Showing posts with label LOD. Show all posts
Showing posts with label LOD. Show all posts

Apr 27, 2020

Tracing the Nazi extermination of Jewish art collectors with Wikidata Sparql Queries

How to represent the impact of the Holocaust?

Inhumanly huge numbers defy our capacity to understand.

How to depict both the fates of individuals and the larger context, without losing sight of either?

In this next series of posts we attempt to find a way to show what happened to Jewish art collectors and their world during and after the Holocaust.

Timeline from Wikidata Query

As Jewish art collectors, dealers, artists, curators, historians  and museum personnel were being targeted for persecution, robbery and murder by Germany's Nazi government, covetous eyes fixed upon their precious art collections. 

How can we document and visualise this massive double movement: the persecuted people on one hand and their possessions on the other?

We will begin with the people. Those who did not manage to flee, and who ended up murdered in Nazi camps or ghettos.

Each and every one of these individuals had a story: a family, friends, business and social relations, activities, passions, beliefs, enthusiasms, achievements, foibles; a life filled with events and people and - in the case of the individuals whose stories we trace here -  art.

How can we gather the huge amount of information and comprehend how it all fits together and what it means? 

This is not a small challenge.

One of the best tools for dealing with large amounts of linked information, such as relationships between people, places, things and events, is Wikidata.

Why Wikidata?


Because Wikidata is open yet structurally rigorous where it matters.
Wikidata has built into it a linked data structure that can be read by both humans and machines. 

Wikidata can be used for querying not only what is referenced in Wikidata itself, but also for linking to information that is held outside of Wikidata which shares a reference or authority file.


For the art world and the Holocaust, Wikidata has remarkably rich data. Though still a work in progress with much that remains to be done, Wikidata is already far more reliable and complete in the topics that concern us than any other database, authority file or linked dataset that I know of.


The task of telling the story of the Jewish art world and what happened to the people and the artworks during and after the Holocaust is too big for any one person or institution. There are so many people and events and places and objects, so many photos and documents, so many sources, so many languages. It is a job for every individual of good faith who wants to contribute to the sum of our knowledge.


Because Wikidata is driven and maintained and enriched by very clever and hardworking people, and whatever innovations and advances are achieved become available to all of us, for free, where amazingly powerful tools cost only the effort of learning how to use them.

In this next series of posts, I hope to share some ideas and practical tips for using Wikidata Sparql queries to better understand the fates of Jewish art collectors and their collections, both collectively and individually. 

I hope that Holocaust scholars, art historians, provenance researchers, families and their advocates will find some of this useful, and that Sparql mavens will engage with the queries to improve them for the benefit of all.

(My apologies in advance to people who actually know how to write Sparql queries, and my thanks in advance for improving upon these amateurish efforts.)


Sparql Query for above image

#With pictures

#art collectors, art dealers, art historians, curators, museum directors, restorers, galleries...
#died in Auschwitz-Birkenau Q7341
#died in Theresienstadt Q160175

SELECT ?item ?itemLabel ?pic ?datedied ?placediedLabel ?placedied ?birth ?place_birth ?VIAF_ID ?GND_ID ?Library_of_Congress_authority_ID ?ULAN_ID ?child ?childLabel ?ownedby ?ownedbyLabel ?depicts ?depictsLabel ?depictedby ?depictedbyLabel ?countryLabel ?ownerof ?ownerofLabel ?spouse ?employer ?employerLabel ?spouseLabel ?mother ?motherLabel ?father ?fatherLabel ?sibling ?siblingLabel ?sigperson ?sigpersonLabel ?party ?partyLabel ?partner ?partnerLabel WHERE {
{ ?item wdt:P106 wd:Q1792450.} UNION { ?item wdt:P31 wd:Q1007870. } UNION { ?item wdt:P106 wd:Q173950.} UNION { ?item wdt:P921 wd:Q328376.} UNION { ?item wdt:P106 wd:Q10732476.} UNION { ?item wdt:P106 wd:Q446966.} UNION { ?item wdt:P106 wd:Q22132694.} UNION { ?item wdt:P106 wd:Q674426.}

SERVICE wikibase:label { bd:serviceParam wikibase:language "en" }
{?item wdt:P20 wd:Q7341.} UNION {?item wdt:P20 wd:Q160175.}
  ?item wdt:P18 ?pic.
OPTIONAL { ?item wdt:P127 ?ownedby. }
OPTIONAL { ?item wdt:P570 ?datedied. }
OPTIONAL { ?item wdt:P20 ?placedied. }
OPTIONAL { ?item wdt:P180 ?depicts. }
OPTIONAL { ?item wdt:P921 ?plunder. }
OPTIONAL { ?item wdt:P1830 ?ownerof. }
OPTIONAL { ?item wdt:P108 ?employer. }
OPTIONAL { ?item wdt:P569 ?birth. }
OPTIONAL { ?item wdt:P40 ?child. }
OPTIONAL { ?item wdt:P214 ?VIAF_ID. }
OPTIONAL { ?item wdt:P19 ?place_birth. }
OPTIONAL { ?item wdt:P244 ?Library_of_Congress_authority_ID. }
OPTIONAL { ?item wdt:P227 ?GND_ID. }
OPTIONAL { ?item wdt:P245 ?ULAN_ID. }
OPTIONAL { ?item wdt:P26 ?spouse. }
OPTIONAL { ?item wdt:P27 ?country. }
OPTIONAL { ?item wdt:P3342 ?sigperson. }
OPTIONAL { ?item wdt:P102 ?party. }
OPTIONAL { ?item wdt:P1327 ?partner. }
OPTIONAL { ?item wdt:P25 ?mother. }
OPTIONAL { ?item wdt:P22 ?father. }
OPTIONAL { ?item wdt:P3373 ?sibling. }
OPTIONAL { ?item wdt:P1299 ?depictedby. }
OPTIONAL { ?item wdt:P39 ?position. }
FILTER (YEAR(?datedied) >= 1933 )
LIMIT 20000


Link to Sparql Query

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Next Posts in this series:

Tracing Jewish Art Collectors and other #LostArtPeople by Place of Death

How information about Jewish art  collectors who died in the Holocaust goes missing in the semantic web of linked data.

Open Art Data

Jan 8, 2020

DATASET Provenance Yale University Art Gallery

Provenance 1559 European Artworks Yale University Art Gallery

This dataset contains publicly available information originally published online by the Yale University Art Gallery which has been formatted as a CSV file for easy download and analysis with digital tools. It includes the fourteen artworks listed on "Artworks with Nazi Era Provenance Gaps", the two artworks listed on the Nazi Era Provenance Internet Portal, as well as selected artworks from the Yale Art Gallery's collection of 1707 European artworks. It is intended to facilitate research into Holocaust-era provenance for scholars, art historians and families. 

Contents:1559 artworks published on the public Yale Art Gallery website and created before 1945, of which 846 contain a provenance text while 713 contain no provenance texts. Some of the artworks were acquired prior to 1933 but have been included for purposes of comparison.

Date Retrieval: 
2 January 2020

Date Publication:  
8 January 2020

Information in the Dataset:
Source URL, Artist, Title, Date Creation, Medium, Dimensions, Credit Line, Accession Number, Culture, Period, Classification, Provenance, Status (on view or not on view)


Google Sheet:


Example of filter: 

Excerpt from DATASET (artworks that mention "private" in the provenance)

Credit LineAccession NumberCulturePeriodClassificationProvenance
Ananda Foundation N.V.ILE2015.15.1Italian16th centuryPaintingsCorsini Collection, Palazzo Corsini, Florence (by 1842), Private Collection (–2015), Private Collection (2015–)
Anonymous gift1931.134Italian, Naples or Sicily15th centurySculptureCarelli Collection, Naples, Private dealer, Rome (according to Harold Parsons, during Gallery visit on February 1935), Maitland F. Griggs Collection, New York (Purchased in Florence).;Bibliography;Dorothy Gillerman, Gothic Sculpture in America: The New England Museums, 1 (New York: Garland Publishing, 1989), 327–28, no. 243, ill.
Bequest of Maitland F. Griggs, B. A. 18961943.216Italian, Lucca14th centuryPaintingsMrs. Benjamin Thaw Collection, New York, Mme X Collection sale, Galerie Georges Petit, Paris, 1922, no. 18 (as Sienese School), private dealer (as Allegretto Nuzi), Maitland F. Griggs Collection, New York, by 1925-1943.;Bibliography;Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass.: Harvard University Press, 1972), 600.
Bequest of Maitland F. Griggs, B.A. 18961943.239Italian, Siena14th centuryPaintingsBelieved to have come from church of San Francesco, Colle Val d'Elsa, Commandatore Giulio Sterbini Collection, Rome, Wildenstein & Co., New York and Paris, purchased by Bernard Berenson from Godefroy Brauer (57 rue Pigalle, Paris) 28 June 1910, Edward Hutton (?-?), Mrs. Benjamin Thaw Collection, New York (by 1917–1922), Mme. X Collection Sale, Hôtel Drouot, Paris, 15 May 1922, Duveen Brothers, Inc., New York, 1922–1924/25, Maitland F. Griggs Collection, New York (private purchase from Lord Duveen, 1925–1943), Yale University Art Gallery (1943–);Bibliography;Masterpieces of Art: Exhibition at the New York World’s Fair 1939, exh. cat. (New York: The Art News, 1939), 17, n.p., no. 3.;Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass.: Harvard University Press, 1972), 600.;Clay M. Dean, A Selection of Early Italian Paintings from the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 2003), 13, 22–23, no. 4.
Enoch Vine Stoddard Fund1960.42Flemish17th centuryPaintingsPrivate Collection in France,?-1960 (D.A. Hoogendijk [art dealer], Amsterdam)
George A., Class of 1954, and Nancy P. Shutt Acquisition Fund2013.93.1French19th centuryPaintingsPaul Delaroche, by descent within the Delaroche-Vernet family, from whom acquired by a private collector, by whom offered for sale at Sotheby’s, New York, 31 January 2013, lot 279 (bought in).;Bibliography;Jules Goddé, Exposition des oeuvres de Paul Delaroche, exh. cat. (Paris: Goupil & Cie, 1858), no. 43, pl. 57.;Claude Allemand-Cosneau and Isabelle Julia, Paul Delaroche: un peintre dans l’histoire, exh. cat. (Nantes: Editions de la Réunion des Musées Nationaux, 1999), 169, 322–33, no. 85.;“Acquisitions 2014,” (accessed December 1, 2014).
Gift of Art Gallery Associates1961.26Italian, Florence(?)16th centurySculptureHeilbing's Sale, Munich, Private Collection, Munich, Julius Böhler Gallery, Munich, The Arcade Gallery, Ltd., London.
Gift of Dr. and Mrs. Alfonso Costa, parents of Joseph Costa, B.A. 2008, and Alfonso Costa, Jr., B.A. 20112017.58.1British19th centuryPaintingsPrivate Collection (and sold, Sotheby Parke-Bernet, New York, October 28, 1982, lot 88), Private Collection (and sold, Sotheby's, New York, May 23, 1997, lot 152, illustrated), Acquired at the above sale by the present owner, Sale, Nineteenth Century European Art, Sotheby’s, New York, November 8, 2012, lot 75 (unsold);Bibliography;“Acquisitions July 1, 2016–June 30, 2017,” (accessed December 1, 2017).
Gift of J. Davenport Wheeler, Ph.B. 18581911.7French19th centuryPaintingsPrivate Collection. Christie's, October 25, 1984, lot #46, J. Davenport Wheeler Collection, Yale University Art Gallery, New Haven, Conn.
Gift of J. Watson Webb, B.A. 1907, and Electra Havemeyer Webb1942.301French19th centuryPaintingsAtelier Courbet (photographed by Eugène Feyen in Courbet's Ornans studio, 1864), Courbet's studio sale, Paris, Hôtel Drouot, 28 June 1882, lot no. 5 (purchased by Bernheim for Fr 1,600), Théodore Duret Collection, France, Mrs. H. O. Havemeyer Collection, New York, before 1914-1929 (purchased from Duret for Fr 30,000), Electra Havemeyer Webb Collection, New York (by descent), 1929-1942.;Bibliography;George Riat, Gustave Courbet, peintre (Paris: H. Floury, 1906), 246, 254.;The Metropolitan Museum of Art, Loan exhibition of the works of Gustave Courbet, exh. cat. (New York: The Metropolitan Museum of Art, 1919), no. 26, ill.;Charles Léger, Courbet (Paris: Éditions G. Crès, 1929), 122, 128, 216–17.;Pierre Courthion, Courbet (Paris: Librairie Floury, 1931), 84.;Yale University Art Gallery, Yale University Art Gallery Bulletin, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1943), 4, fig. 11.;“Les Amis de Gustave Courbet,” Les Amis de Gustave Courbet 1 (1947).;Charles Léger, Courbet et son temps, lettres et documents inédits (Paris: Éditions universelles, 1948), 110.;Pierre Courthion, Courbet. Raconté par lui-même et par ses amis. Sa vie et ses œuvres. (Geneva: P. Cailler, 1948), 39.;Yale University Art Gallery, Yale University Art Gallery Bulletin, 26, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1960), 30–38, no. 3, fig. 1.;Louisine Waldron Havemeyer, Sixteen to to sixty: memoirs of a collector (New York: privately printed, 1961), 195.;Francoise Forster-Hahn, French and School of Paris Paintings in the Yale University Art Gallery (New Haven, Conn.: Yale University Press, 1968), 5–6, fig. pl. 8.;“Bulletin of the Virginia Museum of Fine Arts,” Bulletin of the Virginia Museum of Fine Arts 12, no. 2 (1972): 16.;“Les Amis de Gustave Courbet,” Les Amis de Gustave Courbet (1972).;Katherine Neilson and Andrew Carnduff Ritchie, Selected Paintings and Sculpture from the Yale University Art Gallery (New Haven, Conn.: Yale University Press, 1972), no. 75, fig. 75.;Marie Thérèse Lemoyne de Forges, Autoportraits de Courbet, exh. cat. (Paris: Éditions des Musées nationaux, 1973), 45, no. 6, fig. pl. 56.;Robert Fernier, La vie et l’œuvre de Gustave Courbet: catalogue raisonne´, II (Lausanne, Switzerland: Lausanne: Bibliothèque des Arts, 1977), 212–13, no. 375, fig. 375.;Pierre Courthion and Gustave Courbet, L’opera completa di Courbet (Milan: Rizzoli International Publications, Inc., 1985), 93, no. 361, fig. 361.;Sarah Faunce and Linda Nochlin, Courbet Reconsidered, exh. cat. (New Haven, Conn.: Brooklyn Museum of Art, 1988), 179–82, no. 69, fig. 69.;Burijisuton Bijutsukan, Gustave Courbet: 3 juin-6 aou^t 1989, Bridgestone Museum of Art, Tokyo, exh. cat. (Tokyo: Bridgestone Museum, 1989), 74, no. 23, fig. 23.;Michael Fried, Courbet’s Realism (Chicago: University of Chicago Press, 1990), 287–90, fig. pl. 16.;Sarah Gaunce, Gustave Courbet (New York: Harry N. Abrams, Inc., 1993), 100–01, no. 27.;Alice Cooney Frelinghuysen, Splendid Legacy: The Havemeyer Collection (New York: The Metropolitan Museum of Art, 1993), 314–15, no. 138, fig. 138, pl. 22.;Pierre Georgel, Le Poème de la Nature (France: Gallimard, 1995), 96, ill.;Zörg Zutter and Nationalmuseum, Courbet: artiste et promoteur de son œuvre, exh. cat. (Paris: Flammarion, 1998), 22–25, 137, no. 26, fig. 16.;Nationalmuseum, Zörg Zutter, and Petra ten-Doesschate Chu, Gustave Courbet En Revoltör Lanserar Sitt Verk, exh. cat. (Stockholm: Flammarion, 1999), 22–5, no. 26, fig. 16.;Musee Fabre, Montpellier, Dominique de Font-Réaulx, and Galeries Nationales du Grand Palais, Gustave Courbet, exh. cat. (Paris: The Metropolitan Museum of Art, 2008), 404, no. 201, ill.;Dominique de Font-Réaulx et al., Gustave Courbet, exh. cat. (New York: The Metropolitan Museum of Art, 2008), 404, no. 201, ill.;Klaus Herding, Max Hollein, and Schirn Kunsthalle, Courbet A Dream of Modern Art, exh. cat. (Ostfildern, Germany: Hatje Cantz Verlag, 2010), 73–4, fig. 6.;Michele Haddad, A la chasse avec Gustave Courbet (Besancon, France: Les Cahiers de l’Ethnopole, 2012), 100–101, fig. 52.;Les Chasses de Monsieur Courbet, exh. cat. (Besancon, France: Les Editions du Sekoya, 2012), 70–71, fig. 9.
Gift of Laila Twigg-Smith, by exchange, the Leonard C. Hanna, Jr., Class of 1913, Fund, and the Maitland F. Griggs, B.A. 1896, Fund2011.75.1Italian, Rome17th–18th centurySculptureThe original provenance of this bronze is unknown, but it was clearly an expensive commission - judging from its size and the quality of its casting, chasing, and gilding - intended for an altar rather than for private devotion. It is said to have come from the collection of the Princes Chigi in Rome, descendants of the family from which Pope Alexander VII derived, prominent landowners in the Sienese territories in Tuscany and at Ariccia near Rome, and perhaps the greatest of Bernini's major patrons. In all probability it was part of a commission intended from the first for one of their benefices. From the Chigi, the bronze was sold to a private collection in Germany. It was acquired there by Alex Wengraf, Ltd., London, who sold it to Dr. Arthur Sackler. It is now being offered at auction (Sotheby's, New York, January 29, 2010, lot 448) by the Arthur Sackler Foundation.
Gift of Liza and Michael Moses2004.101.1Italian17th centuryPaintings[Mattei family, Rome], [Private Collection, London, late 19th century], Trafalgar Galleries, London (late 1970s), [Private Collection], Christie's, South Kensington, 12 Dec 1996, #124, Michael Moses, New York.
Gift of Mr. Walter Bareiss, B.S. 1940S1954.43.2German16th centuryPaintingsOriginally part of side altar in the Collegiate Church of Messkirch, Baden-Württemberg, Germany (sold late 17th century or removed by Zuge der Barockisierung in 1772), Joseph Otto Entres Collection, Munich, Dr. Franz Ludwig Baumann Collection, Donaueschingen (by inheritance, late 1880s), Professor Schleibner Collection, Munich, M. Orterer Collection, Munich, dealer Julius Böhler, Munich, 1918, Fabrikant Bum Collection, Kottbus, Germany, by 1922, Richard Zinser Collection, New York, by 1942, auction, Private Collection of a Czechoslovakian Gentleman, Parke-Bernet Galleries, New York, 5 November 1942, lot #45, Walter Bareiss Collection, New York.;Bibliography;Katherine Neilson and Andrew Carnduff Ritchie, Selected Paintings and Sculpture from the Yale University Art Gallery (New Haven, Conn.: Yale University Press, 1972), no. 7, ill.;Anna Moraht-Fromm and Hans Westhoff, Der Meister von Messkirch: Forschungen zur südwestdeutschen Malerei des 16. Jahrhunderts (Ulm, Germany: Süddeutsche Verlagsgesellschaft, 1997), 200–01.
Gift of Mrs. H. B. Loomis in memory of her husband, Henry Bradford, B.A. 18751949.98Italian, Nola(?)10th centurySculptureSalvadore Romono, dealer, Florence (acquired from private villa at Nola, a village on the Benevento side of Naples. Also described as having "come from 'an abbey, completely destroyed during the last war, at Benevento, near Naples.'"), Joseph Brummer Collection in 1930. (Herbert 1974)
Gift of Richard L. Feigen, B.A. 19522018.69.1Italian, Florence15th centuryPaintingsPrivate collection, England (?) (sale, Sotheby's London, 18 October 1995, lot 50);Bibliography;“Acquisitions July 1, 2017–June 30, 2018,” (accessed December 1, 2018).
Gift of Richard L. Feigen, B.A. 1952 in honor of Laurence Kanter2011.235.1Italian, Bologna16th centuryPaintings(probably) Queen Christina of Sweden, Rome (until 1689), Cardinal Dezio Azzolino, Rome (1689), Marchese Pompeo Azzolino, Rome (1689-96), Prince Livio Odescalchi, Rome (1696-1713), Prince Baldassarre Odeschalchi-Erba, Rome (1713-21), Philippe Duc d'Orleans, Palais Royal, Paris (1721/23), Louis Philippe Duc d'Orleans, Paris (1752-85), Louis Philippe Joseph Duc d'Orleans, Paris (1785-92), Viscomte Edouard de Walckiers, Brussels (1792), Francois de laborde de Mereville, Paris (1792-98), Jeremiah Harman, London (1798), A Syndicate (3rd Duke of Bridgewater, Lords Carlisle and Gower), London - exhibited for asale by Bryan at the Lyceum, Strand, London (1798-99), no. 126, 3rd Duke of Bridgewater, London (1799-1803), By descent to: 5th Earl of Ellesmere, London - his sale, Christie's London, Oct. 18, 1946, lot 64 - bought by "Madeira" with Wetzler, Madeira (1946), Edourdo Paquete, Funchal, Madeira.;Bibliography;Louis François Dubois de Saint-Gelais, Description des tableaux du Palais royal (Paris: Chez d’Houry, 1727), 31–32.;William Buchanan, Memoirs of Painting with a Chronological History of the Importation of Pictures by the Great Masters into England Since the French Revolution, 1 (London: R. Ackermann, 1824), 81.;John Young, A Catalogue of the Collection of Pictures, of the most noble the Marquess of Stafford, Cleveland House, London, Containing an etching of every picture, and accompanied with historical and biographical notices, 1 (of 2 vols.) (London: Hurst, Robinson, and Co., 1825), 77–78, no. 105.;Anna Brownell Murphy Jameson, Companion to the most celebrated private galleries of art in London: Containing accurate catalogues, arranged alphabetically, for immediate reference, each preceded by an historical and critical introduction, with a prefatory essay on art, artists… (London: Saunders and Otley, 1844), 100, fig. 21.;Francis Egerton Ellesmere, Earl of Ellesmere, Catalogue of the Bridgewater collection of pictures, belonging to the Earl of Ellesmere, at Bridgewater House, Cleveland Square, St. James’s (London: J. M. Smith, 1851), fig. 245.;Gustav Friedrich Waagen, Treasures of Art in Great Britain: Being an Account of the Chief Collections of Paintings Drawings, Sculptures, Illuminated MSS, 3 (London: London, 1854), 488, fig. 4.;Casimir Stryienski, La Galerie du Regent, Philippe, Duc d’Orleans (Paris: Goupil & Cie, 1913), 169, no. 240.;Karl Theodore Parker, Catalogue of the Collection of Drawings in the Ashmolean Museum, volume II: Italian Schools (Oxford: Oxford: Clarendon Press, 1956), 80.;Donald Posner, Annibale Carracci: A Study in the Reform of Italian Painting around 1590, 2 vols. (London: Phaidon, 1971), 10, no. 18, pl. 18.;D. Stephen Pepper, “I limiti del Positivismo: L’A nnibale Carracci di Donald Posner,” Arte Illustrata 49 (June 1972): 267.;Gianfranco Malafarina, L’opera completa di Annibale Carracci (Milan: Rizzoli International Publications, Inc., 1976), 92, fig. 19.;R. B. Simon, Important Old Master Paintings. Discoveries…in una nuova luce… (New York: Piero Corsini Inc., 1988), 41–44, fig. 7.;Daniele Benati and Eugenio Riccòmini, Annibale Carracci, exh. cat. (Milan: Electa, 2006), 146–47, no. III.7.;Paola D’A gostino, “Reconsidering the Crucifixion by Annibale Carracci,” Yale University Art Gallery Bulletin (2014): 64–69, fig. 1.
Gift of Sandra E. Canning2014.14.1French17th centuryPaintingsAnonymous sale, London, Sotheby's, 25 June 1969, lot 64, private collection of Sandra E. Canning.;Bibliography;“Acquisitions 2014,” (accessed December 1, 2014).
Lent by Dr. and Mrs. Herbert SchaeferILE1981.9.6Dutch17th centuryPaintingsWith Dr. Benedict, Berlin, 1926, Auction, Sotheby's, London, 24 June 1970, no. 57, Private Collection, Zurich, 1971, With Galerie Sanct Lucas, Vienna, 1972, With Kurt Müllenmeister, Solingen, Dr. and Mrs. Herbert Schaefer Collection.
Lent by Dr. and Mrs. Herbert SchaeferILE1990.12.1Dutch17th centuryPaintingsSickese van Harlingen Collection, Lochem, Hubert Pluygers Collection, Rotterdam, 1880-1938, Collection van Pannhuys-Hubert, The Hague, 1942, J.A.E. van Pannhuys Collection, Leyden, A.F. van Pannhuys Collection, Wassenaar, 1974-1978, Private Collection, Berlin, Dr. and Mrs. Herbert Schaefer Collection.
Lent by Dr. and Mrs. Herbert SchaeferILE1981.9.13Spanish14th centuryPaintingsPrivate Collection, Andorra la Vella, Dr. and Mrs. Herbert Schaefer Collection.
Lent by Dr. and Mrs. Herbert SchaeferILE1996.2.1German16th centuryPaintingsGosta Stenman Collection, Helsinki, 1925, Private Collection, Sweden, 1925, Dr. Einmar perman Collection, Stockholm, 1955, Professor J. H. Hellema Collection, Laren, Dr. Heinrich Jellissen Collection, 1995, Dr. and Mrs. Herbert Schaefer Collection.
Lent by Richard L. Feigen, B.A. 1952ILE2019.3.35Italian, Florence14th centuryPaintingsPrivate collection, France (sale, Paris, Palais d'Orsay, [Laurin-Guilloux-Buffetaud-Tailleur], 15 June 1978, h.c.)
Leonard C. Hanna, Jr., Class of 19131959.47French17th centuryPaintingsHans Georg Werdmüller (1616-1678) Collection, Zurich, Switzerland (commissioned through an agent in Rome, Liber Veritatis 116, dated 1648), Captain T. B. Brydges Barrett Collection, Lee Priory, England, 1777, T.B. Brydges Barrett collection, Christie's sale, London, 28 May 1859, no. 147 (as "Sunset"), Peter Norton, private dealer, London, Sir Francis Cook Collection, 1st Bart. (1817-1901), Doughty House, Richmond, Surrey, England, until 1901, by inheritance to Sir Frederick Lucas Cook, 2nd Bart. (1844-1920), Doughty House, Richmond, Surrey, England (1901- d. 1920), by inheritance to Sir Herbert Frederick Cook, 3rd Bart. (1868-1939), Doughty House, Richmond, Surrey, England (1920- d. 1939), by inheritance to Sir Francis Ferdinand Maurice Cook, 4th Bart. (1907-1978), Doughty House, Surrey, England (1939-1958), Cook Collection sale, Sotheby & Co., 25 June 1958, lot 55 (550£), Newhouse Galleries, Inc., New York.;Commission of Liber Veritatis 116 and Yale painting;First of three landscapes (nos. 115, 124) made in 1648 and 1651 for Hans Georg Werdmüller (1616-78). One is a small copper, the other, with somewhat similar scenery, a large canvas, and the third its pendant. The patron was a military engineer and collector from Zürich. He was elected a counselor of Zürich in 1648, and at the beginning of 1650 was sent as an envoy on a short military mission to Venice. He did not go to Rome. What brought him in touch with Claude is not known. In Italian he signed his name 'Verdmiller', Claude's spelling is a correct phonetic rendering. Werdmüller, an amateur painter himself, increased his inherited collection, for instance, later he patronized the Dutch landscape painter Jan Hackaert (1629- c. 1699). The greater part of the collection was dispersed at the beginning of the 18th century and passed into foreign countries. The inventory of 1789 contains no Claude, but still has a few paintings of Asselyn, Salvator, Teniers, etc" (Röthlisberger 1961, Vol. I, p. 290).;Bibliography;Alan Shestack, ed., Yale University Art Gallery Selections (New Haven, Conn.: Yale University Art Gallery, 1983), 34–35, ill.
Leonard C. Hanna, Jr., Class of 1913, Fund1964.13.1French20th centurySculpturePrivate Collection, Paris, Jacques Seligmann & Co., Inc., New York, NY (–1964), Yale University Art Gallery (1964–);Bibliography;Maurice Rheims, L’O bjet 1900 (Paris: Arts et Métiers Graphiques, 1964), 62.;Katherine Neilson and Andrew Carnduff Ritchie, Selected Paintings and Sculpture from the Yale University Art Gallery (New Haven, Conn.: Yale University Press, 1972), no. 132, ill.
Leonard C. Hanna, Jr., Class of 1913, Fund2005.8.1Italian, Siena17th centuryPaintingsP. & D. Colnaghi, London, 1969, from whom purchased by Sir John Wyndham Pope-Hennessy (as Francesco Vanni), Sir John Wyndham Pope-Hennessy (1913-1994) Collection, Palazzo Canigiani, Florence, Sir John Wyndham Pope-Hennessy collection sale, Christie's, New York, 10 January 1996, lot 95, Private Collection, 1996-2005, Sotheby's, New York, 27 January 2005, lot 184.;Note: The painting is in a frame of the type associated with the Chigi family, and it has been proposed that the picture comes from the Chigi collection. Such frames have, however, been available on the market independent of paintings, and this particular example is cut down, which suggests that it was given to the picture after leaving the Chigi collection.;There is no reference to this painting's whereabouts during the Nazi era. Nonetheless, the work has bene well known and well published since its appearance in London in 1969, which suggest that any improprieties in its history are likely to have been noted by now.;Bibliography;Paintings by old masters, exh. cat. (London: P. & D. Colnaghi & Co., 1969), no. 8, fig. Plate IV.;Diega Giunta and Lidia Bianchi, Iconografia di S. Caterina da Siena (Rome: Città Nuova editrice, 1988), 428–29, no. 435, ill.;John Pope-Hennessy, Learning To Look (New York: Doubleday & Company, Inc., 1991), 311–22.;John J. Marciari et al., Francesco Vanni: Art in Late Renaissance Siena, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 2013), 25, 224–25, no. 83.
Maitland F. Griggs, B.A. 1896, Fund2009.95.1Italian, Naples16th centuryPaintingsSeverino Spinelli, Florence (sale, Lino Pesaro, Milan, 11 June, 1928, lot 85, sale, Galleria Bellini, Florence, 23 April, 1934, lot 55), Private collection (sale, Sotheby's, London, 2 July 1997, lot 36)
Maitland F. Griggs, B.A. 1896, Fund1967.37French18th centurySculpturePurchased from a private collection in Paris by Mrs Walter Feilchenfeldt, dealer, Zurich, until sold to YUAG in 1967.;Bibliography;Katherine Neilson and Andrew Carnduff Ritchie, Selected Paintings and Sculpture from the Yale University Art Gallery (New Haven, Conn.: Yale University Press, 1972), no. 126, ill.
Maitland F. Griggs, B.A. 1896, Fund2006.111.1Italian, Florence16th centuryPaintingsPossibly identical with a painting found in Pontormo's house at his death (January 1, 1557) and sold out of his estate in 1559 to Alfonso Quistelli, fiscal agent of Cosimo I de' Medici, Grand duke of Tuscany, sold by Quistelli in 1559 to Alessandro Allori, acting on behalf of Agnolo Bronzino, sold by Bronzino and Allori to Piero Salviati, Florence, 1559, Grand duke Cosimo de' Medici, 1564. Private collection, France (sale, Jean-Claude Anaf & Associe, Lyon, Lot 215, March 25, 2001). Matteo and Marco Grassi, Paris and New York, Sotheby's, New York, January 23, 2003 (BI);Bibliography;Art for Yale: Collecting for a New Century, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 2007), 222, 394, pl. 209.
Maitland F. Griggs, B.A. 1896, Fund2003.22.1Italian, Siena16th centuryPaintingsOrlandini Collection, Siena, Private Collection, London, by 1786, Van Diemen Gallery, Berlin, by 1930*, Private Collection, New York (sale Christie's, New York, 9 January 1981, lot 127), Private Collection, New York? (sale Christie's, London, 30 October 1987, lot 168), Paul F. Walter, New York (sale Christie's, New York, 24 January 2003, sale BLIVVET-1194, lot 84);*One important factor in the painting's provenance needs to be highlighted. Although it left Italy in the eighteenth century, it belonged to the Van Diemen Gallery in Berlin by 1930. Clearly it was acquired under legitimate circumstances by the Van Diemen Gallery, but it has not been possible to determine when or to whom it was sold by them. The Van Diemen Gallery relocated from Berlin to New York before 1935, becoming Van Diemen Lillienfeld. There is every reason to imagine that this painting presents no improprieties of provenance, but we have no hard proof of that. The present owner of the Van Diemen Lillienfeld stock cards, which in any event go back only to 1945, can find no mention of this painting among them.;Paul Graupe Collection, Berlin, 25 January 1935 (sale of Van Diemen Gallery Collection, Berlin, Vanni's Madonna della Pappa not included).;Bibliography;Gugielmo Della Valle, Lettere Sanesi, 3 (Rome: Salomoni, 1786), 351.;Ulrich Thieme et al., Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, 34 (Leipzig, Germany: W. Engelmann, 1940), 97–99, (Vanni Francesco).;“Bullettino Senese di Storia Patria,” Bullettino Senese di Storia Patria (1942).;Ettore Romagnoli, Biografia cronologica de’ bellartisti Senesi: opera manoscritta in tredici volumi (Florence: Edizioni S.P.E. S., 1976), 707–08, 339, vol VIII pp. 707–708;Vol. XII p. 399.;Susan Wegner, Images of the Madonna and Child by three Tuscan artists of the early seicento: Vanni, Roncalli, and Manetti (Brunswick, Me.: Bowdoin College Museum of Art, 1986), 16–18, 37, fig. 13.;Antoine Schnapper et al., Curiosité: études d’histoire de l’art en l’honneur d’Antoine Schnapper (Paris: Flammarion, 1998), 416–22.;Art for Yale: Collecting for a New Century, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 2007), 223, 394–95, pl. 210.;Federico Barocci, Alessandra Giannotti, and Claudio Pizzorusso, Federico Barocci, 1535-1612: l’incanto del colore: una lezione per due secoli, exh. cat. (Milan: Silvana, 2009–10), 104–7, fig. 68.;Marco Ciampolini et al., Pittori senesi del Seicento, 3 (Siena: Nuova immagine, 2010), 928–9.;John J. Marciari et al., Francesco Vanni: Art in Late Renaissance Siena, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 2013), 11, 138–41, 145, 162n2, 178, 200, 224, no. 42, cover ill.
Maitland F. Griggs, B.A. 1896, Fund2017.65.1French19th centuryPaintingsLouis Joseph Auguste Coutan (1799-1830), Paris;By descent to his wife, Lucienne, née Hauguet (1788-1838), Paris;By descent to her brother, Ferdinand Hauguet (d. 1860), Paris;By descent to his son, Jacques Albert Hauguet (1819-1883), Paris;By descent to his wife, Marie-Thérèse, née Shubert;Her sister, Mme. Gustave Milliet, Paris;Robert Goury, baron de Roslan (1894-1958), Paris;By descent to his wife, Countess Marcelitta Marguerite Dagmar Louise Moltke-Huitfeldt Goury de Roslan, (1900-2005);Private collection, New York;Bibliography;“Acquisitions July 1, 2016–June 30, 2017,” (accessed December 1, 2017).
Maitland F. Griggs, B.A. 1896, Fund1958.70German16th centurySculptureEnglish Private Collection, Kunsthandlung Art Gallery, Zurich (–1958), Yale University Art Gallery (1958–);Bibliography;Anneliese Harding, German Sculpture in New England Museums (Boston: Goethe Institute, 1972), 87.
Maitland F. Griggs, B.A. 1896, Fund and Leonard C. Hanna, Jr., Class of 1913, Fund2015.138.1Italian16th centuryPaintingsPrivate Collection, Bergamo, Italy (1982), Dino Franzin, New York (by 1985), Marco Grassi, Inc., New York on consignment for conservation (1994), Private Collection, Potomac, Maryland (by 1997), Grassi Studio, New York on consignment for sale (2015);Bibliography;“Acquisitions July 1, 2015–June 30, 2016,” (accessed December 1, 2016).
Maitland F. Griggs, B.A. 1896, Fund, Robert Lehman Foundation Acquisition Fund for Early European and Modern and Contemporary Art, and Director’s Fund, by exchange2019.29.1Italian, Bologna16th centuryPaintingsCommissioned for the Palazzo Lambertini, Bologna, probably in 1596, for 20 scudi;Sold before 1678 for 300 scudi to a French private collection;Anonymous sale, Brussels, Beaux-Arts, 14-15 May 1996, lot 86;Sheldon Fish, Canada;New York, Sotheby’s, 30 January 1998, lot 117 (bought in);Sold privately to Mark Fisch, New York
Maitland F. Griggs, B.A., 1896, Fund1956.17.1German16th–17th centuryPaintingsDr. Alfons Jaffé Collection, Berlin, Private English Collection, in 1920s, Durlacher Bros., New York (as Adam Elsheimer, "Nude Reclining in Landscape").
Purchased with a gift from Richard L. Feigen, B.A. 1952, and the Leonard C. Hanna, Jr., Class of 1913, Fund2011.136.1French19th centuryPaintingsThe painting stayed in the artist’s studio, located at 42 rue de La-Ville-l’Evêque in Paris until at least 1832 when it was shown in another charity exhibition. After this, The Retreat of Napoleon’s Army from Russia in 1812 disappeared, and was known only through a lithograph published in 1833 and an 1844 engraving by Edouard-Henri Girardet, of which Yale owns a fine version (1993.1.189). Having been lost for over a century and a half, the painting was discovered by a private collector when cleaning out his basement in the Ile Saint-Louis, Paris, around 1986. It was then purchased after by Richard Feigen, who sold it to the Gallery in 2011.;Bibliography;“Le Globe, journal philosophique et litteraire,” Le Globe IV (2 September 1826): 45–6.;Marthe Kolb, Ary Scheffer et son temps, 1795-1858 (Paris: Boivin Et Cie Editeurs, 1937), 300–2, 471.;Leo Ewals, Ary Scheffer 1795-1858: gevierd romanticus, exh. cat. (Dordrecht, Netherlands: Dordrechts Museum, 1995), 114–15, no. 18, ill.;Leo Ewals, Ary Scheffer, 1795-1858: Musée de la vie romantique, 10 avril-28 juillet 1996, exh. cat. (Paris: Musée de la vie romantique, 1996), 28, no. 16, ill.;Karen Serres, “Ary Scheffer’s “The Retreat of Napoleon’s Army from Russia in 1812”,” Yale University Art Gallery Bulletin (2012): 107–111, ill.
Purchased with the Leonard C. Hanna, Jr., Class of 1913, Fund and a gift in memory of James Sherman Pitkin2005.26.1French19th centuryPaintingsPierre-Paul Prud'hon, Charles Boulanger de Boisfremont, Paris, 1821–38, Bequeathed to his daughter, Mme. Power, 1838–64, Carles-Nicolas Odiot 1864–1869, Odiot Collection, March 25, 1869, Justin Courtois, 1869–76, Courtois Collection, March 28, 1876, Frederic Mallet, 1876–1920, Mallet Collection, May 20, 1920, Chrissoveloni collection, 1920–922, Camille Gronkowski, from 1923, Private Collection, to 2005, Yale University Art Gallery, New Haven, Conn.;Bibliography;Edmond de Goncourt, Catalogue raisonné de l’oeuvre peint, dessiné et gravé de P.P. Prud’hon (Paris: Rapilly, 1876), 10–13.;Petit Palais, Exposition P.-P. Prud’hon: Palais des beaux-arts de la Ville de Paris (Petit-Palais): mai-juin 1922: catalogue., exh. cat. (Paris: Impr. G. Petit, 1922), no. 27.;Arthur Sambon and Joseph Billiet, L’A rt français au service de la science française. Exposition d’oeuvres d’art des XVIII e, XIX e et XX e siécles … du 25 avril au 15 mai 1923 (Paris: Chambre syndic de la Curiositè et des Beaux-Arts, 1923), 13, fig. 32.;J.-J. Guiffrey, L’O euvre de P.-P. Prud’hon (Paris: Armand Colin Editeur, 1924), 276–77, no. 746.;Sylvain Laveissière and Harry N. Abrams, Inc., Pierre-Paul Prud’hon, exh. cat. (Paris: Galeries Nationales du Grand Palais, 1998), 308–09, no. 217, fig. 217b.;Elizabeth E. Guffey, Drawing an elusive line: the art of Pierre-Paul Prud’hon (Newark, Del.: University of Delaware Press, 2001), 228–233, fig. 169.;Art for Yale: Collecting for a New Century, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 2007), 235, 398–99, pl. 223.
Purchased with the Maitland F. Griggs, B.A. 1896, Fund and with the Director’s Fund, by exchange2014.125.1Italian, Siena17th centurySculpturePrivate collection, Cassel, Germany, since the 1970s, sale, Auktionshaus Mars, Wrzburg (October 12, 2013, lot 6033);Bibliography;“Acquisitions 2015,” 12_16_15.pdf (accessed December 1, 2015).
Robert Lehman Foundation Acquisition Fund for Early European and Modern and Contemporary Art2014.20.1Italian, Urbino16th centuryContainers - CeramicsW.J.H. Whittall Collection (–1947), Sotheby's, London, England (April 18, 1947, lot 39), John Scott-Taggart Collection, Christie's, London (April 14, 1980, lot 16), Private Collection, England(?), Christie's, London (May 24, 2011, lot 27), Christie's, New York (January 30, 2013, sale 2673, lot 108), Richard Feigen Gallery, New York (2011–2014), Yale University Art Gallery (2014–);Bibliography;John Scott-Taggart, Italian Maiolica (London: Hamlyn Publishing Group, 1972), title page, 48, ill.;J.V.G. Mallet, Xanto, i Suoi Compagni e Seguaci, exh. cat. (Rovigo, Italy: Centro Polesano di Studi Storici, Archeologici ed Etnografici, 1980), 72, 97, in G.B. Siviero, “Francesco Xanto Avelli da Rovigo”, fig. 9.;Giuliana Gardelli, “A Gran Fuoco” Mostra di Maioliche Rinascimentali Dello Stato di Urbino da collezioni private, exh. cat. (Urbino, Italy: Accademia Raffaello, 1987), 68–69, fig. 23.;“Acquisitions 2014,” (accessed December 1, 2014).
Stephen Carlton Clark, B.A. 1903, Fund1988.39.1French19th centuryPaintingsPrivate collection, England, (?- 1988), Hazlitt, Gooden and Fox, London.
Stephen Carlton Clark, B.A. 1903, Fund1964.52Spanish, possibly Madrid17th centurySculptureHolagray collection, Bordeaux, private collection (France?), Cesar de Hauke, Paris;Bibliography;Katherine Neilson and Andrew Carnduff Ritchie, Selected Paintings and Sculpture from the Yale University Art Gallery (New Haven, Conn.: Yale University Press, 1972), no. 124, ill.;Suzanne L. Stratton, Spanish Polychrome Sculpture 1500–1800 in United States Collections, exh. cat. (New York: The Spanish Institute, 1993), 120–21, no. 21, ill.;James Clifton, The Body of Christ: In the Art of Europe and New Spain, 1150–1800, exh. cat. (Houston: Museum of Fine Arts, Houston, 1997), 80–1, no. 34, ill.
University Purchase from James Jackson Jarves1871.63Italian, Siena15th centuryPaintingsJames Jackson Jarves Collection, Florence (possibly the painting attributed to Pollaiuolo purchased from private collection, securing the painting only after Jarves "bought all in the room (44 in all)" as demanded by the owner).;Bibliography;Mrs. Francis Steegmuller, The Two Lives of James Jackson Jarves (New Haven, Conn.: Yale University Press, 1951), 301, fig. 12.;Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass.: Harvard University Press, 1972), 599.;Susan B. Matheson, Art for Yale: A History of the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 2001), 48, 53, fig. 43.;Clay M. Dean, A Selection of Early Italian Paintings from the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 2003), 13, 38–39, no. 12.