- Collectie(s)
- art dealer Edward Speelman Ltd., London
volgens eigenhandige aantekening M.J. Friedländer op achterzijde foto in het foto-archief M.J. Friedländer: 'Speelm.[an]'
- art dealer Grete Ring, London
volgens eigenhandige aantekening M.J. Friedländer op achterzijde foto in het foto-archief M.J. Friedländer: 'Ring / Mst. d. 40g. J.'
- Kunsthandel P. de Boer, Amsterdam
volgens niet-eigenhandige aantekening M.J. Friedländer op achterzijde foto in foto-archief M.J. Friedländer
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- De H. Hieronymus met stichter Claes Bouwensz. Cat (...-1536)
Herkomst
- Collectie(s)
- art dealer Karl Haberstock, Berlin/Munich
1932 - gesignaleerd
- private collection Fürstin Marie zu Wied, Neuwied
- 1967-07 geveild
- art dealer Edward Speelman Ltd., London
1967-07 - gekocht op veiling Londen, 1967-07-05
- private collection John William Middendorf II, United States
1973-1978 in bruikleen aan het Rijksmuseum Amsterdam, inv.nr. SK-C-1554
- 1978
- Rijksmuseum, Amsterdam , inv./cat.nr SK-A-4706
verworven met steun van het Prins Bernhard Fonds, Vereniging Rembrandt en J.W. Middendorf II
2004-2010 in bruikleen aan het Amsterdams Historisch Museum
1978 -
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Herkomst
- Collectie(s)
-
-
- Collectie(s)
- art dealer Edward Speelman Ltd., London
- Kunsthandel P. de Boer, Amsterdam
1939 -
- Stichting Nederlands Kunstbezit, Netherlands , inv./cat.nr NK 2399
ca. 1946 -
- Dienst voor 's Rijks Verspreide Kunstvoorwerpen, The Hague , inv./cat.nr NK 2399
1949 -
- Instituut Collectie Nederland, Amsterdam , inv./cat.nr NK 2399
1997 -
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Herkomst
3. National Gallery of Art in Washington DC - NEPIP
1996.35.1 Bosschaert, Ambrosius "Provenance
Probably painted 1621 for Frederick van Schurman (or Schuermans) [1564-1623], The Hague.[1] (sale, Christie, Manson & Woods, London, 7 April 1922, no. 54); private collection, England; (John Mitchell & Sons, London); private collection, England; (Edward Speelman, Ltd., London); purchased 27 June 1996 by NGA.[1] This painting is probably the one that Bosschaert took with him in 1621, when he traveled from Breda to The Hague to deliver a blompot (flower still-life painting) to Frederick van Schurman (or Schuermans), the bottelier of Prince Maurits. For this work Bosschaert received the extraordinary sum of 1,000 guilders. Maria Bosschaert, Ambrosius’ daughter, wrote the following: “Mijn vader Ambrosius Bosschaert is gesturven in Schravenhage in ‘t jaer als den 12 jarigen Trebes uut was, doch was woonachtig binnen Breda maer near den Hage getrocken om een blompot te leveren die hij hadde gemaeckt voor de bottelier van Sijn Hoochheyt daervoor hij dusent gulden hadde bedongen ende is aldaer sieck geworden ten huyse van joncker Schuermans, vader van Anna Maria Schuermans ende aldaer gesturven ende in Schravenhage begraven, tot droefheyt van veel liefhebbers.” See Abraham Bredius, “De bloemschilders Bosschaert,” Oud-Holland 31 (1913):138. Frederick van Schurman had been ennobled by the Holy Roman Emperor, and the phrase Maria Bosschaert used to refer to Van Schurman, a joncker (from the German Junker), is an honorary title that corresponds to the old inscription “Jonckheere …” on the verso of the painting."
2000.6.1 Meléndez, Luis
"Provenance
Mlle Anna Petit, by c. 1895; by descent in her family. Private collection, France. (Edward Speelman, Ltd., London). (Derek Johns, London); purchased 15 February 2000 by NGA."
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Workmen before an Inn
http://www.nga.gov/content/ngaweb/Collection/art-object-page.72324.html
1991.64.1 Ostade, Isack van "Provenance
Van Tol collection; (sale, Souterwoude [near Leiden], 15 June 1779, no. 13);[1] Wubbels. Jean Etienne Fiseau (variously spelled Fiseau, Fezeau, or Fiziau), Amsterdam; his widow, Mme Jean Etienne Fiseau [née Marie Anne Massé, d. 1790]; (her estate sale, by Philippe van der Schley et al., Amsterdam, 30-31 August 1797, no. 165); (Jan de Bosch, Jeronimusz, Amsterdam). Guillaume-Joseph, baron de Brienen van de Grootelindt [d. 1839], Amsterdam, by 1842; by inheritance to his son, Arnold-Willem, baron de Brienen van de Grootelindt [d. 1854]; by inheritance to his son, Guillaume-Thierry-Arnaud [or Arnold or Armand]-Marie, baron de Brienen van de Grootelindt [d. 1863], Amsterdam;[2] (his estate sale, Hôtel Drouot, Paris, 8-9 May 1865, no. 23); (Nieuwenhuys).[3] Marquis H. de V., Paris;[4] (his sale, Christie, Manson & Woods, London, 5-6 June 1871, 2nd day, no. 218); Comte Henri Greffulhe [1848-1932], Paris; (his estate sale, Sotheby & Co., London, 22 July 1937, no. 74); (Roland & Delbanco, London); sold 1939 to Adolf Mayer, The Hague. (Edward Speelman, London). private collection, England. (Duits Gallery, London); sold 1968 to (Christian Humann, Paris and New York); sold 1973 to Dr. Claus Virch, Paris; sold July 1977 to (Brod Gallery, London);[5] purchased by Richard A. and Lee G. Kirstein, Washington, D.C.; gift 1991 to NGA.[
1] In 1779, Hendrick Meyer (1744-1793) made a drawn copy of the painting (Amsterdam Historisch Museum, inv. no. A 10716), either when it was in Van Tol’s collection or at the time of the painting’s sale. See Ingrid Oud and Leonoor van Oosterzee, Nederlandse Tekenaars geboren tussen 1660 en 1745, Amsterdam and Zwolle, 1999: 120.[2] The lacquer seal on the rear of the panel carries the heraldic crest of the De Brienen van de Grootelindt family. Genealogical information on the family was provided by the Centraal Bureau voor Genealogie, The Hague. [3] According to an annotated copy of the sale catalogue in the NGA Library. This could have been either C.J. Nieuwenhuys, who was based in Brussels (and later London), or his brother, François Nieuwenhuys, who was in Paris. [4] This was possibly Antoine-Marie-Albert Héron de Villefosse (1845-1919).[5] Dr. Virch, in his letter to Arthur Wheelock of 4 June 1991 (in NGA curatorial files), provided the provenance of the painting from the Duits Gallery to the Brod Gallery. However, his information is at odds with the Duits Gallery Records, according to which Duits sold the picture on 30 July 1970 to “Mertens” (Box 38, no. 1946, Getty Research Institute, Los Angeles)."
4. Boston Museum of Fine Arts
Provenance: Private collection, Hungary [see note 1]. Private collection, Switzerland. 1982, Edward Speelman, Ltd., London; 1982, sold by Speelman to the MFA. (Accession Date: September 15, 1982)
Provenance
Schaumburg-Lippe collection, Germany [see note 1]. December 16, 1929, Régine Chasles and others sale, Galerie Fievez, Brussels, lot 90. 1934, Kunsthaus A.G., Lucerne, Switzerland. By 1956, Edmond Meert, Saint-Nicholas-Waas, Belgium [see note 2]. Deschandau collection, Belgium [see note 3]. 1970, with Edward Speelman, Ltd., London; 1970, sold by Speelman to Robert H. Smith, Arlington, VA [see note 4]; 1993, sold by Smith to the MFA. (Accession Date: September 22, 1993)
NOTES:
[1] The provenance given here (to 1956) is taken from Hella Robels, "Frans Snyders, Stilleben- und Tiermaler, 1579-1657" (Munich, 1989), p. 261, cat. no. 125.
[2] Edith Greindl, "Les peintres flamandes de nature morte au XVIIe siècle" (Brussels, 1956), p. 181, published the painting as in the collection of Edmond Meert, though when he acquired it and when it left his possession have not been established.
[3] According to information provided by Anthony Speelman of Edward Speelman, Ltd. (May 17, 2004). The dates of ownership are not known, nor has it been established whether Speelman acquired the painting directly from this collection.
[4] That the painting was purchased from Speelman in 1970 is information provided by Robert Smith in a letter to Peter C. Sutton of the MFA (July 14, 1993; in MFA curatorial file).
5. The Norton Simon Foundation
Landscape with Ruins and Animals, 1624 Roelandt Savery The Norton Simon FoundationF.1972.36.1.P© The Norton Simon Foundation Prince of Wallenstein, since the beginning of the eighteenth century;[Edward Speelman Ltd., London, sold 1972 to];The Norton Simon Foundation.
6. Galerie Neuse, Bremen
Private collectiongekocht van E. Speelman. Londen; Genève1980 - 1999-07 ca. 1980, 1999 geveildprivate collection vicomte de Chanson de la Lombardière, Parisart dealer Leonard Koetser, Londonin cat.tent 1962/10/23 - 1962/12/011962 -art dealer Edward Speelman Ltd., Londonaldaar gestolenKunsthandel P. de Boer, Amsterdamgetoond op stillevententoonstellingen, 2000-10 en 2003-11 (beide geen catalogus); getoond op TEFAF, Maastricht, 2004-032000-10 - 2004 gesignaleerdart dealer Rafael Valls Limited, Londonmet afb. in kleurart dealer David Koetser, Zurich/New Yorkgetoond op TEFAF, Maastricht, 2001-03 , 2002-03, 2003-03 en 2005-032001 - 2002 gesignaleerdart dealer Rafael Valls Limited, Londongetoond op TEFAF, Maastricht, 2006-032006 - gesignaleerdGalerie Neuse, Bremen (Germany)getoond op TEFAF, Maastricht 2009-032009 -
7.Edward Speelman and Harold Samuel
"Harold Samuel... was a man of discretion. He acquired his paintings between the mid-1950s and the early 1980s from one London dealer, Edward Speelman, also a man of discretion who handled some of the finest seventeenth-century Dutch paintings to come on the market during his long career."
- BOOK REVIEWS The Harold Samuel Collection: A Guide to the Dutch and Flemish Pictures at the Mansion House By Michael Hall with Clare Gifford London: Paul Holberton Publishing, 2012. 200 pp, 95 color illus. ISBN 978-1-907372-41-4 Review published November 2013
8. The E. G. Buehrle Collection
... Pregny/Geneva (6) ▫ Rosenberg & Stiebel, New York (7) ▫ Edward Speelman, ... (3) Letter as above; Bundesarchiv Koblenz, MCCP Restitution File, Central ...
1672 • 30 June 1945 MCCP Restitution File as above, n. ... 8Edward Speelman London Acquired from the above, information given by Mr. Anthony Speelman, ...
to be continued in part two
