux, de Diffe\'92rens Bons Ma\'eetres des Trois \'c9coles, De Figures de;Bronze, de Bustes de Marbre, d\'92Estampes mont\'e9es sous verre, et d\'92Estampes en;Feuilles, apr\'e8s le D\'e9c\'e8s de M. le Marquis de Villette, Pere [sic], l\'92H\'f4tel;d\'92Elbeuf, rue de Vaugirard, Paris, April 8, 1765, lot 30, as S\'e9bastien Bourdon;Une Adoration des Rois, by;Jean-Baptiste-Pierre Le Brun (1748-1813), Paris, 1765 [1];Possibly;purchased at the sale of M. ***, Tableaux;du Cabinet de Monsieur ***. S\'e7avoir, Tableaux, Desseins, Estampes, Bronzes, Bustes de;marbre, Ga\'eenes de marbre et de bois, Porcelaines diff\'e9rentes, mont\'e9es et non;mont\'e9es, Meubles, Pendules, Feux, Bras de chemin\'e9es, Secr\'e9taires, etc., H\'f4tel des Am\'e9ricains, rue Saint Honor\'e9, Paris, December 15, 1766, lot 16, as;S\'e9bastien Bourdon, l\'92Adoration des Rois;by Pierre-Fran\'e7ois Basan (1723-1797), Paris, 1766 [2];Possibly le Doux Collection, by 1775 [3];Possibly purchased at his sale, Une Pr\'e9cieuse Collection de Tableaux, Bronzes, Marbres, Porcelaines;Lacques, Pierres grav\'e9es et autres Pierres pr\'e9cieuses, Meubles et objets de;curiosit\'e9, Provenans du Cabinet de M. le Doux., Maison de Saint Louis, rue;Saint Antoine, Paris, April 24, 1775, lot 46, as S\'e9bastien Bourdon, L\'92adoration des Rois, by Feullet, Paris;1775 [4];Possibly Joseph-Hyacinthe-Fran\'e7ois de Paule de Rigaud;Comte de Vaudreuil (1740-1817), Paris, by 1787;Possibly purchased at his sale, Une Tr\'e8s-Belle Collection de Tableaux, d\'92Italie de Flandres, de;Hollande, et de France [\'85] Provenans;du Cabinet de M. ***., grande;Salle, 96 rue de Cl\'e9ry, Paris, November 26, 1787, lot 42, as S\'e9bastien Bourdon;L\'92Adoration des Rois, by;Jean-Baptiste-Pierre Le Brun, for Laurent Grimod de La Reyni\'e8re (1734-1793);1787-April 3, 1793 [5];Possibly purchased at his sale, Tableaux Formant le Cabinet de M. de Lareyni\'e8re, Compos\'e9 en partie des;Tableaux des plus grands Ma\'eetres de l\'92Ecole Fran\'e7aise: on y distingue;par-dessus tout, les chef-d\'92\'9cuvres de l\'92immortel Lemoyne, les seuls, pour ainsi;dire, qui soient connus., Salle;de Vente, 96 rue de Cl\'e9ry, Paris, April 3, 1793, lot 8, as S\'e9bastien Bourdon, L\'92adoration des Rois, by Defer, 1793 [6];Possibly purchased at the sale of M. ***, Une Belle Collection de Tableaux des Trois;\'c9coles, Et autres Objets curieux, du Cabinet de M. ***, ancien h\'f4tel;Notre-Dame, rue du Bouloy, Paris, June 16, 1797, lot 6, as S\'e9bastien Bourdon, l\'92Adoration des Mages, by Trudaine, 1797;[7];Laurens;Collection, Montpellier [8];With;Andr\'e9 de Haspe, Paris, by May 15, 1961-June 2, 1961 [9];Purchased;from de Haspe by Germain Seligman (1893-1978), New York, June 2, 1961-March 27;1978 [10];Possibly;inherited by his wife, Ethlyne Jackson Seligman (1906-1993), New York, 1978 [11];Purchased;at Important Paintings by Old Masters;Christie\'92s, New York, June 5, 1980, lot 29, as attributed to S\'e9bastien Bourdon, The Adoration of the Magi, by Robert L.;Bloch, Shawnee Mission, KS, 1980-1985;Given;by Mr. and Mrs. Robert L. Bloch to The Nelson-Atkins Museum of Art, Kansas;City, MO, 1985.;NOTES;[1];Annotated sales catalogue at the Biblioth\'e8que Publique et Universitaire, Geneva;records \'93LeBrun\'94 as the buyer. It is unclear whether the painting in this sale;was the Nelson-Atkins\'92 or the version attributed to Bourdon in the collection;of the Rijksmuseum Twenthe, Enschede.;[2] Annotated sales;catalogue at the Biblioth\'e8que;Publique et Universitaire, Geneva, records \'93Basan\'94 as the buyer. It is unclear;whether the painting in the sale was the Nelson-Atkins\'92 or the version;attributed to Bourdon in the collection of the Rijksmuseum Twenthe, Enschede.;[3];M. le Doux may have been Paul-Guillaume Ledoux (d. 1781), a painter at the;Acad\'e9mie de Saint-Luc who was active as a dealer from the early-1750s through;the mid-1770s.;[4];Annotated sales catalogue at the Biblioth\'e8que;municipale de Versailles records \'93Feullet\'94 (believed to be a misspelling of;\'93Feuillet\'94) as the buyer. Between 1768 and 1784, a buyer named \'93Feuillet\'94;bid on 249 works of art in 49 different sales. This may have been Jean-Baptiste;Feuillet (d. 1806), a director of the Acad\'e9mie de Saint-Luc and well-known;dealer. It is;unclear whether the painting in this sale was the Nelson-Atkins\'92 or the version;attributed to Bourdon in the collection of the Rijksmuseum Twenthe, Enschede.;[5];Annotated sales catalogues at the Biblioth\'e8que;d\'92Art et d\'92Arch\'e9ologie, Paris, the Biblioth\'e8que Municipale, Orl\'e9ans, and;the British Museum, London, record \'93LeBrun\'94 as the buyer. Lebrun acted as an;agent for Grimod de La Reyni\'e8re. It is unclear whether the painting in the sale;was the Nelson-Atkins\'92 or the version attributed to Bourdon in the collection;of the Rijksmuseum Twenthe, Enschede. The version featured in this sale was;subsequently sold in the Grimod de La Reyni\'e8re sale, see description for lot 8.;[6];Annotated sales catalogue at the Biblioth\'e8que d\'92Art et d\'92Arch\'e9ologie, Paris;records \'93Defer\'94 as the buyer of lots 8 and 14. Lot 14 was later resold at Radix;de Sainte-Foy\'92s sale on January 16, 1811 (lot 33), and an annotated sales;catalogue at the Biblioth\'e8que d\'92Art et d\'92Arch\'e9ologie, Paris, records \'93de Fer de;Lanoray\'94 in the provenance of lot 33. \'93De Fer de Lanoray\'94 may thus be the full;name of the buyer that purchased lot 8 at the Grimod de La Reyni\'e8re sale.;[7];Annotated sales catalogue at the Biblioth\'e8que Publique et Universitaire, Geneva;records the buyer as \'93Trudaine.\'94 It is unclear whether the painting in the sale;was the Nelson-Atkins\'92 or the version attributed to Bourdon in the collection;of the Rijksmuseum Twenthe, Enschede.;[8];Per Jacques Seligmann & Co. records, Archives of American Art, Smithsonian;Institution, Washington D.C., Series 12.2 \'93Private Art Collection,\'94 Box 426;Folder 13. This collector is usually described as \'93Madame Laurens\'94 in the;literature.;[9];See letter from Andr\'e9 de Haspe to Germain Seligman, May 15, 1961, Jacques;Seligmann & Co. records, Archives of American Art, Smithsonian Institution;Washington D.C., Series 1.3, General Correspondence (1913-1978), Box 29, Folder;21.;[10];Per Jacques Seligmann & Co. records, Archives of American Art, Smithsonian;Institution, Washington D.C., Series 7.11.2 \'93Sales Ledgers, 1931-1973,\'94 Box;331, Folder 5, no. 8637. Although the painting was assigned a stock number (no.;8637), Seligman purchased it for his private collection, not his gallery.;[11];Although most of Germain Seligman\'92s private collection was purchased by Artemis;S. A. and E. V. Thaw and Co. and published in John Richardson, The Collection of Germain Seligman;Paintings, Drawings, and Works of Art (New York: E. V. Thaw, 1979), this;painting may have been one of the few personal bequests Seligman made to his;wife. | Mentions 'private collection' without specifying owner or dates; Contains speculative language like 'possibly' or 'likely' |
| 40-44/1 | Private collection, Austria [1];Harry Martin Evans (1859-1939), Pasadena, California, by 1937-1939;Inherited by his wife, Mary Ellison Evans (1861-1963), Pasadena, and their daughter, Helen Wheeler (n\'e9e Evans), Pasadena, 1939-1940 [2];Given by Evans and Wheeler to The Nelson-Atkins Museum of Art, Kansas City, MO, 1940.;NOTES;[1] The painting was photographed by Kunstverlag Wolfrum (negative no. 2818), a Viennese firm that specialized in reproducing works of art in Austrian collections. Wolfrum has been unable to identify the owner of the painting (see letter from Kunstverlag Wolfrum, Vienna, February 8, 1989, NAMA curatorial files).;[2] On loan by the Evans to NAMA from 1937 to 1940. | Mentions 'private collection' without specifying owner or dates |
| 55-40 | Possibly commissioned from the artist by Marc de Comans (1563-1644) and Fran\'e7ois de la Planche (1573-1627), Paris, 1622-1627 [1];Possibly inherited by Comans\'92 son, Hippolyte de Comans (d. 1671), Paris;Henri de Valois (1603-1676);Phillipe II, Duc d\'92Orl\'e9ans (1674-1723), Paris, by 1723;By descent to Louis, Duc d\'92Orl\'e9ans (1703-1752), 1723-1752;Probably by descent to Louis Philippe I, Duc d\'92Orl\'e9ans (1725-1785), 1752-1785;By descent to Louis-Phillipe-Joseph (Philippe \'c9galit\'e9), Duc d\'92Orl\'e9ans (1747-1793), Palais Royal, Paris, 1785-1792;Purchased from the Duc d\'92Orl\'e9ans by Thomas Moore Slade and Associates, including Thomas Hammersley (1748-1812), London, 1792-1801 [2];Thomas Hammersley, London, 1801 [3];Richard Troward, London, by 1808 [4];Purchased at a sale, Mr. Stanley\'92s, London, by Henry Brooksbank, 1823-1830;Stamp Brooksbank (1773-1833), London, by 1833-1834;His posthumous sale, A Valuable collection of Italian, Dutch, and Flemish Pictures, the Property of the Late Stamp Brooksbank, Esq., Mr. Stanley\'92s, London, May 31, 1834, lot 86, as The Battle of Constantine and Maxentius;Henry Francis Hope Pelham-Clinton-Hope, 8th Duke of Newcastle-under-Line, 15th Earl of Lincoln (1866-1941), Clumber Park, Nottinghamshire, England, 1925-1939;Purchased at his sale, Pictures by Old Masters, the Property of the Honorable the Earl of Lincoln, Christie\'92s, London, March 31, 1939, lot 51, by "Ginser" for Frederic A. Stern, Inc., New York, 1939-at least 1940 [5];Probably purchased from Stern by the dealer Jacob Hirsch (1874-1955), New York, 1948-1955;Purchased from Hirsch by The Nelson-Atkins Museum of Art, Kansas City, MO, 1955.;NOTES;[1] For a discussion of Comans and la Planche as possible commissioners of the tapestry series, see Koenraad Brosens, \'93Who commissioned Rubens\'92s Constantine series? A new perspective: the entrepreneurial strategy of Marc Comans and Fran\'e7ois de la Planche,\'94 Simiolus (2007/2008): 166-182. Earlier scholarship favored a commission by Louis XIII, King of France.;[2] Slade was acting as a buying agent on behalf of a group of bankers: the 7th Lord Kinnaird, Mr. Morland and Mr. Hammersley. Originally arriving in Paris on the same day Louis XVI fled (June 21, 1791), Slade made a second trip to Paris in 1792, at which time he finally acquired the Flemish, Dutch and German paintings from the Orl\'e9ans Collection after heavy negotiation with the cash-strapped Duc d\'92Orl\'e9ans. Under threat by the Duc\'92s creditors and the French populace, who wanted the collection to remain in France, Slade shipped the paintings out under cover of night by barge to Le Havre. T his painting was offered for sale by Thomas Moore Slade, The Orleans Gallery now exhibiting at the;Great Rooms, late the Royal Academy, John Wilson, London, April 1793 and Orleans Gallery, De Cort, London, May;1795, but failed to sell.;[3] According to Burton Frederickson, Getty Research Institute, in a letter to NAMA, July 29, 1987, NAMA curatorial files, the painting was offered for sale by Hammersley at The Truly Capital, Valuable, & Well-Chosen Collection of Italian, French, Flemish, and Dutch Pictures, the Real Property of a Man of Fashion, Christie\'92s, London, lot 75, as The Battle between Constantine and Maxentius, March 7, 1801, but failed to sell.;[4] According to Burton B. Fredericksen, Getty Research Institute, in a letter to Roger Ward, February 17, 1988, NAMA curatorial files, the painting was offered by Troward at a sale held by the auctioneer Peter Coxe, London, June 11, 1808, lot 10, but failed to sell. Troward\'92s name was not printed in the sales catalogue, but is handwritten on two known copies. One of them is housed at the Getty Research Institute, Los Angeles, copy 3.;[5] Frick Art Reference Library, New York, Christie\'92s Art Sales;Index, 1910-1945, volume 3, page 81 and according to Frederic A. Stern, in a;letter to Ralph T. Coe, September 30, 1964, NAMA curatorial files. | Contains speculative language like 'possibly' or 'likely' |
| 50-4/3 | Possibly Richard Ederheimer, New York;With Philip Hofer (1898-1984), Cambridge, MA, by 1949;Purchased from Philip Hofer by Durlacher Brothers, New York;February 24, 1949-1950;Purchased from Durlacher Brothers by The Nelson-Atkins Museum;of Art, Kansas City, MO, 1950. | Contains speculative language like 'possibly' or 'likely' |
| 50-4/4 | Possibly Richard Ederheimer, New York;With Philip Hofer (1898-1984), Cambridge, MA, by 1949;Purchased from Philip Hofer by Durlacher Brothers, New York;February 24, 1949-1950;Purchased from Durlacher Brothers by The Nelson-Atkins Museum;of Art, Kansas City, MO, 1950. | Contains speculative language like 'possibly' or 'likely' |
| 37-1 | Possibly with Kunsthandel Wed. Oldenzeel, Rotterdam;Netherlands, by September 15, 1908, no. 75 [1];Anna M\'fcller-Abeken (n\'e9e Abeken, 1868-1922), Scheveningen, The;Hague, by May 19, 1920 [2];Her sale, Tableaux;et Aquarelles Modernes Provenant de I. Collection G. W. van N... \'e0 Amsterdam;II. Collection d'un amateur \'e0 B..., III. Collection W. P. van Ingenegeren \'e0;Utrecht, IV. Collection M me A. M\'fcller-Abeken \'e0 Sch\'e9veningue, V.;Collection M. H. Souget \'e0 Bussum, VI. Liquidation de la Soci\'e9t\'e9 Fierens, De;Maeght et Cie \'e1 Bruxelles, VII. Diverses Provenances, Frederik Muller et Cie, Amsterdam, May 19;1920, no. 87, as Portrait d\'92homme;With Kunsthandel;Huinck und Scherjon, Utrecht, Netherlands, by 1928;Mlle E. Snellen;Utrecht, Netherlands, by December 10, 1935;Her sale, Tableaux;Anciens et Modernes Antiquit\'e9s: Collections et Successions: M. lle. \'96;E. Snellen, Utrecht, M.- H. Klein Van Gogh, Amsterdam, M.-Ruys de Perez;Amsterdam, M.- L. J. Brantjes, Driebergen, Diverses Provenances, Frederik Muller et Cie, Amsterdam, December 10-11;1935, no. 103, as Portrait d\'92homme;Possibly Isaac Isra\'ebl (1865-1934), The Hague [3];Purchased at the H\'f4tel des ventes d\'92Amsterdam by Bernheim-Jeune;et Cie., Paris, stock no. 26801, as Portrait;d\'92homme, December 13, 1935-February 25, 1936 [4];Purchased from the latter by Roche, February 25, 1936 [5];Purchased from Bernheim-Jeune et Cie, Paris, by the dealer, Theodore;Schempp, Brodhead, WI, on July 21, 1936-January 18, 1937 [6];Purchased from Theodore Schempp by The Nelson-Atkins Museum;of Art, Kansas City, MO, 1937.;NOTES;[1] See label on backing board, middle right side;decorative rectangular paper label with green Art Nouveau woman holding a;paintbrush, in printed text: Kunsthandel / Wed. Oldenzeel / Rotterdam / 20, Gedempte / Glashaven. / [at left corner of;label] Dagelijks / geopend / van / 10-4 [uur.] / [on right side of label];Permanente / Tentoonstelling / van Schilderijen / en Aquarellen / [handwritten;in pen] Vincent van Gogh. / N o 75 / 15 September 1908. It is;not clear if the painting was lent for exhibition there or was owned by;Oldenzeel.;[2] Anna M\'fcller-Abeken was married to Gustav Harry M\'fcller;(1865-1913). His sister was Helene;Kr\'f6ller-M\'fcller (1869-1939), who was an avid Van Gogh collector and later donated;her collection to the Dutch government (now the Kr\'f6ller-M\'fcller Museum in;Otterlo). In 1908, Helene Kr\'f6ller-M\'fcller began hosting lectures in her home by;van Gogh enthusiast, H. P. Bremmer, to which she also invited her brother and;sister-in-law.;[3] See label on backing board, bottom center side, on piece;of ledger paper, handwritten in ink: Hauteur HH. Largeur 32. / Peint \'e0 Nuenen entre 1883.1885 / Collection;M me: A Muller. Abeken, Schiveningue 1920 / \'93 [ditto marks indicating;Collection] M elle E Snellen, Utrecht. / \'93 [ditto marks indicating Collection];Isra\'ebl / Reproduit dans: J. B. de la Faille, l\'92\'8cuvre de Vincent Van Gogh;/ catalogue raisonn\'e9 n o: 165.;[4] Letter from;Guy-Patrice Dauberville, Director, Berheim-Jeune et Cie, Paris to Meghan Gray;NAMA, September 1, 2011, NAMA curatorial file. See also label on backing;board, middle left side, small rectangular label: [typewritten] 1936 / N o;[handwritten in pen] 26801 / Van Gogh / Paysan / L.Z. E. Z.;[5] ] Letter from Guy-Patrice Dauberville, Director;Berheim-Jeune et Cie, Paris to Meghan Gray, NAMA, September 1, 2011, NAMA curatorial;file. Roche might refer to Henri Pierre Roch\'e9 (1879-1959), a French journalist;author, art collector, advisor, and dealer.;His cities of operation were S\'e8vres, Hauts-de-Seine, Paris and New York.;According to the letter from Bernheim-Jeune, they sold the painting to Roche on;February 25, 1936, but according to a letter from dealer Theodore Schempp, Schempp;purchased the painting from Bernheim-Jeune on July 21, 1936. It is possible;that Roche returned the painting to Bernheim-Jeune between February 25 and July;21, 1936.;[6] See Invoice for the purchase of the painting from;Theodore Schempp to NAMA, January 18, 1937. See also letter from Theodore;Schempp to Paul Gardner, NAMA, January 18, 1937, NAMA curatorial file. | Contains speculative language like 'possibly' or 'likely' |
| 2000.14 | The artist\'92s posthumous sale, Pictures, consisting of fine;originals of the Italian and Flemish schools, accurate copies from some of the;most distinguished works in Europe, as well as originals and studies by Mr.;Head, also, some beautiful Greek vases, sculpture, etc., the;artist\'92s home, London, April 27-June 27, 1801, lot 249;With Pawsey & Payne, London, by February 17, 1967 [1];Purchased at their sale, Paintings;and Drawings c. 1800-c. 1900, Christie, Manson & Woods, London, February;17, 1967, lot 74, by Brady [2];Private collection, Italy, by 2000 [3];Purchased from the latter through an anonymous intermediary;and Charles Beddington Ltd., London, by The Nelson-Atkins Museum of Art, Kansas;City, MO, 2000.;NOTES;[1] According to Jeff Pilkington, Principal Researcher;Christie\'92s Archives, in an email to MacKenzie Mallon, Specialist, Provenance;October 11, 2017, NAMA curatorial files.;[2] A price list included with a sale catalogue in the Richardson;Memorial Library at the Saint Louis Art Museum records the buyer\'92s name as;Brady.;[3];According to Charles Beddington, in an email to MacKenzie Mallon, March 30;2012, NAMA curatorial files, he received the painting on consignment from an;intermediary representing a private collection in Italy. | Mentions 'private collection' without specifying owner or dates |
| 2004.1 | Possibly Olimpia Aldobrandini (1567-1637), Rome, by 1626 [1];William Beckford (1760-1844), Fonthill Abbey, Wiltshire and;Lansdown Crescent, Bath, as by Marcello Venusti, by October 15, 1822-1844 [2];By descent to his daughter, Susan Euphemia Hamilton (n\'e9e;Beckford, 1786-1859), and her husband, Alexander Hamilton, 10th Duke of;Hamilton (1767-1852), Portman Square, London, as by Marcello Venusti, 1844-1859;[3];By descent to their son, William Alexander Anthony Archibald;Hamilton, 11th Duke of Hamilton (1811-1863), Hamilton House, London, as by Marcello;Venusti, 1859-1863;By descent to his son, William Alexander Louis Stephen Douglas-Hamilton;12th Duke of Hamilton (1845-1895), Hamilton House, London and Hamilton Palace;Scotland, as by Marcello Venusti, 1863-June 24, 1882 [4];Purchased at his sale, The;Hamilton Palace Collection, Christie, Manson and Woods, London, June 24, 1882;lot 403, as by Marcello Venusti, by The Honorable William Frederick Barton;Massey-Mainwaring (1845-1907), London, 1882;Christopher Beckett Denison (1825-1884), London, by 1884 [5];Purchased at his posthumous sale, Ancient Pictures of the Italian, Spanish, Flemish, Dutch and French;Schools, Christie, Manson and Woods, London, June 5, 1886, lot 81, as by;Marcello Venusti, by Thomas Agnew and Sons, Ltd., London, Picture Stock Book 5, no. 4097, 1886 [6];Purchased from Thomas Agnew and Sons by Sir M. Stewart, Bt., June 5;1886 [7];Private collection, United Kingdom, by 1983;Purchased at Old Master;Pictures, Christie\'92s, London, April 24, 1998, lot 127, by Hall and Knight;Ltd., New York, 1998-2004 [8];Purchased from Hall and Knight by The Nelson-Atkins Museum of;Art, Kansas City, MO, 2004.;NOTES;[1] According to the sale catalogue for The Hamilton Palace Collection, Christie, Manson and Woods, London;June 24, 1882, this painting was once part of the Aldobrandini collection in;Rome. This may be the picture recorded in the 1626 inventory of Olimpia;Aldobrandini\'92s collection as \'93un quadro con la nativit\'e0 di N.S., copiato da;Girolamo da Carpi.\'94 See P. della Pergola, \'93Gli inventari Aldobrandini,\'94 Arte antica e moderna 19 (1962): 428.;[2] This painting was published in the catalogue for Beckford\'92s;sale, Magnificent Effects at Fonthill;Abbey, Wilts., Christie\'92s, Fonthill Abbey, Wiltshire, October 15, 1822, lot;94, as by Marcello Venusti, but the sale was never held. According to Godfrey;Evans, Principal Curator of European Decorative Arts, National Museums;Scotland, in an email to MacKenzie Mallon, Specialist, Provenance, November 14;2015, NAMA curatorial files, the painting is recorded as in the Dining Room of;Lansdown Crescent in the 1844 post-mortem inventory of William Beckford\'92s;properties in Bath (Bodleian Library, Oxford, MS. Beckford c. 58, p. 11).;[3] According to Godfrey Evans, in an email to MacKenzie;Mallon, November 14, 2015, NAMA curatorial files, the painting is recorded in;the list of \'93Furniture, Pictures, China, &c &c at Portman Square from;Bath Feb y 1850,\'94 Lennoxlove House, East Lothian, Scotland, Hamilton;Archive, M12/51/1, p. 8.;[4] According to Godfrey Evans, in an email to MacKenzie;Mallon, November 14, 2015, NAMA curatorial files, the painting is recorded as;in the Yellow Drawing Room at Hamilton House in 1864 (Lennoxlove, Hamilton Archive;M4/79, 1864 Hamilton House Inventory, p. 100). The painting may have left;Hamilton House in 1870, when the Hamiltons gave up Hamilton House and sent a;large number of items to Hamilton Palace. It is recorded as in the Boudoir at;Hamilton Palace in 1876 (Hamilton, Hamilton Town House Library, 1876 Hamilton;Palace Inventory, p. 28).;[5] According to Godfrey Evans, in an email to MacKenzie;Mallon, October 21, 2015, NAMA curatorial files, Massey-Mainwaring passed on 35;of his own 63 purchases at the June 24, 1882 Hamilton Palace sale to Beckett;Denison, possibly as a friend bidding on Denison\'92s behalf. This painting was;probably one of them. According to Jeff Pilkington, Christie\'92s Archives, in an;email to MacKenzie Mallon, March 11, 2015, NAMA curatorial files, this painting;was offered for sale at Denison\'92s posthumous sale, The Valuable Collection of Pictures, Works of Art, and Decorative;Objects, of Christopher Beckett Denison, Esq., Christie, Manson and Woods;London, June 6, 1885, lot 912, as by Marcello Venusti, but failed to sell.;[6] According to Jeff Pilkington, Christie\'92s Archives, in an;email to MacKenzie Mallon, March 11, 2015, NAMA curatorial files.;[7] National Gallery London, Thomas Agnew and Sons Archive;NGA27/1/1/7, Picture Stock Book 5, 1881-1891, p. 92-93.;[8] According to Nicholas Hall, Christie\'92s, in an email to;MacKenzie Mallon, February 13, 2015, NAMA curatorial files. | Mentions 'private collection' without specifying owner or dates; Contains speculative language like 'possibly' or 'likely' |
| 2004.21 | Private Collection, by 1980s;Robert Bowman Gallery, London, no later than September;20, 2004;Purchased from the Robert Bowman Gallery by the;Nelson-Atkins Museum of Art, Kansas City, MO, 2004. | Mentions 'private collection' without specifying owner or dates |
| 2005.10.2 | Possibly Arthur Kay (1860-1939), Edinburgh, by 1939;Possibly Ancient and;Modern Drawings Pictures and Drawings also Original Ancient and Modern Etchings;and Engravings, The Property of Arthur Kay, H.R.S.A., F.S.A., deceased, late of;11, Regent Terrace, Edinburgh sale, Christie\'92s, Manson, and Woods, London;April 8-9, 1943, no. 243, as A Man;standing with his back to the spectator, wearing a wig;Bequeathed by Estelle (n\'e9e Stone, 1924-2004) Ellis, Shawnee;Mission, KS, to The Nelson-Atkins Museum of Art, Kansas City, MO, 2005. | Contains speculative language like 'possibly' or 'likely' |
| 2005.10.1 | Possibly Arthur Kay (1860-1939), Edinburgh;Possibly Ancient and;Modern Pictures and Drawings also Original Ancient and Modern Etchings and;Engravings, The Property of Arthur Kay, H.R.S.A., F.S.A., deceased, late of 11;Regent Terrace, Edinburgh sale, Christie\'92s, Manson, and Woods, April 8-9;1943, no. 243, as A Man, standing with;his back to the spectator, wearing a hat;Bequeathed by Estelle (n\'e9e Stone, 1924-2004) Ellis, Shawnee;Mission, KS, to The Nelson-Atkins Museum of Art, Kansas City, MO, 2005. | Contains speculative language like 'possibly' or 'likely' |
| 2006.9.37 | Possibly;Thomas Gillibrand (1780-1828), Gillibrand Hall, Chorley, England, 1817 [1];David T.;Beals, III (d. 1987), Mission Hills, KS, by 1987;Inherited;by his wife, Jeanne McCray Beals (1933-2005), Fairway, KS, 1987-2005;Her;bequest to The Nelson-Atkins Museum of Art, Kansas City, MO, 2006.;NOTES;[1];Thomas Gillibrand appears as an owner in several horse-related publications;from the period. | Contains speculative language like 'possibly' or 'likely' |
| 77-2 | Presumably commissioned by the sitter, Isidore Florimond;Mari\'e9 de Toulle, Chevalier de l\'92Ordre Militaire de Saint Louis and Capitaine au;R\'e9giment de Grammont-Cavalerie (1705-1792), Amiens and Foucaucourt-Hors-Nesle;France, by 1744-January 19, 1792;Presumably inherited by his son, Louis Jean Baptiste Marie Mari\'e9 de Toulle (1759-1808);Amiens & Foucaucourt-Hors-Nesle, France, by 1792-October 4, 1808;Presumably inherited by his wife, Marie Marguerite de;Toulle (n\'e9e Fran\'e7ois, 1769-1840), Foucaucourt-Hors-Nesle, France, 1808-January;14, 1840;Presumably inherited by her daughter, Louise Eug\'e9nie;Marie de Saisseval (n\'e9e Mari\'e9 de Toulle, 1790-1844), city?, by 1840-October 16;1844;Presumably inherited by her daughter, Louise Ren\'e9e Roxane;Juliette de Chevign\'e9 (n\'e9e de Saisseval, 1811-1896), Paris, by 1844-July 8;1896;Presumably inherited by her daughter, Marie L\'e9onie Dary, Madame;la Marquise de Senarpont (n\'e9e de Chevign\'e9, 1836-1912), Ch\'e2teau de;Foucaucourt-hors-Nesle, France, and Paris, by 1896-January 10, 1912;Possibly sold at her posthumous sale, Vente apr\'e8s;D\'e9c\'e8s D\'92un tr\'e8s Bon Mobilier Ancien et Moderne, D\'e9pendant de la Succession de;Madame la Marquise de Senarpont et garnissant Le Ch\'e2teau de;Foucaucourt-hors-Nesle, Commune de Foucaucourt-hors, Nesle, Somme, Ch\'e2teau;de Foucaucourt-hors-Nesle, France, May 21, 1912, unnumbered, as Un Portrait;d\'92Homme, and dated 1747, to Hecquet, Amiens, 1912 [1];Watel-Dehaynin collection, Paris, by 1973 [2];Purchased at the sale, Tableaux anciens, dessins;pastels et tableaux par ou attribu\'e9s \'e0 L.-L. Boilly, G.-M. Crespi, J.-H.;Fragonard, J.-B. Greuze, J.-B. Huet, Sir Th. Lawrence, M.-N. L\'e9pici\'e9, J.-M.;Nattier, J.-B. Perroneau, Rembrandt, H. Robert, J.-F. Van Son, C. Vernet, J.-M.;Vien, M.-L. Vig\'e9e Lebrun, des \'c9coles florentine, fran\'e7aise et italienne des XVI e;et XVIII e si\'e8cles et de l\'92Atelier de Van Balen et Van Kessel;Palais Galliera, Paris, March 15, 1973, no. S, as Portrait d\'92un chevalier de Saint-Louis, by;Jacques Seligmann and Co., Inc., New York, through Henri Baderou, stock no.;8990, March 15, 1973-January 19, 1977 [3];Purchased from;Seligmann by The Nelson-Atkins Museum of Art, Kansas City, Missouri, 1977.;NOTES;[1] See copy of;fragments of calling cards once attached to the stretcher verso of the;painting, which say: \'93[?] me la C [\'85?] de Sen\'85 / 3[?] rue;C[\'85?]\'94 and \'93[ me?] la C[\'85] de Senap / 3 rue[?] Cam[bac\'e9r\'e8s?]\'94;Copy of fragments are in the Archives of American Art, Smithsonian Institution;Washington, D.C., Jacques Seligmann and Co. Records, Series 2.2: Museum files;KC NAMA, box 220, folder 11, Nattier.;Raymond de Boissard;Marquis de Senarpont and great-great grandson to L\'e9onie de Chevign\'e9, visited the Seligmann gallery in New York in;1973 and agreed that the painting could depict one of his ancestors. De;Boissard explained that the Nattier painting sold from de Chevign\'e9 \'92s collection in 1912 to a M. Hecquet from Amiens for;27,000 francs. See letter from de Boissard to Seligman, October 23, 1973, copy;in NAMA curatorial files. Unfortunately, the painting is not reproduced or;described in the sales catalogue, so this part of the provenance narrative is;tenuous.;[2];See letter from Henri Baderou to Germain Seligman, April 2, 1973, NAMA;curatorial file. The constituent might be Louis Watel-Dehaynin (1885-July 23;1972), who was the Managing Director of Compagnie fran\'e7aise d\'92\'c9clairage and received;the Croix de guerre.;[3] The museum;was considering the purchase of the painting as early as April 1976, see letter;from Ted Coe, Curator of European Art, The Nelson-Atkins Museum of Art, Kansas;City, Missouri, to Germain Seligman, April 12, 1976, NAMA curatorial files. | Contains speculative language like 'possibly' or 'likely' |
| 81-30/12 | Jonathan Richardson, Sr. (1665-1745), London, by 1745 [1];John MacGowan (1726-1780), Edinburgh, by 1780 [2];Possibly his posthumous sale, Estampes et recueils, London, May 13-18, 1803 or his posthumous;sale, Dessins anciens et modernes de toutes les \'e9coles, London, January 26-February 2, 1804;Nathan Chaikin, New York, by 1971 [3];Milton McGreevy (1903-1980), Shawnee Mission, KS;Bequeathed by Milton McGreevy to The Nelson-Atkins Museum of;Art, Kansas City, MO, 1981.;NOTES;[1] Lugt 2184 and 2983;[2] Lugt 1496;[3] See NAMA curatorial file. | Contains speculative language like 'possibly' or 'likely' |
| 34-101 | Monis Chapel, Dominican Church, Frankfurt am Main, Germany, 1491-17th;century [1];A. Sch\'e4ffner, Tetschen an der Elbe, Bohemia (today D\uc0\u283 \u269 \'edn, Czech Republic);possibly by 1923-at least April 1925 [2];With Galerie Fischer, Luzern, Switzerland;With A. S. Drey, New York, as by the Hausbuchmeister, by January 27, 1934;Purchased from Drey by The Nelson-Atkins Museum of Art, Kansas City, MO, 1934.;NOTES;[1];According to Otto Lauffer, "Ein neugefundenes Altarwerk des ausgehenden;15. Jahrhunderts aus der Dominikanerkirche zu Frankfurt a. M.," Hessen-Kunst: Kalender fur alte und neue;Kunst (1907): 5, Lauffer found a document in the Stadtarchiv, Frankfurt am;Main, originally from the Dominican Church of that city, which states;The chapel of Wynrich Monis with its altar was consecrated in the year of;the Lord 1491 by the venerable Lord Heinrich of Rubenach, bishop of;Venecomponense, in honor of Saints Dominic, our original confrere, John the;Baptist, Nicholas the Bishop, Wolfgang the bishop, Quirinus the martyr, [and];Catherine, Barbara, and Margaret the virgins." (Translated from the;original Latin by Reverend Paul Turner, Diocese of Kansas City-St. Joseph, MO.);[2] According;to Heinrich Weizs\'e4cker, Die Kunstschze;des ehemaligen Dominikaner-closters in Frankfurt a. M. (M\'fcnchen: Verlag von;F. Bruckmann A.-G., 1923), 7, the painting was in a private collection in;Prague in 1923. According to Dr. Christiane Andersson, Curator, St\'e4del Museum, Frankfurt;am Main, to Dr. Eliot Rowlands, Assistant Curator, January 15, 1990, NAMA;curatorial files, an old photograph of the painting at the St\'e4delsches;Kunstinstitut, Frankfurt am Main, contains a handwritten note on the verso indicating;the painting was offered for sale by Sch\'e4ffner to the St\'e4delsches Kunstinstitut;in April 1925. | Mentions 'private collection' without specifying owner or dates; Contains speculative language like 'possibly' or 'likely' |
| F74-7 | Private collection, Paris;With Edward R. Lubin, Inc., New York, by 1974;Purchased from Edward R. Lubin, Inc., by The;Nelson-Atkins Museum of Art, Kansas City, MO, 1974. | Mentions 'private collection' without specifying owner or dates |
| F79-47 | Paul-Antoine (1833-1905);and Marguerite Blanche (n\'e9e Girod, 1844-1901) B\'e9rard, Paris and Wargemont, near;Dieppe, France, as R\'eaverie, by May;25, 1892 [1];With C. Martin et G. Camentron, Paris by March 5, 1896;Auguste Pellerin (1853-1929), Paris, by January 29, 1899-March;27, 1911;Acquired from Pellerin in an exchange by Galerie Bernheim-Jeune;Paris, March 27, 1911-at least 1933 [2];With Sam Salz (1894-1981), New York, by 1961;Leigh B. (1905-1987) and Mary Lasker (1904-1981) Block;Chicago, by September 1966;Purchased from the Blocks by;E. V. Thaw and Co., Inc., by June 18, 1979 [3];Purchased from Thaw by Norton Simon (1907-1993), Beverly Hills, June 18-November;16, 1979 [4];Returned by Simon to E. V. Thaw, November 16, 1979;Purchased from E. V. Thaw and Co., Inc. by The Nelson-Atkins;Museum of Art, Kansas City, MO, 1979.;NOTES;[1] Marie-Louise Bataille and Georges Wildenstein identified;the pastel lent by B\'e9rard to the 1892 exhibition, Exposition de Tableaux, Pastels et Dessins par Berthe Morisot, as;the Nelson-Atkins pastel. See Bataille and Wildenstein, Berthe Morisot: Catalogue;des Peintures, Pastels et Aquarelles (Paris: Les Beaux-Arts, 1961), no.;434, p. 52.;[2] Possible stock no. 18645. Pellerin used Bernheim-Jeune;as his intermediary in an exchange with dealer Ambroise Vollard on March 27;1911, where Pellerin acquired Cezanne\'92s Maison;dans les Arbres. In exchange, Pellerin gave away several works including;the Morisot pastel, Femme sur un canap\'e9. Possibly due to his role in the transaction;Bernheim-Jeune kept the Morisot pastel. For a complete listing of the exchange;see John Rewald, The Paintings of Paul;C\'e9zanne: A Catalogue Raisonn\'e9 (New York: Harry N. Abrams, 1996), 341. It is;not clear if the pastel was part of the gallery\'92s stock or part of the private;collection of Joss\'e9 (called Joseph, 1870-1941), and Gaston (1870-1953);Bernheim-Jeune, see Henri de R\'e9gnier, L\'92art;moderne et quelques aspects de l\'92art d\'92autrefois, cent-soixante-treize planches;d\'92apr\'e8s la collection priv\'e9e de MM. J. et G. Bernheim-Jeune (Paris;Bernheim-Jeune, 1919).;[3] See letter from Eugene Victor Thaw to Meghan Gray, NAMA;July 14, 2011, NAMA curatorial files. According to Thaw, the gallery had the pastel;for a very short time, as it was purchased by NAMA almost immediately.;[4] See Sara Campbell, Collector Without Walls;Norton Simon and His Hunt for the Best (New Haven, CT: Yale University;Press, 2010), 426. | Contains speculative language like 'possibly' or 'likely' |
| 2006.10 | Private collection, United Kingdom;Robert Bowman, Ltd, London, by April 5, 2006;Purchased from Bowman by The Nelson-Atkins Museum of;Art, Kansas City, Missouri, 2006. | Mentions 'private collection' without specifying owner or dates |
| 2015.13.11 | The;artist, Paris, 1871-1879;Purchased;from the artist by Gustave Caillebotte (1848-1894), Paris, 1879-February 21;1894 [1];To his;brother, Martial Caillebotte (1853-1910), Paris, 1894-January 16, 1910 [2];Inherited;by his wife, Marie Caillebotte (n\'e9e Minoret, 1863-1931), Paris or Pornic;France, 1910-October 5, 1931;By;descent to her daughter, Genevi\'e8ve Chardeau (n\'e9e Caillebotte, 1890-1986);Paris, 1931-1973 [3];Deposited;with Galerie Lorenceau, Paris, by a member of the Chardeau family, January 23;1973 [4];Possibly;with Galerie Schmit, Paris, after January 23, 1973 [5];Purchased;[from Galerie Schmit?] by Juan Guillermo de Beistegui (1930-2017), Paris, after;January 23, 1973-January 7, 1986 [6];Purchased;from de Beistegui, through Margo Pollins Schab, New York, by Marion (n\'e9e;Helzberg, 1931-2013) and Henry (1922-2019) Bloch, Shawnee Mission, KS;1986-June 15, 2015 [7];Given by Henry and Marion Bloch to The Nelson-Atkins;Museum of Art, Kansas City, MO, 2015.;NOTES;[1] See \'c9tienne Moreau-N\'e9laton;\'93Copie faite pour E. Moreau-N\'e9laton de documents sur Manet appartenant \'e0 L\'e9on;Leenhoff,\'94 ca. 1910, Biblioth\'e8que nationale de France;D\'e9partement des Estampes et photographie, RESERVE 8-YB3-2401, folio 79, as Croquet. On;November 20, 1883, Caillebotte added a codicil to his will stipulating that his;collection should be given to the mus\'e9e du Luxembourg after his death. The;museum was notified of this bequest in early March 1894, but many of the;paintings, including The Croquet Party, were refused by the Comit\'e9;consultatif des mus\'e9es nationaux after 18 months of deliberation and returned;to his brother, Martial Caillebotte. See [Adolphe] Tabarant, \'93Le peintre Caillebotte et sa;collection,\'94 Bulletin de la Vie Artistique, no. 15 (August 1, 1921);405-13, and A[dolphe] Tabarant, Manet: Histoire catalographique (Paris: \'c9ditions;Montaigne, 1931), 244.;[2] Martial;Caillebotte, the artist\'92s younger brother, offered The Croquet Party to;the French government in 1904 and 1908, but it was refused both times. See;Bernard Denvir, The Chronicle of;Impressionism: an Intimate Diary of the Lives and World of the Great Artists;(London: Thames and Hudson, 1993), 198.;[3];See emails from Gilles Chardeau, grandson of Genevi\'e8ve Chardeau, to Brigid;Boyle, NAMA, July 30, 2015, Sylvie Brame, Galerie Brame et Lorenceau, to Mary;Frances Ivey, NAMA, November 30, 2018, and Sophie Pietri, Wildenstein-Plattner;Institute, to Mary Frances Ivey, NAMA, December 17, 2018, NAMA curatorial;files.;On;August 4, 1970, seventeen paintings in Chardeau\'92s collection, including \'93 The Croquet Game, \'94 were stolen. They;were returned anonymously to a Paris metro station in November 1970 and;restituted to Chardeau. See Janet Flanner;\'93Letters from Paris,\'94 New Yorker (August;22, 1970): 85, as The Croquet Game.;[4];See emails from Sophie Pietri, Wildenstein-Plattner Institute, to Mary Frances;Ivey, NAMA, December 17, 2018, and Sylvie Brame, Galerie Brame et Lorenceau, to;Mary Frances Ivey, NAMA, November 30, 2018, NAMA curatorial files.;A;sales receipt from Margo Pollins Schab;indicates that the painting was owned by the Peugeot family, France, before its;purchase by de Beistegui. This was published in Richard R. Brettell and;Joachim Pissarro, Manet to Matisse;Impressionist Masters from the Marion and Henry Bloch Collection, exh. cat.;(Kansas City, MO: Nelson-Atkins Museum of Art, 2007), 155. However, both;Pollins Schab and the Peugeot family cannot confirm this information.;Conversation with Margo Pollins Schab and Mary Frances Ivey, NAMA, January 11;2019, and email from Dominix Kirchner, Peugeot family descendant, to Mary;Frances Ivey, NAMA, February 13, 2019, NAMA curatorial files.;[5] See email from Miguel de Beistegui, son of Juan;Guillermo de Beistegui, to Brigid Boyle, NAMA, May 15, 2015, NAMA curatorial;files. Galerie Schmit has not responded to emails.;[6] According to Denis Rouart and Daniel Wildenstein, Edouard;Manet: Catalogue raisonn\'e9, vol. 1, Peintures;(Lausanne: Biblioth\'e8que des arts, 1975), no. 173, the painting was owned by P.;A., Suisse, or \'93propri\'e9t\'e9 anonyme.\'94 De Beistegui did not live in Switzerland;and was living in Paris at the time that he purchased the work, see email from;Miguel de Beistegui, son of Juan Guillermo de Beistegui, to Brigid Boyle, NAMA;May 15, 2015, NAMA curatorial files.;[7] Conversation with Margo Pollins Schab to Brigid;Boyle, NAMA, May 18, 2015, notes in NAMA curatorial files. According to Ms.;Schab, her gallery had The Croquet Party on consignment from Juan de;Beistegui. | Contains speculative language like 'possibly' or 'likely' |
| 2015.13.24 | Possibly purchased from the artist by Galerie;Durand-Ruel, Paris, stock no. 774, as L\'92Ecluse de St. Mammes, December 22, 1885-August 1888 [1];Possibly sold by Durand-Ruel, Paris, to Durand-Ruel;New York, August 1888 [2];Erwin Davis (ca. 1831-ca. 1902), New York, no later;than April 14, 1899;Purchased from Davis by Durand-Ruel, New York, stock;no. 2232, as L\'92Ecluse de Saint-Mamm\'e8s;April 14, 1899-February 1, 1943 [3];Purchased from Durand-Ruel by Sam Salz Inc., New;York, stock no. 596, as L\'92\'c9cluse de St Mamm\'e9;February 1-March 22, 1943 [4];Purchased from Salz by Georges Gregory (b. ca. 1896), New York, March 22;1943-at least 1959 [5];Irmgard Strauss, no later than April 7 1987 [6];Purchased from Strauss by Richard L. Feigen and Co.;Inc., New York, stock no. 19627-D, as Le;Loing \'e0 Saint-Mamm\'e8s (The River Loing at Saint-Mamm\'e8s \'ad), April 7, 1987- November 8, 1994 [7];Purchased from Feigen by Marion (n\'e9e Helzberg, 1931-2013) and Henry (1922-2019) Bloch, Shawnee;Mission, KS, 1994- June 15, 2015;Given;by Henry W. and Marion H. Bloch to the Nelson-Atkins Museum of Art, Kansas;City, MO, 2015.;NOTES;[1] This painting might be the same as one in the;stock books of Durand-Ruel, Paris, titled L\'92Ecluse;de Saint-Mamm\'e8s, which was stock no. 774. Durand-Ruel does not have any;information about an eventual sale of this picture. See email from Paul-Louis;Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel & Cie., Paris, to Nicole;Myers, NAMA, January 11, 2016, NAMA curatorial file. There are not any labels;or inscriptions on the verso of this painting which match this stock number.;[2] See email from Paul-Louis Durand-Ruel and Flavie;Durand-Ruel, Durand-Ruel & Cie., Paris, to Nicole Myers, NAMA, January 11;2016, NAMA curatorial file.;[3] Ibid. See also verso, p aper label, upper right on stretcher, handwritten: Sisley No.;2232/[E?]clu[se?] de St. Mamm\'e8s/[illegible]. See also photo stock card with;both Durand-Ruel stock numbers, National Gallery of Art, Washington, D.C.;Photo Archives, Durand-Ruel, NY.;[4] Durand-Ruel sold the painting to Sam Salz on;February 1, 1943. See email from Paul-Louis Durand-Ruel and Flavie Durand-Ruel;Durand-Ruel & Cie., Paris, to Nicole Myers, NAMA, January 11, 2016, NAMA;curatorial file. See also inventory book, 1940-1944, Sam Salz Archive, Department of Image;Collections, National Gallery of Art Library, Washington, D.C. Gift of Marc;Salz in memory of his father Sam Salz.;[5] Date from Fran\'e7ois Daulte;Alfred Sisley: Catalogue Raisonn\'e9 de l\'92\'8cuvre Peint" (Lausanne;Durand-Ruel, 1959), no. 605.;[6] Email from Emelia Scheidt, Richard L. Feigen;Co., New York, to Meghan Gray, April 13, 2015, NAMA curatorial files.;[7] Ibid. The invoice from Feigen is dated November;8, 1994, see NAMA curatorial files. See;verso, paper label on backing board, typewritten: Richard;L. Feigen & Co./ Incorporated/ 49 East 68th Street * New York, N.Y. 10021/;Artist Alfred Sisley No. 19627-D/ Title;Le Loing \'e0 Saint-Mamm\'e8s (The River Loing at Saint Mamm\'e8s)/ Date 1883 Medium oil;on canvas Size 15 x 21-1/2;[handwritten above strike-through] 22 in./ 38 x 54.6 cm. | Contains speculative language like 'possibly' or 'likely' |
| 2015.13.21 | Probably with the artist, Paris and Les Collettes, near Cagnes-sur-Mer, France, 1890-December 3, 1919;Probably inherited by the artist\'92s family, Les Collettes, near Cagnes-sur-Mer, France, 1919-October 1922 [1];Probably by descent to one of the artist\'92s sons, Pierre Renoir (1885-1952), Jean Renoir (1894-1979), or Claude Renoir (1901-1969), Paris and Les Collettes, near Cagnes-sur-Mer, France, 1922;George N. Richard (1882-1972), New York, by January 20, 1965 - February 1972 [2];Inherited by his widow, Bernice Richard (n\'e9e Rougeot, 1920-1989), 1972-February 10, 1976 [3];Purchased from Richard, through Knoedler and Co., New York, no. CA 9756, by Marion (n\'e9e Helzberg, 1931-2013) and Henry (1922-2019) Bloch, Shawnee Mission, KS, February 10, 1976-June 15, 2015;Given by Henry W. and Marion H. Bloch to the Nelson-Atkins Museum of Art, Kansas City, MO, 2015.;NOTES;[1] Distribution of Renoir\'92s 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\'92s paintings titled \'93Partage par lots\'94 was drawn up, presumably with an indication of which painting went to which son. The \'93 Partage par lots\'94 is undated, however, a typed letter dated August 8, 1922 from Pierre Renoir to his cousin Eug\'e9ne 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] George N. Richard often bought and sold works through Knoedler, New York. Knoedler made an inventory and appraisal of Richard\'92s art collection on January 21, 1965. The painting appears as Femme Accoud\'e9e \'9383\'94, with a short description of its location and value. See appraisal, 1965, Richard, George N. Richard, Series VI.A, box 1091, folder 4, M. Knoedler and Co. records, approximately 1848-1971,, The Getty Research Institute, Los Angeles. A label on the verso of the painting reads \'93A83-63 Renoir\'94 in red ballpoint and \'93P\'94 in blue ballpoint (see examination report, Forrest R. Bailey, NAMA conservator, September 24, 1979, NAMA curatorial files. This number might be Richard\'92s inventory number and may indicate that the painting was the 83rd item purchased by him and that it was bought in 1963.;[3] See correspondence from Jack Tanzer, Knoedler and Co., New York, to Henry Bloch, Shawnee Mission, KS, January 9, 1975, NAMA curatorial files. | Contains 'unknown' indicating lack of specific details |
| 2015.13.20 | With the artist, Paris and Les Collettes, near Cagnes-sur-Mer, France, 1890-December 3, 1919;Inherited by the artist\'92s family, Les Collettes, near Cagnes-sur-Mer, France, 1919-October 1922 [1];By descent to the artist\'92s 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, D\'fcsseldorf, 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 epingl\'e9 [sic], by July 1954 [4];Purchased from James Vigeveno Galleries by George I. (d. 1984) and Myna Friedland (n\'e9e 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 (n\'e9e 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\'92s 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\'92s paintings titled \'93Partage par lots\'94 was drawn up, presumably with an indication of which painting went to which son. The \'93 Partage par lots\'94 is undated, however, a typed letter dated August 8, 1922 from Pierre Renoir to his cousin Eug\'e9ne 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\'92s 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 (n\'e9e 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). | Contains 'unknown' indicating lack of specific details; Mentions 'private collection' without specifying owner or dates; Contains speculative language like 'possibly' or 'likely' |
| 2015.13.10 | With the;artist, Paris, 1887;To his brother;Theo van Gogh (1857-1891), Paris, 1887- January;25, 1891;Inherited by;his widow, Johanna van Gogh-Bonger;(1862-1925), Bussum and Amsterdam, The Netherlands, stock no. 307, as Vue d\'92Asni\'e8res, avec;Marronniers en fleurs, by 1891 [1];By descent to;her son, Vincent Willem van Gogh;(1890-1978), Laren, The Netherlands, by 1925-1927;Purchased from Vincent;Willem van Gogh through Leicester Galleries, London, by Nathan Charles Beechman;(ca. 1861-1935), London, February 9, 1927-at least 1928 [2];With Alex Reid;and Lef\'e8vre Ltd., London, stock no. 146/29, as Restaurant Rispal \'e0 Asni\'e8res, on joint account with C. W. Kraushaar;Art Galleries, New York, stock no. 24707, [painting is untitled], [and on join;account with \'c9tienne Bignou, Paris and New York,?], by July 19, 1929- January;30, 1930 [3];Purchased from the;latter by Galerie Rapha\'ebl G\'e9rard, Paris, January 30, 1930 [4];With Galerie;Georges Bernheim, Paris;With Hugo L. Moser;(1881-1972), Berlin, Zurich, Heemstede, The Netherlands, and New York, by;December 1930-until at least 1970 [5];Transferred to;his wife, Mrs. Hugo L. Moser (n\'e9e Maria Werner, 1893-1987), New York, by the;late 1960s-November 7, 1979 [6];Purchased from;the Moser Family Collection sale, Impressionist and Modern Paintings and;Sculpture, Sotheby Parke Bernet Inc., New York, November 7, 1979, no. 541;as Le Restaurant Rispal \'e0 Asni\'e8res, through Richard L. Feigen and Co.;New York, stock no. 16435-C, by Marion (n\'e9e Helzberg, 1931-2013) and Henry W. (1922-2019) Bloch, Shawnee Mission, KS, 1979-June 11, 2015 [7];Given;by Henry W. and Marion H. Bloch to the Nelson-Atkins Museum of Art, Kansas;City, MO, 2015.;NOTES;[1];Although, formally speaking, Vincent Willem van Gogh was joint owner of the Van;Gogh collection from 1891, his mother, Johanna van Gogh-Bonger, managed the;collection until her death in 1925. See the inventory of van Gogh\'92s works then;in van Gogh-Bonger\'92s collection, Andries Bonger, \'93Catalogue des \'9cuvres de;Vincent van Gogh,\'94 1891, Brieven en Documenten, b 3055 V/1962 (document),Van;Gogh Museum, Amsterdam, no. 307, as Vue;d\'92Asni\'e8res, avec Marronniers en fleurs.;[2];The date February 9, 1927 is from Walter;Feilchenfeldt, Vincent van Gogh: The Years in France, Complete Paintings;1886-1890: Dealers, Collectors, Exhibitions, Provenance (London: Philip;Wilson, 2013), 84. Feilchenfeldt, 30, 33n53, notes that V. W. van Gogh sold the;painting through Leicester Galleries on the occasion of the second exhibition;at Leicester Galleries in November-December 1926. It is possible that the sale;to the next constituent was not finalized until February after the exhibition;closed. The;catalogue raisonn\'e9, J.-B. De La Faille, L\'92\'8cuvre de Vincent Van Gogh: Catalogue Raisonn\'e9 (Paris: \'e9ditions G. Van;Oest, 1928), no. 355, has the painting in Beechman\'92s collection in 1928. This might be Nathan;Charles Beechman (d. 1935), Middlesex, England.;[3];See letter from Alex Reid and Lef\'e8vre to Kraushaar, July 19, 1929, Archives of;American Art, Smithsonian Institution, Washington, D.C., Kraushaar Galleries;Records, 1885-2006, Series II, Incoming Letters, Re General, 1929, box 14;folder 23. See Alex Reid and Lef\'e8vre stock book entry, Tate Britain, London;Alex Reid and Lef\'e8vre archives, TGA 200211, p. 290. See also Archives of;American Art, Smithsonian Institution, Washington, D.C., Kraushaar Galleries;Records, 1885-2006, Series 6.4, Financial Records, 1885-1957, Purchase Journal;1928-1940, Box 74, Folder 7, page 63. For the relationship between Bignou and Reid and Lef\'e8vre, see Alex Reid & Lefevre 1926-1976 (London;Lef\'e8vre Gallery, 1976), 17-21.;[4];See record of sale to G\'e9rard in Alex Reid and Lef\'e8vre stock book, Tate Britain;London, Alex Reid and Lef\'e8vre archives, TGA 200211, p. 290.;[5];Possibly;Moser stock no. L.64.23.2. Moser was an art dealer in Berlin until 1933, when;he and his family fled the Nazis, first living in Zurich and then in Heemstede;The Netherlands. In February 1940, just before the Nazis\'92 invasion of The;Netherlands, they crossed through France, Italy, Spain, and Cuba before finally;arriving in New York. Prior to their flight from Europe, they sent their art collection;from The Netherlands to the Baltimore Museum of Art, which arrived at the;museum on May 1, 1939. The present painting appears on the wall of the Moser;apartment in New York City in a photograph published in Aftonbladet on January 24, 1953. Letter from Ann Moser, Hugo L.;Moser\'92s daughter-in-law, to Meghan Gray, April 21, 2015, NAMA curatorial files.;[6] The;painting was sent on long-term loan to the Museum of Fine Arts, Boston, from;February 16, 1968 until April 28, 1976, and then was transferred to the;Baltimore Museum of Art. It remained on loan in Baltimore until it was transported;to Sotheby\'92s on September 14, 1979, where it was sold by Maria Moser on;November 7, 1979. All of Hugo L. Moser\'92s paintings were transferred to his;wife, Maria Moser, in the late 1960\'92s when his health was failing. See email;from Ann Moser, Hugo L. Moser\'92s daughter-in-law, to Meghan Gray, April 21, 2015;and May 6, 2015. See also email from Mary Allen, Assistant Registrar, Museum of;Fine Arts, Boston, April 22, 2015, and email from Caitlin Draayer, Assistant;Registrar, Baltimore Museum of Arts, April 22, 2015, to Meghan Gray, NAMA;curatorial files.;[7];While Maria Moser was the primary owner of the painting, she gave a portion of each;painting in the collection to her two sons, daughters-in-law, and grandchildren;each year. By 1979, the present painting was collectively owned by the Moser;family. Email from Ann Moser to NAMA on April 30, 2015.;Richard;L. Feigen & Co. was purchaser as agent for the Blochs. See email from Ann;Moser to Meghan Gray, April 30, 2015, NAMA curatorial files. Richard L. Feigen;Co. purchased the painting at Sotheby\'92s on behalf of Henry and Marion;Bloch. See email from Emelia Scheidt, Richard L. Feigen & Co., New York, to;Meghan Gray, April 13, 2015, NAMA curatorial files. | Contains speculative language like 'possibly' or 'likely' |
| 2015.13.26 | Possibly General;Raymond-Adolphe S\'e9r\'e9 de Rivi\'e8res (1815-1895), by 1895 [1];By descent to his;granddaughter, Aline S\'e9r\'e9 de Rivi\'e9res (1879-1972), Nice, by May 1955;Purchased from;Aline S\'e9r\'e9 de Rivi\'e9res by Wildenstein and Co., New York, May 1955-1960 [2];Purchased from;Wildenstein by James W. Johnson (d. 1970), 1960;With Waterloo Fine;Art, London [3];Purchased at;Impressionist and Modern Drawings and Watercolors," Sotheby\'92s, New;York, November 14, 1990, lot 101, through Susan L. Brody and Associates, Inc.;New York, by Marion (n\'e9e Helzberg, 1931-2013) and Henry (1922-2019 2) Bloch;Shawnee Mission, KS, 1990-June 15, 2015;Given;by Henry W. and Marion H. Bloch to the Nelson-Atkins Museum of Art, Kansas;City, MO, 2015.;NOTES;[1] General;Raymond-Adolphe S\'e9r\'e9 de Rivi\'e8res (1815-1895) was Toulouse-Lautrec\'92s cousin.;[2] See email from Joseph Baillio, Wildenstein and Co., to MacKenzie Mallon, NAMA, May 21, 2015, NAMA;curatorial files.;[3] This;watercolor was offered for sale at "Important Impressionist and Modern;Drawings and Watercolours," Sotheby Parke Bernet & Co., London, March;30, 1977, but failed to sell. The consignor of this sale is unknown, nor is it;known whether this sale preceded or succeeded ownership by Waterloo Fine Art. | Contains 'unknown' indicating lack of specific details; Contains speculative language like 'possibly' or 'likely' |
| 66-26/7 | Private collection, England;Given by Michael Hall Fine Arts, Inc., New York, to The;Nelson-Atkins Museum of Art, Kansas City, MO, 1966. | Mentions 'private collection' without specifying owner or dates |
| F61-65 | Possibly Countess Vosdari, Ferrara [1];With Count Alessandro Contini Bonacossi (1878-1955), Rome and Florence, by 1950;Purchased from Bonacossi by the Samuel H. Kress Foundation, New York, July 17, 1950-1961;Its gift to The Nelson-Atkins Museum of Art, Kansas City, MO, 1961.;NOTES;[1] There appear to be no records of a Countess Vosdari or her collection in Ferrara. Possibly, this collector was instead a member of the noble Bosdari family, which can be traced to the cities of Ragusa, Ancona, and Bologna. See letter from Lucio Scardino, Liberty House Casa Editrice, Ferrara, October 14, 1993, NAMA curatorial files. | Contains speculative language like 'possibly' or 'likely' |
| F92-1 | Private collection, Berlin, possibly after 1918;With Frieda Hintze, Berlin, possibly by 1939 [1];Private collection, South America, possibly by 1940 [2];Possibly by descent to Mrs. Pallavicini, Buenos Aires, Argentina, by January 11, 1991 [3];Purchased at her sale, Important Paintings by Old Masters, Christie, Manson and Woods, New York, January 11, 1991, lot 81, by Hazlitt, Gooden and Fox, London, 1991-1992;Purchased from Hazlitt, Gooden and Fox by The Nelson-Atkins Museum of Art, Kansas City, MO, 1992.;NOTES;[1] According to Erich Schleier, Staatliche Museen Preu\'dfischer Kulturbesitz, Berlin, in a letter dated August 21, 1992, NAMA curatorial files, Hintze probably sold the painting sometime between the start of her career in the 1920s and the outbreak of World War II.;[2] Ian Kennedy, former NAMA curator, in conversation, 1993.;[3] According to Ian Kennedy, in an email to MacKenzie Mallon, July 13, 2013, NAMA curatorial files, he saw the painting in the home of Mrs. Pallavicini in Buenos Aires just prior to her consignment of it to Christie\'92s. Mrs. Pallavicini told him her family brought the painting to Argentina from Italy in the 1930s. | Mentions 'private collection' without specifying owner or dates; Contains speculative language like 'possibly' or 'likely' |
| 46-9/2 | Private collection, Scotland, by 1936;Purchased from the latter by an unknown dealer, England, by 1936;Purchased from the latter by Albert Duveen (1892-1965), New York, 1936 [1];Private collection, U.S., by January 16, 1946 [2];Purchased from the latter through Clyfford Trevor, New York, by The Nelson-Atkins Museum of Art, Kansas City, MO, 1946.;NOTES;[1] Comments by Albert Duveen dated March 5, 1940, preserved in the Frick Art Reference Library, New York, indicate the picture was once in a castle in Scotland where it had been attributed to Hans Holbein the Younger. It was sold through an unnamed English dealer to Duveen in 1936.;[2] See correspondence from Clyfford Trevor, NAMA curatorial files. Trevor described himself as a \'93consultant on art matters.\'94 | Contains 'unknown' indicating lack of specific details; Mentions 'private collection' without specifying owner or dates |
| 75-6 | With Gaston-Alexandre Camentron, Paris, by 1892;Purchased from;Camentron by Durand-Ruel, Paris, stock no. 2021, as La berge \'e0 Bellancourt, February 23, 1892-July 1897 [1];Transferred from;Durand-Ruel, Paris, to Durand-Ruel, New York, stock no. N. Y. L 1902, July 1897-March 16, 1927 [2];Purchased from;Durand-Ruel by Effie Seachrest, New York and Kansas City, MO, March 16, 1927;[3];Private;Collection, by 1959;Mr. William James;(1875-1960) and Mrs. Mildred (n\'e9e White, 1882-1975) Brace, Kansas City, MO, by 1966-March;31, 1975 [4];Bequeathed by Mr.;and Mrs. Brace to The Nelson-Atkins Museum of Art, Kansas City, MO, 1975.;NOTES;[1] See email from Paul-Louis Durand-Ruel and;Flavie Durand-Ruel, Durand-Ruel & Cie., Paris, to Nicole Myers, NAMA;January 11, 2016, NAMA curatorial file.;[2] Ibid.;[3] Ibid. Seachrest (1869-1952) had a gallery called Little Gallery in;the Woods in Kansas City. She encouraged Kansas Citians, particularly women, to;buy modern art. She was heavily involved in the decision of NAMA to purchase;van Gogh\'92s Olive Trees (32-2).;[4] Mrs. Brace lent the painting to an exhibition at NAMA in 1966;honoring Seachrest. The catalogue states that the painting was \'93acquired by;Kansas City collectors through the efforts of Miss Effie.\'94 It\'92s possible that;the Braces are the \'93private collection\'94 in the line above and that they;purchased the work directly from Seachrest. | Mentions 'private collection' without specifying owner or dates |
| 53-80 | Possibly to the;presumed sitter, \'c9lisabeth Fr\'e9ret d\'92H\'e9ricourt (n\'e9e Gonnet or Gounet or Gonet;b. ca. 1730, Lyon) or her husband, Nicolas Louis Fr\'e9ret d\'92H\'e9ricourt (b. ca.;1732, Herbies), 1769;Count Pavel;Pavlovich Demidov, 2nd Prince of San Donato (1839-1885), Villa San Donato, Polverosa;Italy, and Villa Demidoff, Pratolino;Italy, by 1880 [1];Purchased;at his sale, Palais de San Donato: Objets;d\'92Art et d\'92Ameublement, Tableaux, Villa San Donato, Polverosa, March 15;1880, lot 1439, as by Fran\'e7ois-Hubert Drouais, Portrait de Femme, by Thomas Agnew and Sons, London, no. 1402;March 15, 1880-April 7, 1880 [2];Purchased;from Agnew by Alfred Charles de Rothschild (1842-1918), London and Halton, Buckinghamshire;England, April 7, 1880-at least 1884 [3];To his cousin, Constance;Flower, Lady Battersea (n\'e9e de Rothschild, 1843-1931), Aston Clinton, Buckinghamshire;by 1918 [4];Possibly inherited;by her first cousin twice removed, Rosemary de Rothschild (1913-2013), 1931 [5];To;Edmund Leopold de Rothschild (1916-2009), London and Exbury Estate, Hampshire;England, until possibly 1942 [6];With Edward Speelman Ltd., London, on joint account with F. Kleinberger;Galleries, New York, no. 1187, as by Francois-Hubert Drouais, Woman with dog on her Lap, December;1950-December 8, 1953 [7];Purchased;from Speelman and Kleinberger by The Nelson-Atkins Museum of Art, Kansas City;MO, 1953.;NOTES;[1] This;constituent is also sometimes known as Paul Demidoff. Count Demidov inherited;the Villa San Donato from his uncle, Anatoly;Nikolaievich Demidov, Prince of Demidov (1813-1870), in 1870. He may;have also inherited the painting from his uncle Anatoly, his father Pavel;Nikolaievich Demidov (1798-1840), or his grandfather Nikolai Nikitich Demidov;(1773-1828), who were all art collectors. From around 1872 until 1880, Count;Demidov lived in the Villa Demidov in Pratolino, Italy, but he did not sell the;Villa San Donato until 1881 after the painting had sold.;[2] See;National Gallery, London, Thomas Agnew Archive, NGA 27/1/1/6, Picture Stock;Book 4, p. 70-71. See also paper label with ink script, partially encapsulated;on stretcher reverse of painting: Purchased for A de Rothschild Esq / by Thos;Agnew Sons from the / [S]a[n] Donato Collection March 1880.;[3] The;painting may have hung in Halton, Alfred\'92s mansion in Buckinghamshire, until;his death in January 1918. See Rothschild Archive, London, Alfred Charles de Rothschild (1842-1918): will;and estate papers, RAL 000/174, Halton, \'93Schedule of Furniture and General;Contents of the Mansion and Outbuildings, Messers. Knight, Frank and Rutley, Auctioneers;and Values,\'94 August 1918, p. 127, as Library \'96 Drouais, A three-quarter length portrait of a lady. However, as of 1884;Alfred also owned another Drouais, known then as Portrait of Mademoiselle Duth\'e9 (or Dutet), see Charles Davis, A Description of the Works of Art Forming;the Collection of Alfred de Rothschild, vol. 1 (London: [Chiswick Press];1884), nos. 50 and 198. If the Duplessis painting was still in Alfred\'92s;collection at the time of his death, it would have been inherited, along with;his estate, by his nephew, Lionel Nathan de Rothschild (1882-1942). Lionel sold;the estate to the War Office in May 1918, but retained ownership of the;contents of the mansion.;[4] See;small paper label on upper left corner of the stretcher reverse, faint graphite;which appears to read: Lord Barters[z?]e. The first and last Lord Battersea (n\'e9;Cyril Flower, 1843-1907) received his title to Baron on September 5, 1892. In;1877, he married Constance de Rothschild, who was Alfred de Rothschild\'92s first;cousin. By 1918, the painting hung in the \'93Blue Drawing Room\'94 at Aston Clinton;which was Lady Battersea\'92s family home. See Constance Flower Battersea, Thoughts in Verse (Norwich: Goose and;Son, 1920), 8. After the death of Lady Battersea\'92s mother, Louisa, in;1910, and Alfred de Rothschild in 1918 (the last of Lionel Nathan de Rothschild\'92s;sons), Aston Clinton and its contents were inherited by Lady Battersea\'92s first;cousin once removed, N. Charles de Rothschild (1877-1923). Throughout this;time, Lady Battersea continued to live there. After Charles\'92 death in 1923, his;executors convinced Lady Battersea to sell Aston Clinton and its contents;although the Duplessis painting does not appear in the sales catalogues.;[5] The painting may have gone with Lady Battersea to;another one of her houses after 1923. She leased a London mansion at 10;Connaught Place, and owned an estate called The Pleasaunce in Overstrand;Norfolk, England, which were inherited by her first cousin twice removed;Rosemary de Rothschild, in 1931. See Lucy Cohen, Lady de Rothschild and her daughters, 1821-1931 (London: J. Murray;1937), 285. According to Michael Hall, curator of Exbury House, in an email to;Meghan Gray, Curatorial Associate, October 22, 2018, NAMA curatorial files, because;Rosemary was only 18 at the time, her father, Lionel Nathan de Rothschild;(1882-1942), took over Rosemary\'92s interest in the estates. He sold The;Pleasaunce in 1936 and 10, Connaught Place, sometime after 1931, but the;painting is not listed in either sales catalogue.;[6] In his memoirs, Edmund;de Rothschild, A Gilt-Edged Life;Memoir (London: John Murray, 1998), 7-8, Edmund de Rothschild recounts inheriting his great-uncle\'92s estate and artwork;through his father and Alfred;de Rothschild\'92s nephew, Lionel Nathan de Rothschild (1882-1942), London. It is;possible that this painting was among the works he inherited in this manner. Although;Edmund inherited his art collection from Lionel, the presence of Lady Battersea;and possibly Rosemary de Rothschild in the provenance makes a direct transfer;between Lionel and Edmund unlikely. Edmund was forced to sell most of the;family\'92s fine art and furniture in 1942 in order to raise funds for estate;duties. Many of the paintings were sold to Thomas Agnew and Sons and to the;Finnish dealer Tancred Borenius (1885-1948), who was also a part-time advisor;to Sotheby\'92s. This painting may have been one of them.;A;handwritten note in the NAMA curatorial files amends the provenance listed in;the accessioning paperwork, crossing out the name Edmund and replacing it with;Edouard. Alfred\'92s second cousin, Edouard;Alphonse de Rothschild (1868-1949) was a banker and art collector who lived in;Paris. The German National Socialist (Nazi) regime confiscated most of his art;collection in late 1941. This version of the provenance, in which Edmund is replaced;with Edouard, was published in the 1975 exhibition catalogue titled The Age of Louis XV. French Painting;1715-1774. It;is not clear who made this amendment, and though it appears very likely to have;been an error, research is being conducted in the appropriate archives to verify;the painting was in Edmund\'92s possession and that there are no known claims to;the painting.;[7];See The Metropolitan Museum of Art, New York, F. Kleinberger Galleries (New York;N.Y.), Stock cards, 1897-1973, and clipping file. | Contains speculative language like 'possibly' or 'likely' |
| 46-9/1 | Private collection, Scotland, by 1936;Purchased from the latter by an unknown dealer, England, by 1936;Purchased from the latter by Albert Duveen (1892-1965), New York, 1936 [1];Private collection, U.S., by January 16, 1946 [2];Purchased from the latter through Clyfford Trevor, New York, by The Nelson-Atkins Museum of Art, Kansas City, MO, 1946.;NOTES;[1] Comments by Albert Duveen dated March 5, 1940, preserved in the Frick Art Reference Library, New York, indicate the picture was once in a castle in Scotland where it had been attributed to Hans Holbein the Younger. It was sold through an unnamed English dealer to Duveen in 1936.;[2] See correspondence from Clyfford Trevor, NAMA curatorial files. Trevor described himself as a \'93consultant on art matters.\'94 | Contains 'unknown' indicating lack of specific details; Mentions 'private collection' without specifying owner or dates |
