Tracking looted art by examining the names in between. Example: MEISSNER

 

In this post, we look in art provenances that contain Meissner.

The Dutch masterpiece The Oyster Meal by Jacob Ochtervelt was looted by Nazis, and even today is still missing from its history the years between 1945 and 1956. What is known, however, is that it popped up in 1965 at the Swiss gallery, Galerie Kurt Meissner in Zurich, which sold it to the US ambassador to the Netherlands,  American investment banker and diplomat, J William Middendorf. Middendorf sold the painting to Edward Speelman who then sold it to property developer and entrepreneur Harold Samuel (Lord Samuel of Wych Cross). It was discovered to have been looted and finally restituted to J. H. Smidt van Gelder's daughter Charlotte Bischoff van Heemskerck in 2015.

How did the Nazi-looted painting get to Kurt Meissner? According to an article by Mick Brown in The Telegraph published in 2018, 

"It was discovered that Galerie Meissner had sold the painting to Middendorf with a written authentication provided by a German art historian named Walther Bernt, who had described the Ochtervelt as an 'impeccable' work by the artist, and provided a detailed, if truncated, provenance, tracing it from the collection of one Comte de Morny in Paris in 1874, to its acquisition in 1927 by an Amsterdam dealer.

After the war, Bernt had presented himself to the Allies offering to help identify art that had been looted by the Nazis and that had been retrieved. 'What he didn't mention,' Anne Webber says, 'was that under the name Walther Berndt he had helped the Gestapo in Prague, advising them on the value of collections that had been seized by the Germans, and that he was familiar with those because before the war he had advised the Jewish owners on what to buy.' In Bernt's archives, held by Harvard University, researchers found a photograph of The Oyster Meal. Written on the back was a reference to Gallery Peiffer, in Düsseldorf....

 the owners of the gallery had consulted Walther Bernt, and it was Bernt, no doubt knowing that the painting was looted property, who had arranged the transaction with Galerie Meissner in Zurich

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A Courbet at the Fitzwilliams Museum is currently under investigation. It also passed through Meissner.

https://www.theartnewspaper.com/2022/05/10/courbet-work-was-probably-stolen-for-hitlers-deputy

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Meissner can be described as a name "in between". 

That is, a name of a dealer that pops up between the moment of Nazi plunder and the installation in a respectable museum. What other artworks passed through Meissner? What is the state of their provenances? Are there gaps 1933-1945? Red flag? Uncertainty or anonymity words?

To find out, we invite art historians to give a close read to the following provenances. A few of the names that appear together with Meissner are highlighted. 

Question for students of art history and provenance researchers. What is known about these names? 

1. Meissner in UK Spoliation Reports

ResourcesCultural property adviceSpoliation reports from UK museumsSearch results

Search results for: Meissner

Friedrich Preller the Elder

Description: The stag hunt after Ruisdael

Reference: PD.9-1991

Questions in the operative period: Where between 1933-1945? From where and when acquired by Meissner?

Materials: Point of the brush, watercolour over graphite and touches of black chalk

Acquisition: Bought from the Biffen and Gaskell Funds, 1991

Dimensions: 318 x 403 mm

Provenance: Kurt Meissner; with Tan Bunzl & Rothschild, from whom bought

Institution: Fitzwilliam Museum

Part of: Uncategorized

Drawn by Kobell, Franz

Description: Landscape with two trees in foreground; lawn with a large tree to either side and wood in distance Brush and brown ink and wash, with graphite outline around edge of sheet

Reference: 1996,0928.10

Questions in the operative period: Uncertain or incomplete 1933-45 provenance

Materials: paper

Acquisition: 1996

Dimensions: Height: 176 mm; Width: 212 mm

Provenance: Donated by Lachenmann, David; Previous owner/ex-collection Galerie Bruno Meissner

Institution: British Museum

Part of: Drawings, Objects, Visual works

Ambrosius Bosschaert the Elder

Description: Flowers in a Glass Vase

Reference: NG6549

Questions in the operative period: {1} Whereabouts and provenance until post WWII? {2} Source for information about Switzerland? {3} Provenance between post 1945 and 1960's?

Materials: Oil on copper

Acquisition: Bequeathed by Mrs Sally Speelman and Mr Anthony Speelman in memory of Mr Edward Speelman, 1994

Dimensions: 26 x 20.5 cm

Provenance: Switzerland, possibly shortly after Second World war {1, 3}. acquired from a Canadian family near Genoa in the 1960's or from a private collection near Zollikon, Switzerland around 1970/1972 by Kurt Meissner (dealer), Zurich {2, 3},; Edward Speelman (dealer), London; bequeathed to the National Gallery by Edward Speelman (dealer) in 1994.

Institution: National Gallery

Part of: Paintings

2. Meissner in provenances in US Museums

url

provenance

accnum_Qid

https://www.dia.org/art/collection/object/study-day-48158

1921, (Gallery Neupert, Zürich, Switzerland);(Gallery Thannhauser, Munich, Germany);1988, (Bruno Meissner, Zürich, Switzerland);1988-present, purchase by the Detroit Institute of Arts (Detroit, Michigan, USA)

Q1201549_1988.65

https://www.toledomuseum.org/wordpress/wp-content/uploads/Provenance-Research-lowres.pdf

1913? Louis S. Günzburger, Geneva;by 1918 Max Moos, Geneva;1977 Toledo Museum of Art;(Purchased through;Bruno Meissner, Zurich);Toledo Museum of Art;Provenance Report, page 54

Q1743116_1977.40

https://art.nelson-atkins.org/objects/2778/the-martyrdom-of-saint-sebastian

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).

Q1976985_F84-71

http://www.artic.edu/aic/collections/artwork/51130

Possibly Cardinal Silvio Valenti Gonzaga (died 1765) [Clark 1985]; then by descent, possibly Valenti Gonzaga’s nephew, Cardinal Luigi Valenti Gonzaga (died 1808); a noble Florentine family. Private collection, Rome [Clark 1985]. P. & D. Colnaghi, London, 1975. Galerie Bruno Meissner Switzerland, by 1976; sold to Art Institute, 1976.

Q239303_1.976.291

http://www.artic.edu/aic/collections/artwork/111418

Art market, Germany [according to Paris 1982, no. 31]. Sold at a public sale, Milan, to Ettore Viancini, Venice [letter of August 24, 1976 from Pierre Rosenberg to Patrice Marandel and note of conversation of Susan Wise with Patrice Marandel in curatorial file]; sold by Viancini to Gilberto Algranti, Milan and London [according to letter and note cited above]; sold by Algranti to Silvano Lodi, Campione d’Italia, and Bruno Meissner, Zurich, 1973 [according to letter and note cited above], passed solely into Meissner’s possession [letter from Bruno Meissner to Susan Wise dated May, 1981 in curatorial file]; sold by Meissner to Art Institute, 1976.

Q239303_1.976.292

https://www.harvardartmuseums.org/art/226857

[Silvano Lodi, Lugano, by 1970]. [Bruno Meissner, Zurich]. [Bob Habdolt & Co., Paris and New York, by 1985], sold, to a private collector by 1989 [with "Reclining Male Nude"]. Vermeer Associates Ltd. [through Sotheby's, New York, 1995, Sale 6654, lot 66], sold, to Harvard Art Museums, 1997.

Q3783572_1997.5

https://collections.mfa.org/objects/34311/the-taking-of-christ

Private collection, Switzerland (?) [see note 1]. 1977, Gabinetto delle Stampe, 1977, sold by Gabinetto delle Stampe to Colnaghi, Zurich, 1977, consigned by Colnaghi, Zurich to Colnaghi, London, 1978, sold by Colnaghi to Bruno Meissner, Zurich and probably sold back to Colnaghi, 1979, sold by Colnaghi to the MFA. (Accession Date: March 14, 1979);NOTES;[1] According to notes in the curatorial file.

Q49133_1.979.154

https://collections.mfa.org/objects/34592/brother-philippes-geese

By about 1920, Baron Eugène-Napoléon Beyens (b. 1855 - d. 1934), Brussels (?). Private collection, England, December 10, 1980, anonymous ("property of a nobleman") sale, Sotheby's, London, lot 6 [see note 1], probably to Bruno Meissner, Zurich, 1981, sold by Meissner to P. and D. Colnaghi, London and New York, 1983, gift of Colnaghi to the MFA. (Accession Date: December 7, 1983);NOTES;[1] In a letter from Arabella Bailey of Sotheby's to Helen Hall of the MFA (March 13, 1985), this painting and its companion (1983.592) are said to have been purchased by the consignor's father "probably in Paris before the 1st World War.

Q49133_1.983.593

https://www.getty.edu/art/collection/objects/219833/pier-leone-ghezzi-portraits-of-serafino-and-francesco-falzacappa-italian-about-1720/

Provenance -;Private Collection [sold, Old Master Drawings, Sotheby's London, March 21, 1974, lot 111.] -;Kurt Meissner (L.4665, L.4666), 1909 - 2004 -;British Rail Pension Trustee Company, Ltd. -;Succi Ltd. -;Private Collection (France) [sold, Cabinet Italien: Italian Old Master Drawings from two French Private Collections, Christie's, New York, January 28, 1999, lot 30, to private collection.] -;Private Collection [sold, Old Master and 19th Century Drawings, Christie's New York, January 22, 2003, lot 38, to the J. Paul Getty Museum.]

Q731126_2003.8

https://www.getty.edu/art/collection/objects/792/leo-von-klenze-landscape-with-the-castle-of-massa-di-carrara-german-1827/

Provenance 1827 - 1864;Leo von Klenze, German, 1784 - 1864, by inheritance within the Klenze family, 1864. 1864 -;Klenze Family, by inheritance to Herbert M. von Klenze. - 1985;Herbert M. von Klenze (Ellenberg, Germany) [sold, Lempertz, Cologne, November 21, 1985, lot 479, to Kurt (or Bruno) Meissner.] 1985 - 1986;Kurt Meissner (L.4665, L.4666), 1909 - 2004 (Zurich, Switzerland) 1986;Bruno Meissner Kunsthandel (Zurich, Switzerland), sold to the J. Paul Getty Museum, 1986.

Q731126_86.PA.540

https://www.getty.edu/art/collection/objects/390/georges-lallemant-reclining-old-man-french-about-1625/

Provenance -;Kurt Meissner (L.4665, L.4666), 1909 - 2004 (Zürich, Switzerland) -;Art Market (London)

Q731126_90.GG.136

https://www.nga.gov/collection/art-object-page.112271.html

Estate of the artist, Basel 1913, inv. no. 46, Kurt Meissner, Zurich, Stiftung Wolfgang Ratjen, Vaduz, (Katrin Bellinger, Kunsthandel, Munich), purchased 2000 by NGA.

Q214867_2000.73.2

https://www.nga.gov/collection/art-object-page.117965.html

(Mr. and Mrs. Kurt Meissner, Zurich), gift to NGA, 2001.

Q214867_2001.4.1

https://www.nga.gov/collection/art-object-page.119068.html

Adalbert Freiherr von Lanna, Prague [1836 - 1909] (Lugt 2773), (sale, H. G. Gutekunst, Stuttgart, 6-11 May 1910, no. 418), Siegfried Laemmle [1863-1953], Munich, 1936. Mr. and Mrs. Kurt Meissner, Zurich, gift to NGA, 2001.

Q214867_2001.49.1

https://www.nga.gov/collection/art-object-page.119069.html

Artist's estate (not in Lugt), Mr. and Mrs. Kurt Meissner, Zurich, gift to NGA, 2001.

Q214867_2001.49.2

https://www.nga.gov/collection/art-object-page.119070.html

Mr. and Mrs. Kurt Meissner, Zurich, gift to NGA, 2001.

Q214867_2001.49.3

https://www.nga.gov/collection/art-object-page.119071.html

Artist's estate (not in Lugt), Mr. and Mrs. Kurt Meissner, Zurich, gift to NGA, 2001.

Q214867_2001.49.4.a

https://www.nga.gov/collection/art-object-page.124517.html

Mr. and Mrs. Kurt Meissner, Zurich, gift to NGA, 2002.

Q214867_2003.21.2

https://www.nga.gov/collection/art-object-page.124955.html

Estate of the artist. Kurt Meissner, Zurich, gift to NGA, 2002.

Q214867_2002.47.1.a

https://www.nga.gov/collection/art-object-page.126861.html

Mr. and Mrs. Kurt Meissner, gift to NGA, 2003.

Q214867_2003.21.1

https://www.nga.gov/collection/art-object-page.130298.html

Jonathan Richardson Sr., London (1665 - 1745)(Lugt 2183)(shelf mark H6 2D, on his original mount). Private collection (not in Lugt). (Kurt Meissner, Zurich). James Ferrell, (Les Enluminures, Paris and Chicago), NGA purchase with donated funds in 2004.

Q214867_2004.92.1

https://www.nga.gov/collection/art-object-page.130877.html

Kurt Meissner (not in Lugt). (sale, Sotheby's, London, 8 July 2004, no. 98), NGA purchase(via Jean-Luc Baroni Ltd., London)in 2004.

Q214867_2004.132.2

https://www.nga.gov/collection/art-object-page.131152.html

Rolas du Rosey collection (sale, Weigel, Leipzig, 5 September 1864, no. 5386, as Murer), Boguslaw Jolles, Dresden and Vienna (Lugt 381)(sale, Helbing, Munich, 31 October 1895, no. 374, as C. Murer), (sale, Weinmüller, Munich, 9-10 May 1939, no. 317, as C. Maurer). Kurt Meissner, Zurich. (C. G. Boerner, Inc., New York), NGA purchase in 2004.

Q214867_2005.15.1

https://www.nga.gov/collection/art-object-page.139126.html

Salathé's estate. (Kurt Meissner, Zurich). Wolfgang Ratjen, Munich, purchased 2007 by NGA.

Q214867_2007.111.32

https://www.nga.gov/collection/art-object-page.139127.html

Johann August Gottlieb Weigel [1773-1846], Leipzig, Theodore Oswald Weigel [1812-1881], Leipzig, (J.A.G. Weigel sale, Gutekunst, Stuttgart, 15 May 1883, no. 285). Richard von Kühlmann [1873-1948], Germany. Richard Holtkott [1866-1950], Bedburg. (sale, Stephan List, Frankfurt am Main, 10-11 October 1969, no. 120, as Elsheimer School). Kurt Meissner, Zurich. David Lachenmann, Munich, Wolfgang Ratjen, Munich, purchased 2007 by NGA.

Q214867_2007.111.9

https://www.nga.gov/collection/art-object-page.53147.html

J. Richardson, Sr. (Lugt 2184), Kurt Meissner

Q214867_1972.15.1

https://www.nga.gov/collection/art-object-page.55818.html

Dr. Carl Steinbart [1852-1923], Berlin, by 1885.[1] (Kunsthandlung Fritz Gurlitt, Berlin), in 1886.[2] Julie Ginsberg, Berlin, by 1897.[3] Dr. Arthur von Weinberg [1860-1943], Frankfurt-am-Main, by 1904, by inheritance to his adopted daughters, Charlotte Frederike, Princess Ferdinand Lobkowicz [1896-1973], Frankfurt-am-main, and Marie Elisabeth, Gräfin von Spreti [1892-1969], presumably by inheritance to Marie Elisabeth's daughter, Alexandra-Beatrix Scherping [b. 1929, née Countess von Spreti], Schloss Pähl, Bavaria. (Galerie Bruno Meissner, Zurich), by 1975,[4] purchased 1976 by NGA.;[1] Steinbart's name is written three times in various locations on the reverse of the panel, see notes and photos in NGA curatorial files.;[2] The Gurlitt name is given in Rolf Andree, Arnold Böcklin: Die Gemälde, Basel and Munich, 1977: 451, no. 378, repro.;[3] Mrs. Ginsberg lent the painting to an 1897 exhibition in Berlin.;[4] Provenance provided by Galerie Bruno Meissner. See also letter dated 3 August 1976 from Prince Edouard de Lobkowicz in NGA curatorial files.

Q214867_1976.36.1

https://www.nga.gov/collection/art-object-page.64536.html

(Galerie Kurt Meissner), acquired 1984 by the NGA.

Q214867_1984.48.1

https://www.nga.gov/collection/art-object-page.64537.html

(sale, Frankfurt, Prestel 10-16 November 1920, no. 2296 as Jeremias van Winjhe), (sale, Amsterdam, DeVries 24-25 January 1922, no. 614 as Joos van Winjhe), (sale, Amsterdam, DeVries 1929 as Joos van Winjhe), B. Houthakker, Amsterdam, (Galerie Kurt Meissner), purchased by NGA, 1984.

Q214867_1984.48.2

https://www.nga.gov/collection/art-object-page.65586.html

Kurt Meissner, Zurich

Q214867_1984.76.1

https://www.nga.gov/collection/art-object-page.69980.html

(Galerie Kurt Meissner), acquired 1987 by the National Gallery of Art

Q214867_1987.31.1

https://www.nga.gov/collection/art-object-page.70307.html

Kurt Meissner

Q214867_1988.3.3

https://www.nga.gov/collection/art-object-page.72326.html

Kurt Meissner, Zurich. Dr. Andrew Robison, gift 1991 to NGA.

Q214867_1991.65.2

https://www.nga.gov/collection/art-object-page.72869.html

Private collection, the Netherlands, acquired 1948 by private collection, by inheritance to a subsequent owner,[1] (sale, Ader-Picard-Tajan, Paris, 22 June 1990, no. 39), purchased by (Galerie Sanct Lucas, Vienna, Bruno Meissner, Zurich, and Otto Naumann, New York), sold 27 February 1991 to NGA.;[1] According to the 1990 Ader-Picard-Tajan auction catalogue.

Q214867_1991.87.1

https://www.nga.gov/collection/art-object-page.74196.html

A. Prybram-Gladona Collection (from his father), to Kurt Meissner (no date available from Meissner Gallery), Hall Establishment, to Armand Hammer Collection, 1969.

Q214867_1991.217.28

https://www.nga.gov/collection/art-object-page.79134.html

Moscardo family, Verona, as a part of the so-called Museo Moscardo, beginning in the 16th century, probably Teresa Moscardo, who married Marcantonio Miniscalchi, Verona, and then by descent to the Minischalci-Erizzo collection, which was dispersed at the beginning of the 20th century. (L'Art Ancien, Zurich), Kurt Meissner, Switzerland (his mark, not in Lugt), Ian Woodner, New York, (sale, London, Christie's, Old Master Drawings from the Woodner Collection, 7 July 1992, no. 7), purchased by Yvonne tan Bunzl, London, NGA purchase in 1993.

Q214867_1993.10.1

https://www.nga.gov/collection/art-object-page.80924.html

Commissioned by Friedrick Augustus III, king of Poland and elector of Saxony [1696-1763],[1] Henry Temple, 2nd viscount Palmerston [1739-1802], London, Henry John Temple, 3rd viscount Palmerston [1784-1865], London,[2] who gave it, perhaps to pay a debt, to William Lygon, 1st earl Beauchamp [1747-1816], Madresfield Court, Worcestershire,[3] by inheritance to Else, Countess Beauchamp [1895-1989],[4] (sale, Sotheby's, London, 11 December 1991, no. 18), (Bernheimer Fine Arts Ltd., London and Munich, and Meissner Fine Art Ltd., Zurich and London), sold 3 June 1993 to NGA.;[1] Five views of Königstein were commissioned, executed on canvases of the same size and format, and intended to complete the earlier views of Dresden and Pirna painted for the king and placed in the Stallgebäude, the wing of the royal palace that housed the paintings collection after about 1731. The commission was interrupted, however, by the hostilities of the Seven Years' War, and the paintings were never delivered to the royal collection. Efforts to establish the early history of the views have not been successful. The paintings might have been seized by the Prussians during the seige of Dresden, Pirna, and Königstein. Alternatively, following the disarray of the Saxon court and the depletion of its treasury, Bellotto might have retained the canvases and sold them privately. Two of the paintings came to light twenty years later in England, in a sale at Christie's, London, 7 March 1778, lots 79 and 80, described as "Canaletto. A View of the fortress of Koningstein [sic] in Saxony, painted for the King of Poland. A ditto, its companion" (sale catalogue, Sotheby's London, Old Master Paintings, 11 December 1991: 36). They passed to the collection of the marquess of Londonderry, Wynyard Park, Durham, and were acquired by the City Art Gallery, Manchester, in 1983 (Byam Shaw, James, "Two Views of the Castle of Königstein by Bernardo Bellotto," National Art Collections Fund Review [1984]: 139-140). The other two exterior views of the fortress of Königstein, now (1993) in the collection of the earl of Derby, Knowsley Hall, were published in various nineteenth-century catalogues at Knowsley, without any indication of earlier provenance. However, a loose note, written by the 13th earl of Derby and inserted into an 1846 Catalogue of pictures at Knowsley records: "Königstein Castle 2 Canaletti (Palmerston) 200 Pounds" (Sotheby's 1991 sale catalogue, 36). Since the National Gallery's painting and the Knowsley paintings were once identically framed, it is reasonable to believe that the 2d lord Palmerston had owned at least three of the Königstein views. Thus he may have been responsible for bringing them to England in the later eighteenth century.;[2] The earliest reference to the National Gallery's painting occurs at the end of the eighteenth century when it belonged to Henry Temple, 2d viscount Palmerston (Scharf, George, A Descriptive and Historical Catalogue of the Collection of Pictures at Knowsley Hall, London, 1875: 10). The painting hung in Lord Palmerston's London House in Hanover Square. He acquired the property in 1790, but alterations were still being made in 1796, when he moved in, so it is unlikely that the painting was there before that date (Connell, Brian, Portrait of a Whig Peer. Compiled from the Papers of the Second Viscount Palmerston 1739-1802, London, 1957: 208-209, 259-260, 346). The painting is listed in an undated inventory (paper watermarked 1796), "Catalogue of Pictures belonging to Lord Palmerston in Hanover Square," in the Dressing Room and described as a "View of Keenigsteen: Cannaletti" and valued at 250 pounds. The painting is recorded after Lord Palmerston's death in an undated manuscript (paper watermarked 1804) of "Pictures in Stanhope Street and Hanover Square" as "Cannaletti Koningstein 105 pounds" (Sotheby's 1991 sale catalogue, 37, citing Broadlands Papers, Southampton University Library Archives and Manuscripts, BR 126/11 and BR 126/15).;[3] This family tradition is recounted in Sotheby's 1991 sale catalogue, 37. George Scharf mentions the painting as in the Beauchamp collection in his 1875 publication describing the Derby collection, A Descriptive and Historical Catalogue of the Pictures at Knowsley Hall, p. 10, under no. 17.;[4] Presumed to be the following owners: the first Earl's son, William Beauchamp, 2nd Earl Beauchamp (1782-1823), his brother, John Reginald, 3rd Earl Beauchamp (1783-1853), his brother, Henry Beauchamp, 4th Earl Beauchamp (1784-1863), his son, Henry, 5th Earl Beauchamp (1829-1866), his brother, Frederick, 6th Earl Beauchamp (1830-1891), his son, William, 7th Earl Beauchamp (1872-1938), his son, William, 8th Earl Beauchamp (1903-1979), his wife, Else, Countess Beauchamp (1895-1989).

Q214867_1993.8.1

https://www.clevelandart.org/art/1973.2

Provenance (sale: Sotheby’s, London, March 24, 1971, no. 104);[Bruno Meissner, Zurich];[Schaeffer Galleries, New York, 1972], sold to the Cleveland Museum of Art, 1973. [E. Speelman, London];[Leonard Koetser, London, 1962 to 1967];M. B. Asscher, London, 1946;J. Singer, London, 1948;Paul Oppenheimer, Littleborough, Lancashire

Q657415_1973.2

https://www.clevelandart.org/art/1987.136

Provenance 1987- The Cleveland Museum of Art, Cleveland, Ohio 1987 (Thomas Agnew & Sons, London, and Bruno Meissner, Zurich, sold to the Cleveland Museum of Art) 1987 (Nouveau Drouot, Paris, sale, March 17, 1987, no. 147, sold to Thomas Agnew and Bruno Meissner) 1 Possibly until 1987 Private collection, Tournai (?), Belgium 2 c. 1540/1545-after 1581 Dirick [1512-1578] and Machtelt van Teijlingen [d. after 1581], Alkmaar, Holland;Provenance Footnotes 1 The painting was in private hands until it appeared in this auction, before which it was unknown. The painting is listed in the catalogue section containing works consigned by “divers amateurs.” 2 The museum's files indicate this painting was owned by a private collector in Tournai whose identity remains unknown.;Provenance Citations;Evan Turner, letter to Ann Lurie, April 7, 1987, in CMA curatorial file.;Lurie, Ann Tzeutschler. “Heemskerck’s Portrait of Machtelt Suijs at The Cleveland Museum of Art,” T he Burlington Magazine 134, no. 1076 (Nov., 1992): 698-706.;Ann Tzeutschler Lurie, letter to Evan Turner, July 1, 1987, in CMA curatorial file.;“The Year in Review,” The Cleveland Museum of Art News & Calendar, 1988.;Evan Turner, letter to Ann Tzeutschler Lurie, April 7, 1987, in CMA curatorial file;Hôtel Drouot. Objets d'art et de très bel ameublement principalement du XVIIIe siècle, dessins et tableaux anciens. March 17, 1987.;Ann Tzeutschler Lurie, letter to Evan Turner, July 1, 1987, in CMA curatorial

Q657415_1987.136

https://www.metmuseum.org/art/collection/search/438407

?Curt Benedict, Villa de Sachs, Paris, later Zürich (sold to Meissner), [Kurt Meissner, Zürich, in 1961,?sold to Oppenheim],?Hans Oppenheim,?[Edward Speelman, London],?Colonel Hudson, Pershore, Worcestershire, England, Herman and Lila Shickman, New York (1971–2001)

Q160236_2.001.613

https://www.metmuseum.org/art/collection/search/439383

the artist, Pencerrig, near Builth Wells, Radnorshire, Wales (until d. 1803), his daughter, Elizabetha Francesca Jones (later Mrs. John Dale) (1803–d. 1806), her widower, Captain John Dale (1806–d. 1827), his daughter (by a later marriage), Rose Dale (from 1827), by descent to her grandson, Canon J. H. Adams (until 1975, his sale, Sotheby's, London, November 27, 1975, no. 92, as "Ponte Loreto near Nettano"), [Colnaghi, London, from 1975], [Bruno Meissner, Zollikon, Switzerland, by 1976–78], Pierre Boissonas, Zürich (from 1978), sale, Christie's, London, June 10, 1999, no. 14, as "View from Ponte Loreto, an antique bridge near Nettuno", [Artemis Fine Arts, London, sold to Thaw], Eugene V. Thaw, New York (by 2001–9)

Q160236_2009.400.77

https://www.metmuseum.org/art/collection/search/440360

the artist, Frankfurt am Main (until d. 1893), his son, Ernst Morgenstern, Frankfurt (until d. 1919, his estate), Günter Scharnowski, Munich, [Bruno Meissner, Zürich], [Walter Feilchenfeldt, Zürich], Eugene V. Thaw, New York (until 2009)

Q160236_2009.400.89