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Showing posts with label NGA. Show all posts
Showing posts with label NGA. Show all posts

Apr 18, 2026

Lost Art Search Requests for artworks currently in the National Gallery of Art in Washington DC

The heirs of persecuted Jewish collectors Armand Dorville, Max and Martha Leibermann, Adele Paechter and the Brombergs have all filed Search Requests for Lost Art on the German Lost Art Foundation website for artworks which currently are listed in the collections of the National Gallery of Art in Washington D.C..

Below are five artworks with the provenances as published on Lost Art and the provenance published on the NGA website from the same day.

One notes, in particular, the ABSENCE on the NGA website of any mention of DORVILLE, LIEBERMANN or PAECHTER in the NGA version. 

This raises questions about the quality of the provenance research.

1. Saint Mary Cleophas and Her Family

NGA 1961.9.88 Saint Mary Cleophas and Her Family  Lost Art 526719 

Bernhard Strigel - Maria Kleophas und ihre Familie (National Gallery of Art)

PROVENANCE published on Lost Art (April 18, 2026): "möglich Sammlung O. Streber, München; Haskard Bank, Florenz und Charles Fairfax Murray als Agent, 1900; Thomas Agnew & Sons, Ltd., London, 1900; Sammlung Rodolphe Kann (gest. 1905), Paris, Mai 1900 -; Kunsthandel Duveen Brothers, Paris, August 1907; Sammlung Martin Bromberg (und Erben), Hamburg, August 1907 - 1935 (nach) [...]; Sammlung Dr. Max Emden, Schweiz (?); Kunsthandel F. Kleinberger (Allan Loebl), Paris vor 20.12.1938; Kunsthandel Wildenstein & Co., Paris 1939; Samuel H. Kress Foundation, New York, Februar 1954 - 1956; National Gallery of Art, Washington, als Leihgabe, 1956 - 1961; National Gallery of Art, Washington, als Geschenk, 1961"

Lost Art Search request for persecuted Jewish collectors: Dr. Henry und Hertha Bromberg , published March 20, 2015


PROVENANCE published on NGA museum website (April 18, 2026)

Possibly O. Streber, Munich.[1] (Haskard Bank, Florence, and Charles Fairfax Murray, as agent, by 1900);[2] sold 1900 to (Thomas Agnew & Sons, Ltd., London); sold May 1900 to Rodolphe Kann [d. 1905], Paris;[3] by descent to executors of the Kann estate: Edouard Kann, Paris; Betty Schnaffer [née Kann], Frankfurt; Martin and Eleanore [née Kann] Bromberg, Hamburg; Jacob and Mathilde [née Kann] Emden, Hamburg, and Edmond and Madeline [née Kann] Bickard See, Paris.[4] (Duveen Brothers, Paris, August 1907);[5] purchased August 1907 by members of the Kann family, possibly Martin and Eleanore Bromberg, Hamburg.[6] Probably Dr. Max Emden, Switzerland, by 1939.[7] (Wildenstein & Co., New York, by 1939);[8] purchased February 1954 by the Samuel H. Kress Foundation, New York;[9] Denver Art Museum, Colorado, 1954-1958; at the NGA from February, 1958;[10] gift 1961 to NGA.

[1] Unverified, cited by Alfred Stange, Kritisches Verzeichnis der deutschen Tafelbilder vor Dürer. 3 vols. (Munich, 1970), 2:204, no. 899.

[2] Letter of 24 January 1969, from Richard Kingzett, Thos. Agnew & Sons, Ltd., London, to Colin Eisler, in NGA curatorial files.

[3] Kingzett letter of 24 January 1969 cited above.

[4] Duveen stockbook in archives at the Metropolitan Museum of Art, New York; see letter of 23 February 1987 from Guy Bauman, Department of European Paintings to John Hand in NGA curatorial files.

[5] Guy Bauman letter cited above and Edward Fowles, Memories of Duveen Brothers (London, 1976), 36-43.

[6] Bauman letter, cited in note 4, notes that in both the stockbook and the salesbook, the paintings are listed only as having been sold to "Kann relations."

[7] Wildenstein & Co. brochure in NGA Kress files lists Bromberg and Dr. Emden as previous owners.

[8] Letter of 14 September 1988 from Ay-Whang Hsia, Wildenstein & Co., to John Hand, in NGA curatorial files.

[9] The bill of sale (copy in NGA curatorial files, see also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/1873) is dated February 10, 1954, and was for a total of fourteen paintings; payments by the Foundation continued to March 1957.

[10] William E. Suida, Paintings and Sculpture of the Samuel H. Kress Collection. (Denver, 1954), 64, no. 28; letter of 10 November 1987 to John Hand from Louise H. Kliopov, Denver Art Museum, in NGA curatorial files. Eisler 1977, 26, reversed the exhibition dates for this and the Saint Mary Salome and Her Family also by Strigel.

https://www.nga.gov/artworks/46187-saint-mary-cleophas-and-her-family

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Posted by Open Art Data 1 comment:
Labels: Armand Dorville, due diligence, Henry Bromberg, Hertha Bromberg, Lostart, Max Liebermann, Museum, Nazi-Looted Art, NGA, provenance, Wolfgang Ratjen

Nov 7, 2024

The Grosz was acquired from...

URL: https://www.openartdata.org/2024/11/the-grosz-was-acquired-from.html

The German Expressionist artist George Grosz (1893–1959) was persecuted by the Nazis for his art, while Grosz's art dealer, Alfred Flechtheim (1878-1937), was persecuted by the Nazis for being Jewish*. Both fled Nazi Germany in 1933, Grosz to America and Flechtheim to England. Both were plundered.

Some pretty elaborate speculation has been advanced concerning the itineraries of artworks via Grosz and Flechtheim. This post explores what the museums who have Grosz in their collections have to say about where they got it from.

Art Institutions Table

National Gallery of Art
Cleveland Museum of Art
Rosenwald Collection
Museum of Fine Arts, Boston
"Degenerate Art" Collection
Dallas Museum of Art
Thyssen-Bornemisza Museum
Museum of Modern Art
Bavarian State Painting Collections
King Baudouin Foundation

Where is this art today?

We're going to focus on the art created in early years, until 1932.

The itineraries of many of these artworks are contested. We will focus on the one piece of information that museums must know: who they acquired the Grosz artworks from and when.

Posted by Open Art Data No comments:
Labels: Alfred Flechtheim, E.V.Thaw, Feigen, George Grosz, ICOM, MoMA, museum transparency, Nazi-Looted Art, NGA, provenance research

Jul 14, 2024

How solid is an art provenance text? Analysis of a Degas sculpture at the NGA

"Probably", "possibly", "apparently", "proposes" and "allegedly" in texts for Degas' Dancer Adjusting the Shoulder Strap of Her Bodice, original wax 1880s/1890s, cast 1920/1949 at the NGA

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Posted by Open Art Data No comments:
Labels: Buchholz, cire perdu, Curt Valentin, Degas, Hector Brame, John Rewald, Knoedler, Max Kaganovitch, NGA, Paul Rosenberg, provenance, reliability, text analysis

Jun 26, 2022

Modern art seized by Nazis and sold through Curt Valentin: Where are they today?

Nazi Looted Art Research, focus on Curt Valentin and the sale of modern art, classified by Nazis as "Degenerate" and seized for resale to finance the Nazi war effort

Location of "Degenerate Art" seized by Nazis and sold by Curt Valentin (where it it known)

New York, Museum of Modern Art16
Privatbesitz12
St. Louis, Saint Louis Art Museum5
Detroit, Institute of Arts5
USA, Privatbesitz4
Washington, National Gallery of Art3
Philadelphia, Museum of Art3
Hannover, Sprengel Museum3
Essen, Museum Folkwang3
Washington, Smithsonian Institution2
Providence, Rhode Island School of Design2
New York, Solomon R. Guggenheim Museum2
Cambridge/MA, Fogg Art Museum2
Cambridge/MA, Busch-Reisinger Museum - Harvard University Art Museums2
Berlin, Neue Nationalgalerie2
Würzburg, Sammlung Hermann Gerlinger1
Winterthur, Kunstmuseum1
Washington, Library of Congress1
Washington, International Gallery of Art1
Sydney, Art Gallery New South Wales1
Stuttgart, Staatsgalerie1
Schweiz, Privatbesitz1
Sammlung Rolf Horn1
Oberlin, Allen Memorial Art Museum1
New York, Weintraub Gallery1
New York, Metropolitan Museum of Art1
New York, Brooklyn Museum1
Nagoya, Aichi Prefectural Museum of Art1
Miyazaki, Miyazaki Prefectural Art Museum1
Minneapolis, Walker Art Center1
Minneapolis, Institute of Arts1
Michigan, Slg. Adolph Alfred Taubmann1
Mailand, Fondazione Antonio Mazzotta1
Madrid, Museo Nacional Thyssen-Bornemisza1
London, Sammlung Goodwin1
Locarno, Museo Civico e Archeologico Castello Visconteo1
Kunsthandel1
Köln, Kunstmuseum des Erzbistums Köln1
Köln, Kunsthaus Lempertz1
Kansas City, The Nelson-Atkins Museum of Art1
Hamburg, Hamburger Kunsthalle1
Hagen, Karl Ernst Osthaus Museum1
Dresden, Skulpturensammlung1
Cleveland, The Cleveland Museum of Art1
Chicago, The Art Institute1
Boston, Museum of Fine Arts1
Bern, Galerie Kornfeld und Cie.1
Berlin, Staatliche Museen zu Berlin - Museum Berggruen1
Berlin, Galerie Michael Haas1
Bergen, Kunstmuseum, Stenersen's Collection1

 raw data source: Beschlagnahmeinventar "Entartete Kunst", "Degenerate Art" Research Center, FU Berlin; filtered for "Curt Valentin" and Location not blank or "Unbekannt"

http://emuseum.campus.fu-berlin.de/eMuseumPlus?service=RedirectService&sp=Scollection&sp=SfieldValue&sp=0&sp=5&sp=3&sp=SdetailList&sp=0&sp=Sdetail&sp=2&sp=F



See also: Buchholz and Valentin in Provenance Texts in American Museums

Posted by Open Art Data No comments:
Labels: Curt Valentin, Degenerate Art, DIA, digital humanities, Entartete Kunst, Fogg, Guggenheim, Holocaust research, Karl Buchholz, MoMA, NGA, Philadelphia Art Museum, provenance gap, RISD, SLAM

Apr 8, 2020

DATASET: National Gallery of Art Nazi Era Provenance PUBLIC



Dataset name: National Gallery of Art Enhanced Provenance Research Dataset NEPIP PUBLIC


Description: This enhanced Provenance dataset has been constructed from  information available on the public internet site of the National Gallery of Art (NGA)  The dataset merges the list of artworks on the Nazi Era Provenance Internet Portal with provenance texts published on the NGA detailed item pages. 
This dataset is intended to facilitate research into Holocaust-era provenance for scholars, art historians and families. 
The original and best source of information concerning provenance remains the National Gallery of Art  public website.

Format: Google Sheet

URL: https://docs.google.com/spreadsheets/d/e/2PACX-1vTnJR2T4TtT-iFaioInvWpn8xhnhxjrWebFyWCvM3lodUssE0b_j64-vOC-PT17aVrxd-lcGp_SDntU/pubhtml?gid=1646299987&single=true


Download: CSV



Contents:

1. NEPIP National Gallery of Art 

2. About this file

3. NEPIP by Artists

4. NEPIP by Credit Line

5. NEPIP Provenance includes "private", "anonymous", "art market"

6. All of above

Publisher: OAD

Date of Publication: April 6, 2020



Example of content: Provenance text contains word "private", "anonymous", or "art market" 


---


Original data sources that were merged to create the new 
DATASET: National Gallery of Art Nazi Era Provenance PUBLIC:


  •  NEPIP National Gallery of Art 

  •  National Gallery of Art  website Provenance texts of artworks 

Posted by Open Art Data No comments:
Labels: art history, dataset, Digital Art History, digital heritage, Holocaust Era Provenance, Holocaust research, National Gallery of Art, NGA, opendata, openglam, Provenance dataset, provenance research

Sep 19, 2019

Colonial-Era Art Provenance and dealer JJ Klejman

A simple Google search on JJ Klejman turns up several interesting articles concerning art from European colonies. Below are the results from a search (from Europe) on September 19, 2019

(photo: Fowl, Nigerian, Court of Benin, NGA, provenance:Reportedly Benin City, Nigeria, before 1897.[1] (J.J. Klejman Gallery, New York); purchased around 30 November 1955 by Winston Guest, New York; gift 1955 to NGA.
[1] The object was brought to Europe by a member of the British punitive expedition to the Kingdom of Benin in 1897, according to a letter of 30 November 1955 from J.J. Klejman, New York, to Winston Guest, New York (in NGA curatorial files).
---

About 9,120 results (0.37 seconds) 


Thomas Hoving's Artful Tom: A Memoir, Chapter 24 - artnet ...



www.artnet.com › features › hoving › artful-tom-chapter-twenty-four6-1-09


Besides Harry Sperling another of my favorite dealer-smugglers was John J. Klejman. He and his wife owned an elegant gallery on Madison Avenue and 76th ..

J J Klejman Gallery - Wikidata



https://www.wikidata.org › wiki
Sep 2, 2017 - Art Gallery owned by art dealer John Klejman. ... dealer John Klejman. John Klejman; Klejman Gallery; J. J. Klejman; John Jacob Klejman. edit ...

John J Klejman (Biographical details) - British Museum - Term ...



https://www.britishmuseum.org › research › search_the_collection_database


John J Klejman (Biographical details). John J Klejman (dealer/auction house; collector; American (USA); Male). Also known as. Klejman, J J. Biography.
Read more »
Posted by Open Art Data No comments:
Labels: African art, art dealers, Benin Bronzes, British Museum, colonialism, Congo, criminology, émigré Jewish dealers, J.J. Klejman, Kelekian, klejman, museums, NGA, provenance research, punitive expedition, restitution

Aug 3, 2019

What does it mean to find Cailleux in art provenance research?

Sleep
Jean Bernard Restout
c. 1771
Cleveland Museum of Art

http://www.clevelandart.org/art/1963.502

What does it mean to find the name "Cailleux" in a Nazi-era provenance, an artwork listed by a museum on NEPIP (the Nazi Era Provenance Internet Portal) or an artwork whose provenance shows a gap or uncertainty for the years 1933-1945?


In this series of posts, we will explore the name "Cailleux" where it appears in art provenances throughout the world.
Read more »
Posted by Open Art Data No comments:
Labels: 1933-1945 art market, American Art Museums, art market networks, art provenance research, Cleveland, digital humanities, Galerie Cailleux, Holocaust-era Provenance Research, Jean Cailleux, NGA, Stiebel

Nov 24, 2018

Otto Wittmann's curious story

Victoria Dubourg by DEGAS at the Toledo Museum of Art
1963.45  http://emuseum.toledomuseum.org/objects/55168



Otto Wittmann, director of the Toledo Museum of Art from 1959 to 1977,  tells the "strange story" of how paintings by Degas and Cézanne came to Toledo in his interview "The museum in the creation of community".


According to the website of the Toledo Museum of Art, William Levis donated one Degas and one Cézanne to the Museum. Could these be the same Degas and Cézanne Otto Wittmann says were loaned to the National Gallery of Art by art dealers during World War II?
https://archive.org/details/museumincreation00witt/page/n7
see: Otto Wittmann by Wittmann, Otto, 1911-2001, interviewee; Cándida Smith, Richard, interviewer; Getty Center for the History of Art and the Humanities, compiler; J. Paul Getty Trust, publisher
***

WITTMANN: "I'll tell you one strange story about the National Gallery..."

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Posted by Open Art Data No comments:
Labels: art dealers, artmarket, Dega, MFAA, Monument Men, Monuments Men, National Gallery of Art, New York, NGA, Otto Wittmann, provenance research, Richard Candida Smith, Toledo Museum of Art, Victoria Dubourg
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Advanced digital tools and methods for Nazi-era provenance research. (ISSN:2644-8513)
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