Showing posts with label Nazi looted art. Show all posts
Showing posts with label Nazi looted art. Show all posts

Aug 31, 2021

Dataset: Problematic provenances of artworks in Dutch museums 31 AUG 2021

DATASET: 
Artworks published on the Dutch site Museale Verwervingen Vanaf 1933 (Investigation into the provenance of museum collections in connection with the theft, confiscation and sale of objects under duress between 1933 and 1945.)

Description: 
This dataset contains publicly available information originally published online by the Dutch authorities which has been formatted as a CSV file for easy download and analysis with digital tools. It includes 167 artworks selected by Dutch museums because they changed hands in Europe during the Nazi era (1933-1945) and have incomplete provenances. It is intended to facilitate research into Holocaust-era provenance for scholars, art historians, families, and data scientists. 

Contents: 167 artworks selected for provenance research by museums in the Netherlands

note: The objects were selected by museums in the Netherlands many of which declined to participant. The selection is not complete.

Date Retrieval: 
31 August 2021

Date Publication:  
31 August 2021

Information in the Dataset:
RetrievalDate, Source Url, Artist, Title, Year, Technique, Inventorynumber, Category, Museum, Conclusion,Explanation, Provenance, Dimensions



DOWNLOAD CSV



Jul 15, 2021

Cultural property at the Oberfinanzdirektion München Bundesarchiv: archives

 


DE-1958_354da674-59a2-477f-9c9d-20da7f0840c6 

In attempting to verify one of the names that appears in a provenance with an extremely high Uncertainty Index (Bottenwieser), we stumbled upon an archive file (xml) in German that contains the names of many plundered Jewish collectors (and other people as well).  

Are there names here that should be plugged into the Looted Art Detector? 

Below is a Google translation of the first few paragraphs of the German text followed by the text itself. 

***

Fiduciary management of cultural property at the Oberfinanzdirektion München Bundesarchiv 2010 

Jun 9, 2021

Data Visualization Test

How to grasp the scale of the transfer from Jewish art collectors persecuted by the Nazi to museums in the United States, Germany, Austria, France, Switzerland, the Netherlands, as well as countries in South America?

Some experiments in data visualization.

First, an overview (attention: the figures are not real, they are only to test the visualization.)


The Nazis looted so much. Destroyed so many lives. How to represent this in a way that is understandable, meaningful - and actionable?

The devil is in the detail. 

Mar 6, 2021

Jewish Digital Cultural Recovery Project Stiftung Board, Advisory Council and Staff March 2021


JEWISH DIGITAL CULTURAL
RECOVERY PROJECT FOUNDATION

 https://jdcrp.org/foundation/

The JDCRP Foundation, “Jewish Digital Cultural Recovery Project Stiftung”, headquartered in Berlin, is the legal administrator of the project and is subject to the German Civil Code. The Foundation embodies the governing framework for the project, and ensures its financial viability. It is comprised of a Board of Trustees, an Executive Board and an Advisory Council. 

Apr 23, 2020

The Holocaust and the art market: What does it mean to find Kieslinger in a provenance?



What does it mean to find the name Franz Kieslinger in a provenance? 
(above "Acquired from Dr. Franz Kieslinger, expert at the Dorotheum, Vienna, for 40 Reichsmarks in 1939"

Franz Kieslinger was, first and foremost, a Nazi art looter.
His name in a provenance is a screaming Red Flag. 
This does not mean, of course, that every artwork he touched was looted from Jewish collectors, but his name indicates a high probability of a serious problem.  



In which art collections does his name appear today, in 2020?


1. Albertina Museum, Vienna, Austria.


The National Fund of the Republic of Austria for Victims of National Socialism lists six artworks at the Albertina Museum that passed through the hands of Nazi art looter Franz Kieslinger, all of which were acquired in 1939.


Gentleman in blue high-necked coat with golden cordingAnonymous, attributed to 'German artist'28378Acquired from Dr. Franz Kieslinger, expert at the Dorotheum, Vienna, together with inventory numbers 28377, 28379, 28380 for 360 Reichsmarks in 1939
Katharina Fröhlich, Grillparzer's eternal bride (1800-1879), in dark dress with...Attributed to Theer, Robert (1808 - 1863)28380Acquired from Dr. Franz Kieslinger, expert at the Dorotheum, Vienna, together with inventory numbers 28377 to 28379 for 360 Reichsmarks in 1939
Lady in red dress with shoulder-length collar and white lace frillKrafft, Joseph (1787 - 1828)28377Acquired from Dr. Franz Kieslinger, expert at the Dorotheum, Vienna, together with inventory numbers 28378 to 28380 for 360 Reichsmarks in 1939
Officer in blue uniform with red collar and cannon crossAttributed to Grahl, August (1791 - 1868)28379Acquired from Dr. Franz Kieslinger, expert at the Dorotheum, Vienna, together with inventory numbers 8377, 28378, 28380 for 360 Reichsmarks in 1939
Triumphal gate in InnsbruckHagenauer, Karl (1898 - 1956)28207Acquired from Franz Kieslinger, expert at the Dorotheum, Vienna, for 30 Reichsmarks in 1939
Underdrawing for 'Aus dem Leben eines Wüstlings' (From the Life of a Libertine)Genelli, Bonaventura (1798 - 1868)28323Acquired from Dr. Franz Kieslinger, expert at the Dorotheum, Vienna, for 40 Reichsmarks in 1939



see: https://www.kunstdatenbank.at/search-for-objects/fulltext/kieslinger


Comments: First of all, it should be noted that the provenance for the Genelli featured above is pubished NOT on the Albertina Museum website but rather on the separate website of the National Fund of the Republic of Austria for Victims of National Socialism. 

Below is a screenshot from 23 April 2020 of the artwork as it appears on the Albertina Museum website. There is no provenance listed at all. This means that any search - even an Advanced Search - on the Albertina website will not pick up the artwork if one searches "Provenienz" for Kieslinger.






Secondly one notes that none of the artworks listed as having Kieslinger in the provenance are from what the Nazis labeled "degenerate" artists like Schiele. This is rather surprising as Kieslinger was known to have been involved in the expropriation of at least one Jewish collector of these artworks. 

This suggests that the listings, not only of the Albertina Museum but also possibly of even the National Fund of the Republic of Austria for Victims of National Socialism might be incomplete.

Who can verify this and if necessary add the information?





Apr 3, 2020

Curt Valentin in provenances at the Harvard Art Museums




- The Persistent Crime of Nazi-Looted Art, by Sophie Gilbert, in The AtlanticLooted Art



The director of New York’s Museum of Modern Art, Alfred H. Barr Jr. used art dealer Curt Valentin as an intermediary to secretly purchase artworks confiscated by Nazis from German museums. What else did Barr and other American museums directors purchase through Valentin?

In this next series of posts, we will look at the provenances of artworks that mention Curt Valentin. 

An interesting exercise for young art historians and provenances researchers is to examine each provenance with the questions: 

1) Who owned this artwork before Curt Valentin? 

2) Are there provenance gaps for the years 1933-1945?

3) What share of artworks that mention Curt Valentin in the provenance lack information about sellers, dates and places for the Nazi years? (0-25%; 26-50%; 51%-75%; 76%-100%).

4) What possible explanations might there be for the observations in 3)?

5) What actions does this suggest?


1. Mentions of Curt Valentin in the provenances of artworks at the Harvard Art Museums








See  Valentin Harvard Art Museums Provenance



---
for more information on Curt Valentin's role in bringing European art into American museums, see:

MoMA’s Problematic Provenances by William D. Cohan published November 17, 2011 by Artnews


Jan 3, 2020

Fruits of a Secret Love, Albert Meyer and France's MNR

Les Fruits de l'amour secret


France's Rose-Valland MNR site publishes detailed information about the history of paintings looted by Nazis and returned to France after WWII. 



For the above "Les Fruits de l'amour secret" we learn not only its former title but also something about its history. (see "Historique" in French*).

In 1932 the artwork belonged to "Albert Meyer", however during the Hitler years it changed hands several times. The names associated with the art market transactions during the Nazi years are, according to the MNR, the following:

  • galerie Charpentier (1938)
  • auctionneer Etienne Ader
  • experts Jules Féral et Catrou and Francis Max-Kann
  • Sperling of New York
  • Gilbert Lévy
  • Galerie für Alte Kunst in Munich
  • Linz
  • M. J. Oppenheim of Paris
After the defeat of Nazi Germany, the artwork is associated with:
  • Alt Aussee (1945)
  • Munich Central Collecting Point (1945)
  • Commission de récupération artistique in Paris (1949)
  • Louvre (1952)


What does the Louvre say about this artwork?


The Louvre does mention that it comes from the "Commission de récuperation" but gives no explanation.


---

The Nazi-era names mentioned in the provenance on France's MNR site are well-known. In 1946, the Art Looting Investigation Unit flagged Charpentier as a Red Flag Name, writing:

Charpentier, Jean. Paris, 76 rue du Fbg St Honore. Sold to Germans through Josef Muehlmann. An exhibition held in March 1941 at his gallery was sold out to Goering. Angerer exhibited tapestries there at the same time which were also sold.

The auctioneer was also documented by the Art Looting Unit:

Ader, Etienne. Paris, 16 rue Favert. Dealer who worked for the Germans during the occupation. Sold to Haberstock. Documentary evidence in Unit files.

and the expert:

Feral, J. Paris, place Vendome. Had a close business connection with the French art dealer Pierre Dandry, who worked with Bornheim and Lohse.

As for Sperling of New York, he was praised by the museum director Thomas Hoving as one of his "favorite dealer-smugglers" (Besides Harry Sperling another of my favorite dealer-smugglers was John J. Klejman.) 
Sperling was in additon the president of Kleinberger, whose Paris branch was run by his cousin Allen Loebl, who was also flagged by the Art Looting Investigation Unit in 1946:

Loebl, Ali (Allen). Paris, rue des Pyramides/9 rue de l’Echelle/34 quai de Passy. Dealer, of Austro-Hungarian Jewish descent. Director and leading spirit of the firm Kleinberger & Co, ‘aryanised ‘ under the name of E Garin during the war. Centre of the informal art dealing syndicate comprising Wendland, Perdoux, Mandl, Boitel, Dequoy, Engel. Sold chiefly to Lohse, Hofer and Haberstock, for whom he travelled as agent in unoccupied France. Contact of Mohnen, Landry, Mestrallet. Indicted by the French Government (Seine Tribunal, Judge Frapier).


Such a provenance for the years 1933-1945 raises a lot of questions.


Where exactly was "Les Fruits de l'amour secret" between 1932 and 1938? 

And who, one wonders, was Albert Meyer? 

___

Meyer is a very common name. A quick digital search turns up a couple of candidates who were alive in 1932 and who collected art, as well as additional provenances that mention an "Albert Meyer" for those years. We can't know from a simple digital search whether it is the same Albert Meyer, but we can look at the mentions to see if anything pops.

Here, for example, is a mention of "Albert Meyer" in the National Gallery of Art in Washington:
https://www.nga.gov/collection/art-object-page.74175.html


Phillipe Weiner, Paris; Albert Meyer (sold Seligmann Gallery exhibition, Paris May 24-June 8, 1935, no. 100); Mrs. Jesse I. Straus (née Irma S. Nathan, 1876-1970), New York, (her sale, New York, Parke-Bernet Galleries, 21 October 1970, no. 21); to Armand Hammer Collection, 1970; gift to NGA, 1991.

There is another mention of Meyer together with Seligmann in the Louvre for "Copie d'après VINCI Leonardo da
Ecole florentine,Vieille femme en buste, de profil à gauche":


http://arts-graphiques.louvre.fr/detail/oeuvres/0/228003-Vieille-femme-en-buste-de-profil-a-gauche-max


 acquis par la Société des Amis du Louvre avec le concours de MM. Albert Meyer et Jean Seligmann; don au Louvre, Comité du 26 février 1937 ; marque du Louvre sur chaque folio (L. 1886a).
Dernière provenance : Mayer, Albert
Mode d'acquisition : achat

Année d'acquisition : 1937


and for "Tête d'homme grimaçant, une calotte sur la tête":





If we look for Albert Meyer together with Seligmann, we find a book by Germain Seligman, "Merchants of art: 1800-1960: eighty years of professional collecting", that sheds some light: 

Fortunately, the Paris firm was well-staffed with a number of men 
who had been with my father for many years and who could be relied  upon during my absences. Albert L. Meyer was particularly valuable  for his sound knowledge of the 18th century and his exquisite taste.  His name still gives eclat today to the drawings which he gathered for his personal collection.

This particular Albert Meyers was an art dealer, and an employee of Seligmann.  He accompanied Germain Seligmann on all kinds of racombolesque and amusing art business, but it all came to an abrupt end with the Nazi occupation of France (page 233):

France, of course, had been at war since September, and my young 
brother, Francois-Gerard, was called up immediately. He made the 
weary trek to Dunkirk and then joined the Resistance, where he made a brilliant record in extremely dangerous work. By some miracle, my sisters and their families escaped the awful fates of so many Jews, though they lived through terrible years of wandering and hiding. 
My brother Andre managed to get to this country with his family in 
1940 and opened a gallery in New York. He was among the first to 
rush back to France in 1945 but died of a heart attack soon after his 
homecoming. My cousin Rene, ill in a New York hospital, completely lost his will to live when France fell in June, 1940, and died within a week of that most awful of days. Jean Seligmann, son of my Uncle Arnold, was captured and shot at Vincennes. Albert Meyer, my father's and my longtime associate in the Paris firm, died in a concentration camp under atrocious conditions. 

Almost the entire stock of the Paris firm was confiscated as Jewish 
property and sold at public auction by order of the Vichy government. 
The family house on the rue de Constantine and its entire contents 
suffered the same fate, as did my private collection, much of which 
was still in my Paris apartment. At this time, the Paris records were 

burned to keep them from falling into Nazi hands. 


Albert Meyer died in a concentration camp as a Jew.

If one searches for "Albert Meyer" on The Central Database of Shoah Victims' Names at Yad Vashem, one finds:



For Paris there is one Albert Meyer: Birth Year: 1874. Fate: Murdered.



The information comes from a list of deporations from France, found in Le Mémorial de la déportation des juifs de France, Béate et Serge Klarsfeld, Paris, 1978




The information on Albert Meyer of Paris published by Yad Vashem:


Last NameMeyer
First NameAlbert
Date of Birth06/06/1874
Place of BirthParis,Seine,France
Place during the WarFrance
Origin of DeportationDrancy,Camp,France
Destination of DeportationAuschwitz,Camp,Poland
Details of TransportTransport 67 from Drancy,Camp,France to Auschwitz Birkenau,Extermination Camp,Poland on 03/02/1944  
Status according to Sourcedeported to an extermination camp
SourceLe Mémorial de la déportation des juifs de France, Béate et Serge Klarsfeld, Paris 1978
Type of materialList of deportation from France
Item ID3203168
* Automatic translation from Hebrew



-----
https://www.pop.culture.gouv.fr/notice/mnr/REC00145

Titre: Les Fruits de l'amour secret
Ancien titre: L'Evanouissement
Auteur / exécutant / collecteur: BAUDOIN Pierre-Antoine

Référence: REC00145
Nom de la base: Récupération artistique (MNR Rose-Valland)
Date de la dernière mise à jour: 2019-08-16
Siècle:18e siècle
Technique:Papier ; pierre noire, lavis d'encre de Chine et touches de bistre
Dimensions:H. 0,295 ; La. 0,350 m.
Genèse: Variante de ce même sujet, le dessin INV 23699, voir : GUIFFREY, Jean et MARCEL, Pierre, "Inventaire Général des Dessins de l'école française", tome I, Adam à Bouchardon", Paris, Musées Nationaux, 1933, p. 44, repr. n° 197 p. 45.



Historique: Le dessin appartient en 1932 à Albert Meyer, ainsi que le mentionne le catalogue de l'exposition à la "Royal Academy of Arts" de Londres en janvier-mars 1932 (2). Enfin, l'oeuvre est présentée à la vente à la galerie Charpentier le 15 juin 1938, comme "provenant de la collection A. M., vente à Paris en vue de cessation d'indivision ... commissaire-priseur Me Etienne Ader, experts MM. Jules Féral et Catroux et M. Francis Max-Kann ..." sous le numéro de lot 1. Le dessin est acquis pour "M. Sperling de New-York par M. Gilbert Lévy agissant pour le compte de l'indivision", pour 38000 francs (3). Le dessin est acquis, le 25 août 1943, à la "Galerie für Alte Kunst" à Munich, pour le musée de Linz pour la somme de 25000 RM et provient de M. J. Oppenheim à Paris (4). Il est inventorié au musée de Linz sous le numéro 2968 et lors de la débâcle allemande le 4 juillet 1945, est transféré par précaution à Alt Aussee, puis acheminé au Central Collecting Point de Munich. Il est envoyé à Paris et arrive au siège de la Commission de récupération artistique le 10 juin 1949 (5) Le dessin est remis au musée du Louvre (Cabinet des dessins) par la Commission de récupération artistique en mars 1952 (6).


____

Web Sites Cited:

Yad Vashem website: The Central Database of Shoah Victims' Names

France website Rose-Vallande MNR


LootedArt:Com website Post-War Reports: Art Looting Intelligence Unit (ALIU) Reports 1945-1946 and ALIU Red Flag Names List and Index


Artnet website: ARTFUL TOM, A MEMOIR by Thomas Hoving, Chapter 24 Getting Restless

Internet Archive: Full text of "Merchants of art: 1800-1960: eighty years of professional collecting" by Germain Seligman

USA: website National Gallery of Art


France website Le Louvre Les collections du département des
arts graphiques

See also http://ag.louvre.fr/detail/expositions/0/imprimer/12324-Presentation-des-oeuvres-recuperees-apres-le-Secone-Guerre-mondiale-et-confiees-a-la-garde-des-musees-nationaux

and (for MNR artworks with detailed information including provenance: https://docs.google.com/spreadsheets/d/e/2PACX-1vR60RLJ-7XGuIBzfsjGFM6D2F9478ggDLTFKPWFjoCXZ7RCZu8sejPKnURnpefi_AiIk2CpldPsI3BB/pub?gid=1916467116&single=true&output=csv
____

Permalink : https://www.openartdata.org/2020/01/art-spoliation-france-mnr-valland-provenance.html



Dec 20, 2019

ART PROVENANCE DATASET: Origins Unknown: artworks recovered from Germany after WWII and held by the Dutch state

The Netherlands, which saw more than 75% of its Jews murdered in the Holocaust*, has created a website for "what remains of the artworks recuperated from Germany after World War II and is managed by the State". 

The Nederlands Kunstbezit collection, or NK-COLLECTION, includes around 4,700 paintings (approx. 1,600), drawings, prints, ceramics, silverware, furniture, carpets and other special art objects. The artworks are currently located in a variety of places: Dutch museums, embassies and government buildings, as well as  the Cultural Heritage Agency (RCE) depot.** 

The "Origins Unknown Agency" (Bureau Herkomst Gezocht  or "BHG")  was created in 1998, however digitisation and online publication only began in 2015. (see Origins Unknown)

Several databases are public and can be consulted, item by item. However, there is not to our knowledge at present an easy way to download all the provenance files in order to analyse them with advanced digital tools outside of Holland.

This first dataset is an attempt to facilitate access to the public provenance information published online by the Dutch authorities, and to put it in a form that will facilitate digital analysis.


____




  Name of Dataset: 
Origins Unknown: File One Version 1

  Description: 
Detailed information, including provenance, of 1638 artworks selected from the artworks listed on the Origins Unknown public website.

  Public Data Source:  

  Artwork Provenance Version Date : 
December 20, 2019 

  File Format: 

 URL for Download
https://docs.google.com/spreadsheets/d/e/2PACX-1vQjJaX6wDx0Cx0s2jdtYnvnCsC09XFt84ErzQRN_yVJkVq98DDrYmptO90JDyvrsfNoW79tFaIAttgm/pub?gid=449322899&single=true&output=csv

Example of some of the information included Provenance Dataset


UrlHerkomstgezocht NlTitleInventarisnummerTitleArtistFindingsReconstruction Origin History
http://herkomstgezocht.nl/en/nk-collection/rocky-landscape-waterfallOrigins Unknown AgencyRocky landscape with waterfallNK1835Rocky landscape with waterfallAnoniemThe provenance data are inconclusive. It is not known when and from whom J.H.J. Mellaart purchased this painting.Mellaart, J.H.J. Borgharen ICN inventariskaart, Archief SNK 183, 227, 436, 866, Bundesarchiv Koblenz B323 nr.574;Fach, J. Frankfurt am Main ICN inventariskaart, Archief SNK 183, 227, 436, 866, Bundesarchiv Koblenz B323 nr.574;Herwig, G. Frankfurt Archief SNK nr.227;Declaration;Registration;Number Wie 4525 Naam: München (Collecting point)
http://herkomstgezocht.nl/en/nk-collection/still-life-dead-birdsOrigins Unknown AgencyStill life with dead birdsNK2557Still life with dead birdsFyt, J.This painting was returned to its rightful owner in 2006.Cavens, Comte Brussel Archief SNK nr.190, 243, 861, G.A.A. 1341 nr.38, Tent.cat. Goudstikker, Den Haag, november 1924, nr.44;Roi, Le GAA 1341 nr.38;1924-11 1940-07-13 Goudstikker, J. Amsterdam (2) Archief SNK nr.243, 861, GAA 1341 nr.38, 79,, Archief NBI nr.021080, Tent.cat. Goudstikker, Den Haag, november 1924, nr.44;1940-07-13 Göring, H. Berlin GAA nr.113, Archief NBI nr.021080;Goudstikker/Miedl Amsterdam (2) Archief SNK nr.190, Bundesarchiv Koblenz B323 nr.574, Archief NBI nr.021080;Rijkskanselarij Berlin Archief SNK nr.190, 243, 861;Führermuseum Linz Bundesarchiv Koblenz B323 nr.574;Declaration;Registration;Number 996 Naam: Goudstikker
http://herkomstgezocht.nl/en/nk-collection/camelOrigins Unknown AgencyA camelNK1179A camelBauer, M.A.J.The provenance data are conclusive.1930-12 1943-08-10 Westendorp-Osieck, B. Amsterdam (2) Mr H.K. Westendorp, the husband of B. Westendorp-Osieck who died in 1941, had - over the course of decades - acquired a collection of Marius Bauer etchings from kunsthandel Van Wisselingh, who controlled the sale of all Bauer etchings. Payments for the purchase of Bauer etchings by Westendorp were found in Van Wisselingh's archives dating from 1893 to December 1930. Archief SNK nr.385, 910, Bundesarchiv Koblenz B323 nr.575, Archief Van Wisselingh nr.139, 141, 142;1943-08-10 1943-08-10 Wisselingh & Co, E.J. van Amsterdam (2) On 10 August 1943, the collection of Bauer etchings was purchased as a whole by kunsthandel Van Wisselingh from Mrs B. Westendorp-Osieck. The collection was resold to E. Göpel by Van Wisselingh on the same day. Archief SNK nr.385, 910, Bundesarchiv Koblenz B323 nr.575, Archief Van Wisselingh nr.112;1943-08-10 1943-08-10 Göpel, E. The Hague Archief SNK nr.385;1943-08-10 Führermuseum Linz Archief SNK nr.385, 910, Bundesarchiv Koblenz B323 nr.575;Declaration;Registration;Number W 99 Naam: Wisselingh
http://herkomstgezocht.nl/en/nk-collection/head-madonnaOrigins Unknown AgencyHead of MadonnaNK2339Head of MadonnaLorenzo MonacoThe provenance data are conclusive. Belonged to the former O. Lanz collection.Certosa Florence Archief SNK nr.273;Brauer, G. Nice Archief SNK nr.273;1935 1941-03-11 Lanz, O. Amsterdam (2) Archief SNK nr.433, 790, 862, 963, Bundesarchiv Koblenz B323 nr.574;1941-03-11 1941-03-11 Wickel, F.W. The Hague Archief SNK nr.433, 862, Archief Rijksmuseum nr.2456;1941-03-11 Posse, H. Linz Archief SNK nr.433, 862, Archief Rijksmuseum nr.2456;Führermuseum Linz Bundesarchiv Koblenz B323 nr.574;Declaration;Registration;Number L 99 Naam: Lanz
http://herkomstgezocht.nl/en/nk-collection/still-life-chinese-bowl-and-high-gilt-cupOrigins Unknown AgencyStill life with Chinese bowl and high gilt cupNK2491Still life with Chinese bowl and high gilt cupKalf, W.The provenance data are inconclusive. It is not known when and from whom M.J. Schiltman purchased this painting.1930 Diemen & Co. (1), Galerie van Berlin O. ter Kuile, Seventeenth-century North Netherlandish Still Lifes, Den Haag, 1985, p.126;1930-03-15 Ploeg, H. van der Amsterdam (2) Archief kunsthandel P. de Boer;1930-03-15 1932-03-17 Boer, P. de Amsterdam (2) Archief kunsthandel P. de Boer;1932-03-17 1933-03 Hermsen, D. The Hague Archief SNK nr.184, O. ter Kuile, Seventeenth-century North Netherlandish Still Lifes, Den Haag, 1985, p.126, RKD fotodocumentatie;Schiltman (2), M.J. Amsterdam (2) This painting was sold during the war to the Museum Karlsruhe. ICN inventariskaart, Archief SNK nr.184, 435, 863, Bundesarchiv Koblenz B323 nr.575;Museum Karlsruhe Karlsruhe Archief SNK nr.184, 435, Bundesarchiv Koblenz B323 nr.575;Declaration;Registration;Number 985 Naam: De Boer
http://herkomstgezocht.nl/en/nk-collection/young-mercury-stealing-cattle-herd-apolloOrigins Unknown AgencyThe young Mercury stealing cattle from the herd of ApolloNK2318The young Mercury stealing cattle from the herd of ApolloCampagnola, D.The provenance data are conclusive. Belonged to the former O. Lanz collection.1934 1941-03-11 Lanz, O. Amsterdam (2) Archief SNK nr.434, 863, 790, Cat. tent. Italiaansche kunst in Nederlandsch bezit, Stedelijk Museum, Amsterdam, 1934, nr.63;1941-03-11 1941-03-11 Wickel, F.W. The Hague Archief SNK nr.858, 862, Archief Rijksmuseum nr.2456;1941-03-11 Posse, H. Linz Archief SNK nr.434, 863, Archief Rijksmuseum nr.2456;Hitler, A. Archief SNK nr.434, 863;Führermuseum Linz Bundesarchiv Koblenz B323 nr.574;Declaration;Registration;Number 9808 Naam: München (Collecting point);Number 21 Naam: Lanz
http://herkomstgezocht.nl/en/nk-collection/vision-st-anthony-padua-or-st-francis-assisiOrigins Unknown AgencyThe vision of St. Anthony of Padua or St. Francis of AssisiNK2321The vision of St. Anthony of Padua or St. Francis of AssisiCarracci, L.The provenance data are conclusive. Belonged to the former O. Lanz collection.West London Archief SNK nr.433, 861, Tent.cat. Italiaansche kunst in Nederlandsch bezit, Stedelijk Museum, Amsterdam, 1934, nr.75;1934 1941-03-11 Lanz, O. Amsterdam (2) Archief SNK nr.433, 861, 790, 963, Bundesarchiv Koblenz B323 nr.574, Tent.cat. Italiaansche kunst in Nederlandsch bezit, Stedelijk Museum, Amsterdam, 1934, nr.75, Tent.cat. Verzameling Lanz, Verkorte catalogus, Rijksmuseum, Amsterdam, 1940, nr.69;1941-03-11 1941-03-11 Wickel, F.W. The Hague Archief SNK nr.433, Archief Rijksmuseum nr.2456;1941-03-11 Posse, H. Linz Archief SNK nr.433, Archief Rijksmuseum nr.2456;Führermuseum Linz Archief SNK nr.433, Bundesarchiv Koblenz B323 nr.574;Declaration;Registration;Number 9803 Naam: München (Collecting point)
http://herkomstgezocht.nl/en/nk-collection/winter-landscape-7Origins Unknown AgencyWinter landscapeNK3115Winter landscapeOstade, I. vanThe provenance data are conclusive. Belonged to the former F. Mannheimer collection.Marigny Dr. C.Hofstede de Groot, Beschreibendes und Kritisches Verzeichnis der Werke der hervorragendsten Holländischen Maler des XVII. Jahrhunderts, London 1910, p.543, Der Reichskommissar für die Besetzten Niederländischen Gebiete / Dienststelle Mühlmann, Sichergestellte Kunstwerke in den besetzten Niederländischen Gebieten, Wenen, ca. 1941, p.5;1782-02 1782-02 Onbekend (Amsterdam) (2) Amsterdam (2) Dr. C.Hofstede de Groot, Beschreibendes und Kritisches Verzeichnis der Werke der hervorragendsten Holländischen Maler des XVII. Jahrhunderts, London 1910, p.543;1782-02 Menars, Marquis de Paris Archief SNK nr.433, 862, Dr. C.Hofstede de Groot, Beschreibendes und Kritisches Verzeichnis der Werke der hervorragendsten Holländischen Maler des XVII. Jahrhunderts, London 1910, p.543, Der Reichskommissar für die Besetzten Niederländischen Gebiete / Dienststelle Mühlmann, Sichergestellte Kunstwerke in den besetzten Niederländischen Gebieten, Wenen, ca. 1941, p.5;1801-02-23 Tolozan, C. Paris Archief SNK nr.433, 862, Dr. C.Hofstede de Groot, Beschreibendes und Kritisches Verzeichnis der Werke der hervorragendsten Holländischen Maler des XVII. Jahrhunderts, London 1910, p.543, Der Reichskommissar für die Besetzten Niederländischen Gebiete / Dienststelle Mühlmann, Sichergestellte Kunstwerke in den besetzten Niederländischen Gebieten, Wenen, ca. 1941, p.5;Winter, Van Amsterdam (2) Archief SNK nr.433, 862, Dr. C.Hofstede de Groot, Beschreibendes und Kritisches Verzeichnis der Werke der hervorragendsten Holländischen Maler des XVII. Jahrhunderts, London 1910, p.543, Der Reichskommissar für die Besetzten Niederländischen Gebiete / Dienststelle Mühlmann, Sichergestellte Kunstwerke in den besetzten Niederländischen Gebieten, Wenen, ca. 1941, p.5;1920-06-29 Six, Jonkheer J.W. Amsterdam (2) Archief SNK nr.433, 862, RKD fotodocumentatie, Dr. C.Hofstede de Groot, Beschreibendes und Kritisches Verzeichnis der Werke der hervorragendsten Holländischen Maler des XVII. Jahrhunderts, London 1910, p.543, Der Reichskommissar für die Besetzten Niederländischen Gebiete / Dienststelle Mühlmann, Sichergestellte Kunstwerke in den besetzten Niederländischen Gebieten, Wenen, ca. 1941, p.5;1920-06-29 1920-06-29 Frederik Muller Amsterdam (2) RKD fotodocumentatie;1935 1940 Mannheimer, F. Amsterdam (2) Archief SNK nr.24, 430, 433, 511, 549, 790, 862, 964, Bundesarchiv Koblenz B323 nr.575, RKD fotodocumentatie, O. von Falke, Katalog der Sammlung F.M., 1935-1936, nr.G6, A. Venema, Kunsthandel in Nederland 1940-1945, Amsterdam, 1986, p.601;1940 1941 Mühlmann, Dienststelle The Hague Archief SNK 433, 862, Bundesarchiv Koblenz B323 nr.575, A. Venema, Kunsthandel in Nederland 1940-1945, Amsterdam, 1986, p.601, Der Reichskommissar für die Besetzten Niederländischen Gebiete / Dienststelle Mühlmann, Sichergestellte Kunstwerke in den besetzten Niederländischen Gebieten, Wenen, ca. 1941, p.5.;Hitler, A. Archief SNK nr.433, 862;Führermuseum Linz Bundesarchiv Koblenz B323 nr.575;Declaration;Registration;Number 9606 Naam: München (Collecting point)
http://herkomstgezocht.nl/en/nk-collection/christ-and-his-apostles-mount-olivesOrigins Unknown AgencyChrist and his apostles on the Mount of OlivesNK2853Christ and his apostles on the Mount of OlivesAnoniemThe provenance data are inconclusive. It is unknown when and from whom J. Mühlmann purchased this painting.1941-03-10 Onbekend (Parijs) (3) Paris Bundesarchiv Koblenz B323 nr.57;1941-03-10 1941-03-10 Mühlmann, J. Zell am See J. Mühlmann was primarily active on the French art market. Bundesarchiv Koblenz B323 nr.57;1941-03-10 1944-02-09 Göring, H. Berlin Bundesarchiv Koblenz B323 nr.57, 72, etiket achterzijde (H-nummer);1944-02-09 1944-02-09 Hofer, W.A. Berlin Archief SNK nr.243, 439, 552, Bundesarchiv Koblenz B323 nr.57, 72, etiket achterzijde (H-nummer);1944-02-09 1944-04-15 Goudstikker/Miedl Amsterdam (2) ICN inventariskaart, Archief SNK nr.439, 552, Bundesarchiv Koblenz B323 nr.57, 72, etiket achterzijde, RKD inventariskaart Goudstikker/Miedl;1944-04-15 Schramm, H. Neuss Archief SNK nr.439, 552, RKD inventariskaart Goudstikker/Miedl;Declaration;Registration;Number H 96 Naam: Hofer
http://herkomstgezocht.nl/en/nk-collection/sea-battleOrigins Unknown AgencySea battleNK2363Sea battleBellevois, J.A.The provenance data are conclusive.Onbekend (Ierland) Ierland Archief SNK nr.182;1933-11 1940-09-26 Hoogendijk & Co., D.A. Amsterdam (2) Archief SNK nr.717, 721, 867, NARA RG239 box 77, RKD fotodocumentatie, Tent.cat. Schilderijen uit het bezit van D.A. Hoogendijk & Co., Amsterdam, oktober-november 1934, nr.3;Hofer, W.A. Berlin Archief SNK nr.717, 721, 867, NARA RG239 box 77;1940-09-26 Göring, H. Berlin Archief SNK nr.717, 721, 867, NARA RG239 box 77;Declaration;Registration;Number OS 945 Naam: Hoogendijk



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This is the first of several datasets concerning the "NK Origins Unknown" artworks. All comments and feedback appreciated for improving the presentation, transparency and usability.
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image source: NK1727 Bacchanalian festival. Carpioni, G. http://herkomstgezocht.nl/en/nk-collection/bacchanalian-festival

Reconstruction origin history
1940-04-09 Beets, N.Amsterdam (2)
ICN inventariskaart; Archief SNK nr.435, 865; Bundesarchiv Koblenz B323 nr.575; Tent.cat. Italiaansche kunst in Nederlandsch bezit, Stedelijk Museum, Amsterdam, 1934, nr.74
1940-04-091940-04-09 Frederik MullerAmsterdam (2)
This painting was possibly not sold during the auction.
RKD geannoteerd exemplaar vlg.cat. Frederik Muller, Amsterdam, 9 april 1940, nr.298
1941-05-07 Esher SurreyThe Hague
ICN inventariskaart; Archief SNK nr.435, 865,790; Bundesarchiv Koblenz B323 nr.575
Hitler, A.
ICN inventariskaart; Archief SNK nr.435, 865
1941-05-07 FührermuseumLinz
Bundesarchiv Koblenz B323 nr.575

* see: Beyond Anne Frank: The Dutch Tell Their Full Holocaust Story

By NINA SIEGALJULY 17, 2016, NYT

** see: ORIGINS UNKNOWN AGENCY