German Museums that do NOT publish Nazi-era provenance online as of March 23 2022

According to our tests, the following German museums are rated "F" (FAIL) for transparency concerning the ownership history of artworks in the Nazi-period 1933-1945.

This means that a visitor to the museum's online collections website cannot see where a painting was or who owned it during the Nazi period.

(Please help us to update this list as museum websites evolve.)

• Neue Pinakothek in Munich

There is a field "Herkunft". However it does not give the ownership history. It only states who sold, gave or loaned it to the museum. There is no link to or mention of Lostart, Linz or Munich Collecting point information. 

• Kunstsammlung Nordrhein-Westfalen

There is no ownership history. There is no link to or mention of Lostart, Linz or Munich Collecting point information. 

 

• Lenbachhaus

There is a field "Zugang". However it does not give the ownership history. It only states who sold, gave or loaned it to the museum.  There is no link to or mention of Lostart, Linz or Munich Collecting point information. 

WALLRAF-RICHARTZ-MUSEUM & FONDATION CORBOUD

No real online collections database, no provenance on the Wallraf-Richartz website - not even for iconic works like Asparagus (about whose Nazi-era provenance artist Hans Haacke famously did an entire exhibition). To find information about the history of artworks one must go to LostArt.de or plunge into Immunity from Seizure documents. And yet, provenance research projects have been announced with great fanfare. But whatever the results are, they do not appear to be on the website.

 cc

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UK Spoliation Reports Collections Trust downloadable DATASET CSV

Institution	Artworks in Spoliation Reports from UK Museums, UK Collections Trust 15 April 2020
British Museum	7329
Courtauld Gallery	3133
Fitzwilliam Museum	2415
Ashmolean	1501
Victoria & Albert Museum	559
Tate	524
Glasgow Museums	344
Manchester City Galleries	298
British Library	239
Amgueddfa Cymru	168
National Gallery	165
Whitworth Art Gallery	149
National Galleries of Scotland	131
Southampton City Art Gallery	128
Hull City Museums & Art Gallery	93
York Art Gallery	72
Bowes Museum	62
Bristol Museums & Art Gallery	55
Leicester City Museums	54
National Maritime Museum	47
Northampton Museums	43
Birmingham Museums And Art Gallery	32
Barber Institute of Fine Arts	32
Hunterian Museum & Art Gallery	28
Tyne and Wear Archives and Museums	20
Norfolk Museums Service	11
Museum of London	11
Institution	10
Aberdeen Art Gallery & Museums	10
National Museums Liverpool	7
National Portrait Gallery	5
National Museums of Scotland	2
Science Museum Group	1
National Trust for Scotland	1
	0
Grand Total	17679

See the Dataset of Provenances for each artwork published by Collections Trust here:
https://docs.google.com/spreadsheets/d/e/2PACX-1vQ0HqOLC2dqJvDjASzgIzNAh125Ywz3WhA3YY1wSx-2-Cgk3en9eVNSj3xIzakG4SVZ0fPib4dw6WZQ/pubhtml


Format: CSV

Description: This dataset gathers together in an easy to download CSV file provenance information and questions contained in the Spoliation Reports from UK Museums published by the Collections Trust.  It 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 Spoliation Reports for each museum on the Collections Trust website.

Download CSV File : 17679  provenances and questions about provenance gaps from the Spoliation Reports of UK Museums in CSV here


Version: 2





For the most recent information on the Spoliation Reports from UK Museums, please consult the website of  the Collections Trust UK Spoliation Reports for UK Museums

Dataset : Museum of Fine Arts Boston Enhanced Provenance Research Dataset NEPIP PUBLIC

Dataset name: Museum of Fine Arts Boston Enhanced Provenance Research Dataset NEPIP PUBLIC

Description: This enhanced Provenance dataset has been constructed from  information available on the public internet site of the Museum of Fine Arts, Boston. The dataset merges the list of artworks on the Nazi Era Provenance Internet Portal with provenance texts published on the Boston MFA 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 Museum of Fine Arts, Boston public website.


Original data sources that were merged to create new dataset:

•  NEPIP Boston Museum of Fine Arts (MFA)

•  Boston Museum of Fine Arts website Provenance texts of artworks 

Format: Google Sheet



URL: https://docs.google.com/spreadsheets/d/e/2PACX-1vSFfpdQ1Y6sWQuTAdHejqghDwPvlu4W2cevOxjkLUQYdTOZXdxRM4OH5U_rkAvLUEh38VbFdntHeHoR/pubhtml



Download: CSV


Contents:



1. NEPIP MFA



2. About this file



3. NEPIP Artists


4. NEPIP Credit Line


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


Publisher: OAD



Date of Publication: April 6, 2020



License: CC0

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

American Museums with no artworks to declare on the Nazi Era Provenance Internet Portal

NEPIP: The following museums declare that they have No Relevant Objects

"List of U.S. Museums That Hold No Relevant Objects"

Academy Art Museum, Easton, MD
Albright-Knox Art Gallery, Buffalo, NY
Art Museum of Western Virginia, Roanoke, VA
Boca Raton Museum of Art, Inc., Boca Raton, FL
Cheekwood Museum of Art, Nashville, TN
De Saisset Museum, Santa Clara University, Santa Clara, CA
Dubuque Museum of Art, Dubuque, IA
Ellen Noel Art Museum, Odessa, TX
Fitchburg Art Museum, Fitchburg, MA
Henry Art Gallery, University of Washington, Seattle, WA
Hofstra Museum, Hempstead, NY
Hunter Museum of American Art, Chattanooga, TN
Krasl Art Center, Saint Joseph, MI
Leepa-Rattner Museum of Art, St. Petersburg College, Tarpon Springs, FL
Long Beach Museum of Art, Long Beach, CA
Miami Art Museum, Miami, FL
Miami University Art Museum, Oxford, OH
Michael C. Carlos Museum, Atlanta, GA
Modern Art Museum of Fort Worth, Fort Worth, TX
Mulvane Art Museum, Washburn University, Topeka, KS
Museum of Art of Ft Lauderdale, Ft Lauderdale, FL
Museum of Fine Arts of St. Petersburg, St. Petersburg, FL
National Academy Museum, New York, NY
Orland Museum of Art, Orlando, FL
Parrish Art Museum, Southampton, NY
Pennsylvania Academy of Fine Arts, Philadelphia, PA
Samuel P. Harn Museum of Art, University of Florida, Gainesville, FL
San Antonio Museum of Art, San Antonio, TX
Sheldon Memorial Art Gallery, University of Nebraska-Lincoln, Lincoln, NE
Telfair Museum of Art, Savannah, GA
University Art Museum, California State University, Long Beach, CA
Williams College Museum of Art, Williamstown, MA

(source: NEPIP on October 16, 2019 from the American Alliance of Museums NEPIP website at url http://www.nepip.org/public/info/nocov.cfm?&menu_type=info )

Hermann Voss

Visualising the networks of Herman Voss 
(data source: Art Looting Investigation Unit Final Report List of Red Flag Names 1946)

In the fall of 1945, the Office of Strategic Services Art Looting 

Investigation Unit interrogated Dr. Hermann Voss.

Voss had been the Director of the Dresden museum, the Director of Hitler's planned Linz museum and the head of the Linz Special Commission, which rounded up artworks for Hitler.

Hermann Voss: Art Looting Investigation Unit Detailed Interrogation Report Number 12 September 15, 1945

Despite concluding that Voss was the "official chiefly responsible for Hitler’s looting and purchasing policies after 1945" and notes that "VOSS' character is vacillating, and that he is an extraordinarily conceited and ambitious man" , the investigators seemed to hold a surprisingly tolerant view of this art professional. "His anti-Nazi options were well known," DIR No. 12 states.

"Among those who have testified to this effect, under specific interrogations, are LOHSE and BORCHERS (both of the Einsatzstab Rosenberg staff), and the dealers Wolfgang GURLITT, Hildebrandt GURLITT, and HABERSTOCK (chief dealer to POSSE and an enemy of long standing to VOSS.)

These character testimonies leave one a little breathless. 

Bruno LOHSE? Hildebrandt GURLITT? Karl HABERSTOCK? 

What does it mean to find the name H. Voss, Herman Voss, Hermann Voss, or Dr Hermann Voss in a provenance or in a bibliographical reference for an artwork?

"Concerning the Einsatzstab Rosenberg, VOSS repeatedly denied ever having heard of it before March 1943..."
 - OSS ALIU DIR 12 Hermann Voss

 Voss was arrested and interrogated by the Office of Strategic Services Art Looting Investigation Unit for his role in looting art for Hitler during the Nazi era. 

"Hermann Voss insisted that the offer came to him entirely as a surprise" 

"When he met HITLER at Rastenberg..."

Voss appears in the Art Looting Investigation Unit Red Flag List 19 times and had a Detailed Interrogation Report (DIR number 12) dedicated to him: 

• No. 12  Herman Voss, September 1945 (28 pp)

(Detailed Intelligence Reports (DIR): consist of reports dealing with the activities of various agents employed by Hitler, Göring and Rosenberg to acquire artworks for them in Axis-occupied countries.)

The ALIU Final Report of 1946 summarized VOSS' activities as follows:

"Voss, Dr Hermann. Munich. Director of the Linz Special Commission, the Linz Museum, and the Dresden Gallery from May 1943. Involved in the Schloss and Mannheimer collection (forced) sales, and the official chiefly responsible for Hitler’s looting and purchasing policies after 1945. In custody US 3rd Army, Munich, September 1945."

"Purchases for Linz outside Germany were made by VOSS' specially appointed agents,...Hildebrandt GURLITT, GOEPEL, and HERBST (of the Dorotheum, Vienna) were the most important"

The ALIU Final Report of 1946 linked VOSS to the following art dealers and Nazi personal:

Posse, Prof Dr Hans (deceased). Formerly Director of the State Picture Gallery, Dresden. Was appointed by Hitler as Director of the Special Commission for Linz in 1939, and became the most important official purchaser of works of art for Germany from 1939 through 1942. Died Dresden, 7 December 1942. Succeeded by Voss.

Goepel, Dr Erhard. Leipzig, Stieghtstrasse 76. Official Linz agent and buyer in Holland under Posse and Voss. Bought extensively in Holland and also travelled frequently in Belgium and France. Negotiated the forced sale of the Schloss Collection in Paris. Chief contacts: Vitale Bloch (Holland), Wuester, Wandl and Holzapfel (Paris).

Hoogendijk. Amsterdam, Kaizersgracht 640/Roemorvischerstraat 34. Prominent dealer who sold to Miedl, Hofer, Posse, Muehlmann and Voss during the occupation. Close friend of Friedlander and Schneider. Contact of Nathan Katz. Goering frequently visited his shop.

Mandl, Victor. Paris, 9 rue du Boetie. German refugee dealer, formerly active in Berlin. Highly important figure in German art purchases in Paris. Close contact of Wendland, Dietrich, Voss, Goepel, Muehlmann, Lohse, Loebl, Perdoux, Birtschansky and Wuester. Indicted by French Government for collaborationist activity.

de Boer, Pitt. Amsterdam, Heerengracht 512. Important and active dealer. President of the Dutch Dealers Association since Goudstikker’s death. Acquired Swiss as well as Dutch nationality early in the war, and visited Switzerland during the occupation. Discovered the first in the series of false Vermeers by van Meegeren. Close contact of Hofer, Muehlmann, Posse, Voss, Lohse and Miedl.

Oertel, Dr Rudolf (deceased). Assistant in charge of paintings for the Linz Special Commission. Between the death of Posse in December 1942 and the succession of Voss in March 1943, he shared with Reimer the administration of the Commission. Called to military service in 1944 on the Russian front, and not heard of since.

Grosshennig. Chemnitz, Rossmarkt 11 Annaberg (?). Director of Galerio Gerstenberger. Active as buyer in France. Held Linz certificate signed by Voss. In touch with Postma, Fabiani, Mandl, Boehler and Plietzsch.

Gurlitt, Wolfgang. Bad Aussee, Austria. Cousin of Hildebrandt Gurlitt. Former Berlin dealer. Close contact of Voss. Not seriously implicated in looting transactinos or purchases for German officials.

Pat-Zaade, Dr Robert. Berlin/Zehlendorf. Collector-dealer, active in Paris and Berlin. Sold to Lohse and in contact with Voss.

Reimer, Dr Gottfried. Dobeln, Saxony, Grimaisschestrasse 23. Administrative assistant to the Director of the Linz Commission from June 1941 until the end of the war, first under Posse, later under Voss. Not a Party member, and involved in only one known looting operation.

Schilling, Georg. Zurich, Spuelgenstrasse 6 Cologne, Komoedienstrasse 39 Markelfingen/Bodensee. Art dealer. Chief buyer for Linz in Belgium under Voss, who gave him a Linz certificate. Also active as agent for Goering.

Waldner, Josef. Art dealer, employed occasionally as agent by Voss. Contact of Mohnen. Active in France.

Weber, Walter. Bonn. Wealthy collector and close friend of Voss. Held a Linz travel certificate. Purchased six minor pictures in Paris for Linz.

Zinckgraf. Formerly bookkeeper and manager of the Bernheimer Gallery, Munich. Later became its owner. Sold to Voss for Wiesbaden.

Schmidt, Ernst. Berlin. Friend of Voss, active in acquiring objects for Linz in Germany.

"Voss complains of the abruptness of his reception..."
OSS ALIU DIR 12: Hermann Voss

"the part played by Hermann VOSS in HITLER's scheme of things in not altogether clear."

"During a month of interrogation, he (VOSS) impressed his several questioners very unfavourable. It was their unanimous opinion that VOSS' character is vacillating, and that he is an extraordinarily conceited and ambitious man. His constant reliance on failure of memory to explain discrepancies in his testimony did not improve the atmosphere of the interrogations."

--------

OSS ART LOOTING INVESTIGATION UNIT DETAILED INTERROGATION REPORT NUMBER 12: HERMANN VOSS

ONLINE COLLECTION Die Staatlichen Kunstsammlungen Dresden

The Legacy of Edward Speelman

National Gallery of Art (London) List of works with incomplete provenance from 1933-1945: Flowers in a Vase

The art dealer, Edward Speelman (1910-1994) played an important role in forming many collections. 

As a British soldier in World War II, Speelman arrested the notorious Austrian Nazi Artur Seyss-Inquart who had administered occupied Holland for the Reich  and who would, for his many crimes in Austria, Poland and Holland, be sentenced to death at the Nuremberg Trials. Speelman was assigned to intelligence and worked on the postwar administration of The Netherlands before returning to civilian life.

Below are a few of the artworks that passed through Speelman's hands on their way to famous museums around the world. (Speelman part 1) 

After we have gathered about a hundred examples of provenances that mention Speelman, we'll begin to look for patterns... 

(see also: Edward Speelman and the Toledo Museum of Art)

1. National Gallery of Art in London: 

List of works with incomplete provenance from 1933–1945

(Download PDF of NGA UK list)

'Flowers in a Vase' Bequeathed to NG by Edward Speelman (D) in 1994.

NG6549

Provenance

Switzerland, possibly shortly after Second World war; *

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 (D), Zurich, *

Edward Speelman (D), London; bequeathed by Mr. Speelman to NG, 1994

Questions 1933-1945

Whereabouts and provenance until post WWII?

Source for information about Switzerland?

Provenance between post 1945 and 1960's?

Flowers in a Glass Vase Ambrosius Bosschaert the Elder 1614

'The Virgin and Child in an Interior' 23 x 15cm. Bought by the NG from Edward Speelman (D), London, 1987

NG6514

Provenance

Melanie von Habsburg-Lothringen, Schloss Seisenegg, Austria;*

Edward Speelman (D), London;*

Questions 1933-1945

Provenance prior to von Habsburg-Lothringen

Acquisition/disposal by ditto

Provenance between von Habsburg-Lothringen/Speelman

Acquisition/disposal

The Virgin and Child in an Interior Workshop of Robert Campin (Jacques Daret?) before 1432

'The Preaching of St John the Baptist' Bought by NG from Edward Spelman (D), 1978

NG6443

Provenance

M.A. Mechen; *

Phillips, London, 14 March 1977*

Edward Speelman (D), London;

Purchased by NG, 1978

Questions 1933-1945

Provenance prior to Mechen

Details and date of acquisition by Mechen

Mechen sold through Phillips 1977?

The Preaching of Saint John the Baptist Cornelis van Haarlem 1602

2. Collectie is Speelman Ltd., Edward 

(122 artworks are listed in the Speelman Ltd collection in the Rijksmuseum - to see them you can download a PDF or use this link.  A separate post will examine in detail the provenances for all of these artworks.  NOTE: If one searches a different way, for every mention of Speelman in provenance, RKD lists 184 results.) 

Some examples:

Interieur met een schoolmeester die een kind leert lezen, met een spinnende vrouw op de achtergrond

Interior with a schoolteacher learning a child to read, with a woman spinning in the background

• 
  art dealer Edward Speelman Ltd., London 
  - 1959 
• art dealer Richard Green, London 
  getoond op TEFAF, Maastricht, 2007-03, 2008-03 en 2009-03
  2007 - 2009 gesignaleerd
• art dealer Johnny Van Haeften (London), London , inv./cat.nr nr. 6 (cat. EIGHTEEN)
  
  getoond op TEFAF, Maastricht, maart 2012, 2013 en 2014
  2012 - 2014 gesignaleerd
  
  
  
  
  
  

Stilleven van vijf schelpen op een stenen tafelblad

Still life with two peaches

• Private collection 
  Verenigd Koninkrijk
  - 1930-02-14 geveild
• art dealer Jacques Goudstikker, Amsterdam 
  1933 - tentoongesteld
• art dealer Edward Speelman Ltd., London 
  1984 - gesignaleerd
• art dealer David Koetser, Zurich/New York 
  2008 - gesignaleerd
• Private collection 
  Zwitserland
  2008 -

Jacob Hoefnagel Vase with flowers, surrounded by fruit and insects

• art dealer Edward Speelman Ltd., London 
  - 1959 verkocht
• art dealer or private collection Piet de Boer, Amsterdam 
  1959 - 1964 
• 
  
• Stichting P. en N. de Boer, Amsterdam , inv./cat.nr 660
  
  1964 -
  
  Space does not permit to display all 122 artworks which mention Speelman. For more, consult the website of the Rikjsmuseum

Adriaen Coorte

Stilleven van vier schelpen op een stenen tafelblad, 1697 gedateerd

Private collection

Collectie(s)

• private collection Gerardus Beljaard, Middelburg (Zeeland)
  - 1806-10 geveild, waarschijnlijk in deze collectie
• private collection T.A. Samuel (Col.), London
  samen met tegenhanger (?), gedateerd 1698
  - 1969-03 geveild
• art dealer Edward Speelman Ltd., London
  1969-03 - gekocht maart 1969
• Private collection
  Duitsland
  1969-03 - 1977 ná maart 1969, vóór of tot 1977
• art dealer Galerie J. Kraus, Paris
  1977 - gesignaleerd
• art dealer Charles Roelofsz, Amsterdam
  getoond op Antiekbeurs, Grote Kerk, Amsterdam, 1985, met afbeelding in gids, p. 29
  1985 - gesignaleerd
• art dealer French & Company, New York City
  - 1988 voor of tot 1988
• private collection Dutch Renaissance Art Collection, Amsterdam
  (J.R. Ritman)
  1988 - 1998 1988 gesignaleerd, in of voor 1998 verkocht
• art dealer Robert Noortman, Maastricht/London/Hulsberg
  getoond op TEFAF, Maastricht, 1999-03
  1999 - gesignaleerd
• Private collection
  1999-03 - ná maart 1999

Veiling(en)

• , Middelburg (Zeeland), 1806-10-13 - 1806-10-18, lotnr. 23 
  Inbrenger: Gerardus Beljaard 
  
  samen met drie andere schelpenstillevens (4x) in een lot
• Sotheby's, Londen (Engeland), 1969-03-26, lotnr. 35, afb. zwart-witreproductie 
  Inbrenger: Col. T.A. Samuel 
  
  samen met ander schelpenstilleven, een paar (2x)
• 
  

Portrait of a man, standing on the left of a table

Collectie(s)

• private collection Zampieri (prins), Bologna
  met pendant
• Rheinisches Landesmuseum Bonn, Bonn
  in bruikleen van Otto Wesendonck, Berlijn
• art dealer Wildenstein & Co., New York City/Paris/London/Tokyo
• art dealer Edward Speelman Ltd., London
  1962 -
• Private collection
  Zweden
  1967 - gesignaleerd (zie tentoonstellingen)

Veiling(en)

• veilinghuis onbekend, Parijs, 1883-02-23, lotnr. 58 
  
  met pendant
• veilinghuis onbekend, Parijs, 1884-06-03, lotnr. 328 
  
  met pendant
• Lempertz, Keulen, 1935-11-27, lotnr. 111 
  Inbrenger: Wesendonk-von Bissing
• Christie's (London (England)) 1998-04-24, afb. kleurenreproductie, lotnr. 38 
  
  , niet verkocht volgens opbrengstenlijst veilinghuis

------------------------------------------------------

Interieur met een stilleven van een borstbeeld, boeken, een luit en een hoed met veren gerangschikt op een met een oosters kleed bedekte tafel

Herkomst

Collectie(s)

• Private collection
  Esher (Surrey)
  1962 - gesignaleerd
• art dealer Brian Koetser, London
  1962 - gesignaleerd
• art dealer Edward Speelman Ltd., London
  1962 - na 1962
  Bijzondere status  gestolen
• ------------------------------------

• Young woman sewing

Herkomst

Collectie(s)

• private collection Lord Ashburton
  1871 - 1907
• private collection A.M. Byers, Pittsburgh (Pennsylvania)
  - 1935
• art dealer Edward Speelman Ltd., London
  - 1967
• Harold Samuel Collection, London
  1967 -

Landschap met jachttaferelen

Herkomst

Collectie(s)

• private collection Wesendonk (Berlin), Berlin
• art dealer Edward Speelman Ltd., London
  1961 - gesignaleerd
• Birmingham Museums and Art Gallery, Birmingham (Great Britain)
  in bruikleen van Edward Speelman
  1962 - gesignaleerd
• Private collection
  Zwitserland
• Musée d'Art et d'Histoire de Genève, Geneva , inv./cat.nr 1975-12
  
  1975 -
• --------------------------------------------------------------------------------------

 De H. Maria Magdalena schrijvend

Herkomst

Collectie(s)

• private collection Charles Léon Cardon, Brussels
• private collection Max von Goldschmidt-Rothschild, Frankfurt am Main
  volgens eigenhandige notitie M.J. Friedländer op achterzijde foto in foto-archief M.J. Friedländer: 'Goldschm / Rothsch'
• art dealer Edward Speelman Ltd., London
  volgens eigenhandige notitie M.J. Friedländer op achterzijde foto in foto-archief M.J. Friedländer: 'Speelman / XI 1950 / guta.[chten] / verk.[auft]'
  1950 -
• private collection Germaine Hochschild, Lausanne
  - 1962
• art dealer G. Cramer, The Hague
  1962 - 1963
• Private collection
  Nederland
  1963 -
• Gemälde-Galerie Abels, Cologne
  1972 - gesignaleerd
• -------------------------------

Portrait of a donor

Herkomst

Collectie(s)

art dealer Edward Speelman Ltd., London

volgens eigenhandige aantekening M.J. Friedländer op achterzijde foto in het foto-archief M.J. Friedländer: 'Speelman / London / II. 49' 1949 - door M.J. Friedländer gesignaleerd: 1949-02

-------------------------------

https://rkd.nl/explore/images/53920

Portrait of a man

Herkomst

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
• ----------------------------------

• 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 -

------------------------------------------

The meeting of David and Abigail, who kneels before him and brings him supplies for his men (1 Samuel 25:23) 

 Herkomst

Collectie(s)

• art dealer Edward Speelman Ltd., London
  1959 -
• private collection Dr. Günter & Anne Liese Henle, Duisburg
  1959 - 1972
• art dealer Edward Speelman Ltd., London
  1972 -
• The J. Paul Getty Museum, Los Angeles/Malibu , inv./cat.nr 73.PA.68
  
  as: Atelier of Rubens
  1973 -
• -------------------------------------

Zelfportret   Herkomst

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 -
• --------------------------------

• Schepen in de monding van een haven

• Herkomst
  
  

  Collectie(s)

  • private collection Engelbert August hertog van Arenberg, Brussels , inv./cat.nr 10 (1859)
    
  • art dealer Edward Speelman Ltd., London
    1955 - ca. 1955
  • Toledo Museum of Art, Toledo (Ohio) , inv./cat.nr 56.56
    
    schenking van Edward Drummond Libbey
    1956 -
  • -------------

  • Vissersschip voor anker voor de kust

  • Herkomst
    
    

    Collectie(s)

    • art dealer Edward Speelman Ltd., London
      als R. Nooms
      1970 -
    • art dealer Gebr. Douwes, Amsterdam/London
      als R. Nooms
      1976 - getoond op Oude Kunst- en Antiekbeurs, Delft 1976
    • art dealer Rob Kattenburg, The Hague/Aerdenhout/Breukelen/Bergen
      als R. Nooms
      1978 -

    ------------------------

     Portret van de moeder van Rembrandt

    Herkomst

    Collectie(s)

    • private collection Willibald von Duschnitz, Vienna
    • art dealer Jacques Goudstikker, Amsterdam
      1929 - in cat. 1929 nr. 40, met afbeelding
    • art dealer G.J. Nieuwenhuizen Segaar, The Hague
      1935 -
    • art dealer Edward Speelman Ltd., London
      1935 - na 1935
    • ------------------

    • Interior with mother and child and a maid sweeping

    Herkomst

    Collectie(s)

    • Private collection
      Zwitserland
      1980 - reported
    • art dealer Edward Speelman Ltd., London

  
  
  

3. National Gallery of Art in Washington DC - NEPIP

Bouquet of Flowers in a Glass Vase http://www.nga.gov/content/ngaweb/Collection/art-object-page.94743.html

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."

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Still Life with Figs and Bread http://www.nga.gov/content/ngaweb/Collection/art-object-page.111627.ht

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)."

The Concert http://www.nga.gov/content/ngaweb/Collection/art-object-page.163184.html

NOTE: TO SEE RKD LIST OF ALL ARTWORKS THAT MENTION SPEELMAN USE QUERY https://rkd.nl/nl/explore/images#query=Speelman&v=list

4. Boston Museum of Fine Arts

View of Beverwijk 1646 Salomon van Ruysdael

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)

Still Life with Fruit, Wan-Li Porcelain, and Squirrel 1616 Frans Snyders

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).

for more artworks with Speelman in the provenance at Boston Museum of Fine Arts

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

Stilleven met druiven en bekerschroef, 1629 gedateerdBremen (Germany), Galerie Neuse

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

Geraert ter Borch - Stiftung Sammlung EG Bührle

buehrle.ch/pdf/56_0001.pdf

... Pregny/Geneva (6) ▫ Rosenberg & Stiebel, New York (7) ▫ Edward Speelman, ... (3) Letter as above; Bundesarchiv Koblenz, MCCP Restitution File, Central ...

The Visit · Geraert Terborch · Stiftung Sammlung E.G. Bührle

https://www.buehrle.ch/en/collection/artwork/detail/der-besuch/

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