Showing posts with label Shoah. Show all posts
Showing posts with label Shoah. Show all posts

Jan 16, 2020

Secrets in the Tax Collector's Attic By Ian Traynor

In 2004, the journalist Ian Traynor covered a story about secret German archives that documented how the household possessions of Jewish families deported to their deaths were acquired by neighbors in local auctions.  Secrets in the Tax Collector's Attic was orginally published in Centropa Reports.






  By Ian Traynor

  This remarkable article, written by Centropa contributor Ian Traynor and published in a much shortened form in The Guardian Newspaper (Traynor is the Central Europe Bureau Chief), tells us much more than how two branches of a German Jewish family found each other decades after the Holocaust.

The story began when a young German, Wolfgang Dressen, decided to publish the names of Germans in Cologne who had, in 1941, purchased the family possessions of the Levi family shortly before they were deported to Lodz, and then on to Auschwitz.

Here follows a chilling tale of how every pillowcase and blanket were sold off to neighbors and acquaintances, and what happens when someone like Dressen tries to “out” the names of those who stood in line to buy them sixty years ago.

Cleveland, USA, December 1998:

Rabbi Iliezer Levi has stopped trying to keep up with the world by reading his local newspaper. It was Bill Clinton's fault. The rabbi got so fed up with the president's sordid Oval Office antics that he gave up reading the Cleveland Plains Dealer over a year ago. It was a difficult vow for a man of learning who, at the age of 82, takes pride in knowing what's going on in the wider world. One cold Sunday morning last December, however, he was tempted to break his vow. He yielded to the temptation, picked up the Plain Dealer. What he found as he flicked through the pages was, he is convinced, an act of God.

Cologne, Germany, October 1941:
At their city centre flat at 108 Roonstrasse, just along the street from Cologne's main synagogue, a German Jewish businessman, his wife, and daughter were preparing to flee the Nazis. Salli Levi, a Cologne grain dealer, his wife Frieda, and teenage daughter Alma had paid out to a local travel agent to book their passage on a Transatlantic liner to America. They hoped to rejoin relatives who escaped Nazi Germany four years earlier.
Just as the Nazis were intensifying the speed and the scale of the mass
murder of Europe's Jews, the Levi's secreted some of the family gold and
valuables inside the cushion of a baby chair belonging to friends who were
having a container full of furniture shipped to the USA. The Levis' gold was all that arrived in America. The family was rounded up by the Nazis, their flat seized, their belongings sequestered and then auctioned off to ordinary German citizens who eagerly snapped up the bargains. The Levi's then disappeared.

Bonn, Germany, January 1999:
The phones were ringing in my office in Bonn. ''My name is Michael Levi.'' The voice was excited, shaky, slightly suspicious. ''I'm calling from New York. Is that the Guardian newspaper? I'm looking for the guy who wrote an article about a certain Salli Levi? This is just unbelievable. He's my uncle. We never knew what happened to him. Can you tell us anything else?'' In 58 years, no one in the Levi family has heard a whisper about what happened to their relatives in Cologne. Suddenly Michael is talking to a disembodied voice three thousand miles away, asking an unknown newspaper reporter for help. All he knew was that some of his uncle's gold arrived in New York a long time ago. Now Salli Levi's nephews, Iliezer from Cleveland, Michael and Yehuda from New York, are hungry for more information. ''The last the family heard about Uncle Salli was in 1941. Friends told us they were waiting to emigrate to America,'' said Michael, a New York rabbi who runs a girls' school in the city. ''My Uncle Iliezer went berserk when
he saw that article. He was hyperventilating.'' The report which stunned Iliezer when he suspended his newspaper boycott concerned crates of German documents from the 1940s, said to be tax files, which had just been unearthed in Cologne. The Cleveland Plains Dealer reprinted the article from The Guardian. That's why the phones were ringing in Bonn. The documents have been lying abandoned in the attic of the Cologne tax offices for more than half a century. They are not tax returns at all, though they are still classified as such. The damp papers constitute the German bureaucracy's painstakingly maintained record of the expropriation, plunder, and deportation of Cologne's Jews in the 1940s. They include a complete 150-page dossier on the Levi family. The Guardian article focused on the fate of the Levi family in order to illustrate the overall content and significance of the files. The Levi papers are dry and matter-of-fact, all the more sinister for that. The clinical listing of the intimate details of the family's belongings makes the flesh creep. There is a seven-page property declaration that all three family members had to fill in in copious detail and then sign: ''Clothing - Alma Sara Levi: one winter coat, one raincoat, four dresses, three skirts, one suit, six underskirts, four bras, five nightshirts, 12 pairs of stockings, one umbrella, one large bag, one small bag, two pairs of gloves, six handkerchiefs . . .'' The household inventory runs to the last teaspoon. It was these details about his relatives that Rabbi Iliezer was shocked to find in his local paper in Cleveland. He instantly got on the phone to family in New York, England, and Israel.

Brooklyn, March 1999:
In her purple jumper, wig, and spectacles, 82-year-old Bertha Stern sat in the dining room of a Brooklyn bungalow and summoned up the memories of her youth in Germany and of her Uncle Salli Levi before the Second World War. The Cologne flat is now part of a peeling tenement inhabited by students across the street from an Italian-owned pizzeria. Bertha, whose maiden name is Levi, vividly remembers visiting her uncle, aunt, and cousin there in the 1930s when the area was Cologne's vibrant Jewish quarter. She grew up in Fulda, while the Levi's hailed from Neustadt, a nearby small town. The Levi's took over the Cologne flat from friends who emigrated to America, imagining they would be safer there in the biggest city on the Rhine. ''Uncle Salli thought no one would touch them because he was a war veteran,'' Bertha remembers. She handed over a dog-eared certificate from November 1935. ''On behalf of the Fuhrer and Reich Chancellor Adolf Hitler'', it reads, conferring the Cross of Honour on Salli Levi for his service as ''a Front Fighter'' as a German army sergeant in the First World War. Bertha then produced old photographs of Salli proudly sporting his German army uniform. ''He was so handsome,'' she giggled. ''As a young girl I was absolutely in love with him. He was the first guy in Neustadt to have a car and they were also the first to have a flushing toilet.''

Dusseldorf, Germany, February, 1999:
''Oh, it's just unbelievable,'' whispered an elderly German woman to her neighbour sitting in the lecture hall of a little museum in Dusseldorf. ''To hear and see this after all these years. And it's all 40 years too late.'' On the rostrum, Wolfgang Dressen, a local university sociologist, was trying to explain why the Levi family is so important to him. He has never met the rabbis in Brooklyn or Cleveland. But two years of battling local bureaucracy resulted in him locating a cache of thousands of documents from the 1940s which remain closed and secret in Germany. These are the files which provide a precise and bureaucratically perfect record of officially licensed and organised mass robbery. They include the letters, inventories, invoices, and bank correspondence detailing how Salli Levi and his family lost everything. But Dressen is in big trouble with the authorities because he was granted access to the files only on condition that he revealed no names. He boldly ignored that injunction. ''You can't prove anything here unless you name names,'' he told a rapt audience in the museum. ''You can't research the structures from the Nazi years without the names.'' And then, to prove his point about naming names, he related how the Levi family from Brooklyn has just found out what happened to their Cologne uncle 58 years ago as a result of a British newspaper publicising his findings. ''If these files remain anonymous, as the authorities want, then the Levi's can't find out what happened to their relatives. There are many more like them who still don't know what happened to their forebears under the Nazis and these files could help them find out at last.'' Dressen is a dogged, bloody-minded leftwinger who has been teaching sociology at Dusseldorf university since 1994. He had long suspected that the local tax offices in the Rhineland cities of Cologne and Dusseldorf still harboured crucial files from the 1940s detailing the routine workings of the Holocaust. At the beginning of 1997 he phoned the Dusseldorf tax office to ask about their archives. Nothing there, he was told. ''Then I phoned Cologne. They said they didn't have anything either.'' A bit later, an unknown woman from the Cologne tax authority tipped him off that there were indeed crates of documents from the 1940s. He made a written research application to study the files and ran into a brick wall of official obfuscation. There may be some files in the archives, he was told, but they are classified as tax files and under 1988 legislation by the parliament in Bonn, they are to remain closed for 80 years. He contacted a local Greens MP, Annelie Buntenbach, who agreed to help him in his fight with German officialdom. She wrote several letters to the Finance Ministry in Bonn and tabled written questions in parliament. ''The answers were very unsatisfactory,'' Buntenbach recalled. ''First of all, they said no one could be granted access to these files. Then they agreed to very restricted access provided the files were subject to anonymity. They want to keep the files anonymous because they're frightened of litigation and restitution claims. It's all very embarrassing.'' But suddenly, early last year, Dressen got a letter from the Cologne tax office inviting him to come and have a look at the secrets in the attic.
''I was told I could see the files. But I was told I had to be alone. I couldn't make copies. I had to keep every name in the documents anonymous and it was made clear that I wasn't allowed to reconstruct any of the cases from the files.
''I signed everything they put in front of me,'' he chuckled. ''I called them and told them I was coming. The woman told me to wear old clothes because the place was very dirty.''
Dressen embarked on his wanderings through the Kafkaesque maze of the old Cologne tax offices. He ended up in the attic.
''It was stuffed with old files. It was damp and dirty. Candles and boxes. I couldn't find any files relating to Dusseldorf. Then the woman showed me into another room in the attic. It was stuffed to bursting, 50-60,000 files. I got frightened. I thought I'd never be allowed back in. So I smuggled as much out as I could under my coat, copied them, and then smuggled them back in.''
It took Dressen months to study and digest what he had uncovered: tens of thousands of wartime documents which provided a chilling insight into how ordinary Germans in villages and small towns knowingly profited from the Holocaust by eagerly buying up the household chattels of their deported Jewish neighbours on the cheap.
''There are children and grandchildren in Germany today sitting at home with objects and furniture and they don't know where these things came from,'' said Michal Friedman, a prominent German Jew and television talk show host. ''Or maybe they do know.''
In painstaking detail, the files list the expropriation and plunder of the Cologne region's Jews in the 1940s. They include court records, bailiffs' orders, removal firms' invoices, auctioneers' listings, and the signed property declarations all Jews were required to submit before surrendering their goods and being sent to concentration camps.
''German thoroughness means every detail is recorded,'' said Dressen. In the 1940s, the Nazi regime put Germany's network of local and regional tax and finance authorities in charge of the mass robbery. The records and the paperwork were all lodged with those offices. They still are.
In the 1950s, the Bonn parliament slapped a 30-year closure order on the files. In 1988 it extended that for a further 80 years, employing the same bureaucratic definition of the papers applied by the Nazis - that these are tax files and thus subject to confidentiality. But they are not tax files. A bailiff's record from the small Rhineside town of Hennef, for example, shows that an auction of 287 items belonging to deported Jews yielded 3,492 marks for the Third Reich's treasury on September 7, 1942, with the goodies eagerly snapped up by the deportees' neighbours.
Five pillowslips went to Schumacher for four marks, one bucket to Beielschmidt for one mark, one sewing machine to Schmitz for 30 marks, and so on, in excruciating detail.
It is names like these that Dressen was not supposed to disclose. The embarrassment triggered by his whistleblowing has brought discreet pressure from Bonn on his local education authority to have him fired, or at least reprimanded and disciplined.
''Did Dressen really break the rules?'' asked Manfred Gerlach, amazed at the material found lurking in his archives. He is a senior official at the finance ministry in the state of North-Rhine Westfalia which includes Cologne and Dusseldorf. ''The priority here must be to help the victims and not to stick to the rules. We support Dressen and we won't bow to pressure to have him punished.''
Besides, Dressen is confident that his discovery will have a much wider impact since his inquiries have concentrated only on a tiny part of Germany. ''These are just the Cologne files. Such files are lodged with the local tax authorities all over Germany. They are locked away, though the files contents themselves have nothing to do with taxation.''
The cache graphically reveals how the Levi's of Cologne were robbed as a prelude to their deportation and murder. The 150-page dossier on the family opens in October 1941 with city officials serving Salli with a standard document confiscating his property since he is deemed to be ''an enemy of the Reich.''
A signed statement from a bailiff confirms Levi was given the expropriation order personally. The three family members then had to fill in and sign the seven-page property declaration cited above.
Two weeks later a Cologne Gestapo official confirmed in writing that he had searched the property, then the North Cologne tax office delivered a further report on an inspection of the flat, noting that it had already been given to 'an Aryan'.

There follow invoices from lawyers, Mr Levi's bank, his insurance company, and the Cologne travel agent with whom the Levi's had deposited 700 marks to cover the cost of organising the ship passage to the United States. ''We've been arranging the emigration of this Jewish family since March 1941 and the departure would have been in November or December, had they not been deported,'' the agent, Josef Hartmann, wrote to the head of the city tax office.
As late as 1944, an insurance broker contacted the tax authority, seeking reimbursement of the 100 marks he had lost in fees as a result of the Levis' disappearance. ''It is surely not in your interest that I should lose my cash to a Jew,'' the broker complained.
That was the year the Levi's were sent to their death at Auschwitz. Two years after receiving his military decoration in the name of Hitler, Salli Levi took his family to Cologne in 1937. Four years later, in October 1941, they were deported to the Lodz ghetto, to Room 5 at 81 Kelmstrasse, the waiting room for the death camps.
The ghetto address is disclosed by a letter in the files from a Kassel lawyer who wrote to Levi's bank in Cologne demanding payment of a bill for 63 marks. The lawyer, Helmut Niemann, complained that he had sent the invoice to the Levi's at the Lodz ghetto address but that the letter was returned with a German post office stamp stating that no mail was being delivered to that street.
The Levis' file is unusual in that it is entire and intact. But tens of thousands of names and fates of Nazi victims are recorded in the files. And so are the names of the ordinary German individuals and families, churches and associations which wittingly profited from the plunder.
Dressen has already been proved correct in his suspicion that the Cologne find was but the tip of an iceberg. In the state of Hessen, crates of similar records were found in Frankfurt and Wiesbaden this year. Uniquely in Germany, the state government ordered all tax offices to check their archives and turn over the wartime files for research purposes.
In Bavaria the financial authorities first denied all knowledge of such files. Then the head tax office in Nuremburg admitted there were such records, but they were inaccessible because of ''tax secrecy'', and, in any case, the sales of stolen Jewish property were put down to the chaos of the last days of the war.
But innumerable documents located by Dressen prove that the same officials who were organising the auctions of the stolen goods were often the same people in charge of local tax offices, courts, and other authorities after the war, with a vested interest in covering up what happened in their parishes.
In 1950, for example, the files show, two Jewish Holocaust survivors returned to their Rhineland hometown of Garzweiler and demanded their property back. The official who adjudicated their claim was the same man who organised the local auction of their belongings in 1942. The household goods, the tax inspector reported, ''were auctioned off legally since, in the absence of the owners, the correct ownership situation could not be established.''
''This is a topic which has been taboo for decades,'' said Gerlach of the North-Rhine Westfalia finance ministry. ''We didn't want to touch any of this because it shows how the financial authorities behaved in the 30s and 40s. Now we need to find out how much of this stuff still exists. I rather fear that lots of files were destroyed after the war by individuals and institutions who were implicated.''
The scale of the stealing and its meticulous planning and recording are breathtaking. The systematic plunder was dubbed Operation 3 by the Nazis. Then there was Operation M, which referred to the ransacking of Jewish property in Nazi-occupied western Europe and its transportation to Germany where it was sold off.
By 1944 72,000 flats in western Europe had been stripped and 29,436 railway wagons used to transport the loot to Germany.
Sometimes the chattels of a deported Jew would be sold off directly to neighbours in a block of flats. Or the goods would be taken to a warehouse, with local removal firms competing for the contracts, to be auctioned off there. The dates and locations for the auctions were advertised in the local press.
''The main thing is it was the neighbours and the locals who got involved,'' said Michal Friedman who is on the board of the German Jewish Community's Central Council. ''It again throws up the old question of ordinary Germans saying they neither wanted nor knew about Auschwitz. In taking part in these auctions you had to know that these people were not coming back.''
Thomas Kreuder agrees. A former senior official at the Hessen finance ministry in Wiesbaden, he has examined the files unearthed in his state and was shocked by what he found:
''There are official letters from one office to another with civil servants complaining about the extraordinary demand from the public to take part in the auctions. There are also internal documents where civil servants lay claim to some of the seized objects. In these records you can see the involvement of the broadest layers of the public in the expropriation.''
And while ordinary people enriched themselves on the losses of disappearing neighbours, the gargantuan warrant sale was wrapped in the veneer of legality so that the purchasers of stolen goods were confident they were behaving decently.
If the local taxmen, the judges, the courts, and the bailiffs were in charge of the sales and the auctions were being advertised in the local papers, then surely it was okay to pick up a bargain.
This fresh evidence of mass public involvement in the robbery of the Nazis' victims is deeply uncomfortable for Germany in 1999 and is provoking a hostile reaction. Since the files were uncovered in Hessen earlier this year, says Kreuder, only one letter has arrived from relatives of a Jewish victim inquiring about restitution. By contrast two out of three letters sent to the Hessen finance ministry have been ''crassly anti-Semitic and negative.''
The government insists on keeping the files anonymous in order, it says, to protect the victims and safeguard their identities. ''I can't understand that,'' says Friedmann. ''It's not about protecting the victims. It's protecting the perpetrators that's been made the priority.''
In the Cologne area alone, for example, a city orphanage snapped up bedding and children's clothing from a Jewish orphanage which was closed down. Hospitals run by the Roman Catholic and Lutheran churches acquired bedding and furniture from a Jewish hospital. The university of Bonn's law faculty gratefully bought up book collections which were going for a song.
Keeping the files anonymous protects the identities of these beneficiaries as well as those of countless ordinary German families.
But the new evidence of broad public profiteering from war crimes and complicity in the Holocaust also feeds into a debate currently raging about the war in Germany.
Daniel Goldhagen's 1996 book, Hitler's Willing Executioners, with its controversial thesis that the Holocaust was powered by endemic ''eliminationist'' anti-Semitism permeating every corner of German society, sparked a furor in Germany and was a bestseller.
His contention that ''ordinary Germans'' were utterly complicit in the Nazis' crimes coincided with a torrent of new evidence, historical research, and court cases, all of which detail how Germans were much more broadly culpable than has been hitherto accepted.
A traveling exhibition on the Wehrmacht, exploding the long-cherished myth that the German army's hands were clean and that the atrocities were the fault of the Nazi party, the SS, and the Gestapo, has just ended a four-year itinerary, seen by 850,000 people in 32 towns and cities. The exhibition triggered an anguished national debate and reappraisal of the role of the World War Two German military, as well as furious marches and violence from neo-Nazi protesters.
At the same time, the current rash of litigation for damages from Holocaust survivors and former slave labourers against the biggest names in German industry is also extending definitions of complicity and accountability after decades in which the German government insisted only it could be held accountable for the crimes of the Nazis. The state has shelled out more than 100 billion marks in reparations since the 1950s.
But now the likes of Daimler, Siemens, Deutsche Bank, Volkswagen, and Allianz are being compelled to pay up for their exploitation of slave labour during the war, a process motivated by fears for their prospects and profits in the lucrative north American markets.
Discussing the Goldhagen book, the Auschwitz survivor and Nobel peace laureate, Elie Wiesel, wrote that: ''Ever since the day after the Allied victory, attempts have been made, for various reasons, to paper over the complicity of 'ordinary Germans' in the extermination policy that their government directed against the Jews. From all sides, and for motives of convenience and of global strategy, it was presented that only specific groups the SS, the Gestapo, the Nazi party had taken part in the genocide, and that the Wehrmacht, the police, the civilians had nothing to do with it.''
Wolfgang Dressen agrees and adduces the long-held secrets of the attic in Cologne in evidence. ''First everything was blamed on the main war criminals. Then it was the Nazi Party. Then the Waffen-SS. Then it was the Wehrmacht. And now we see it's also the public.''

Back in the Brooklyn bungalow, three generations of the Levi family are gathered around the dining room table over heaped platters of fried chicken, potatoes, and salad.
They grieve and they laugh, remember or ask about a Holocaust in a faraway country half a century ago after years of suppressing painful memories.
The family therapy session in front of a stranger has been precipitated by the unexpected news of the relatives in Cologne 58 years after they disappeared without trace. The extended family lost 15 members in the Holocaust. Tonight appears to be the first time they have all come together to dwell on the family history.
''I couldn't talk about it before,'' says Bertha. ''But now that I'm older I can.''
Ellie, a chic 28-year-old architecture student, is thinking aloud. ''For some strange reason we always thought our family emerged unscathed.
''I'm sympathetic to the average person in Germany,'' she goes on. ''But there are Germans in our class at school and when I'm talking to my Jewish friends we lower our voices. It's comical.''
''Ah, we had a good life,'' sighs Bertha in thickly accented English, lost in the world of her father's butcher's shop in 1930s Germany.
But Michael, 55, a tall grey-bearded Brooklyn rabbi, is impatient, struggling to contain his indignation. ''Hmm, Germans are Germans,'' he snorts. He wants redress for the injustices done to his uncle in Cologne and has engaged a Berlin lawyer to pursue a restitution claim.
''Our lawyer, Mr Schutz, says we have no chance. But how can that be true when we're dealing with patently criminal activity.''
His brother Yehuda, 51, is sceptical about trying to go to the courts. ''Look, an auction is an auction is an auction.''
''Oh, come on,'' Michael splutters. ''A blanket for 10 cents, you call that a proper auction?''
Yael, a 30-year-old teacher of Jewish history, is exasperated. ''Oh, Uncle Michael. I just don't know that this is about money. It just isn't. It's about making them fess up.''

That's exactly what Wolfgang Dressen has been vainly pushing for two years, trying to get German officialdom first to acknowledge the existence of the Cologne attic's secrets and then to open the files.
Solely as a result of his efforts, the government in Bonn and the finance ministers of the 16 German states recently agreed to make the so-called tax records accessible to scholars, but ''in an appropriate way.''
''Appropriate,'' Dressen explains, ''means anonymous, no names allowed.''


Ian Traynor, Europe editor of the Guardian, died in 2016 at the age of sixty.

Jan 14, 2020

Jan 5, 2020

DATASET: Provenance Texts Nelson Atkins Museum (Nazi Era)

Nelson-Atkins Museum of Art

DATASET: Provenance information gathered from the Nelson Atkins Museum of Art online collections website.

Description: This dataset contains publicly available information originally published online by the Nelson Atkins Museum which has been formatted by OAD as a CSV file for easy download and analysis with digital tools. Many of the artworks in the list also appear on the Nazi Era Provenance Internet Portal (NEPIP). For more recent updates or additional information concerning the artworks, please contact the Nelson Atkins Museum of Art.

Original data source: “Current Nazi-Era Provenance List” from the public website of The Nelson-Atkins Museum of Art.

Date data retrieved:  5 JAN 2020

AOD Version: 1.0

Format: CSV                           Click to DOWNLOAD CSV

Google Sheet:

URL to download:

Publisher: OAD

Original Source: Nelson Atkins Museum Website: Current Nazi Era Provenance List


Example of excerpt with selection on "private"

Nazi-Era Provenance Texts Nelson Atkins Museum of Art

TitleCredit LineAccession NumberProvenance
The Abduction of Europa (recto)Gift of Mr. and Mrs. C. Humbert TinsmanF64-45 A,BAntiquariato Coccoli, Brescia, Italy;Private collection, Zurich;János Scholz (1903-1993), New York, by 1963;Important;Old Master Drawings sale, Christie’s, London, March 26, 1963, lot 272;as by Giovanni Antonio Guardi, as The;Rape of Europe;Purchased from Mathias Komor (1909-1984), New York, by The;Nelson-Atkins Museum of Art, Kansas City, MO, 1964.
Standing Male Nude (recto);Standing Male Nude Seen from Behind (verso)Gift of Mr. and Mrs. Milton McGreevy through the Westport FundF56-66/1,2Possibly;by descent to Jeanne Fèvre, the artist’s niece, Nice, ca. 1919;Private collection, Paris;Purchased at the sale of a private collector, Très Belles Estampes, Monotypes par Degas;Tableaux, Pastels, Aquarelles, Gouaches, Dessins, Hôtel Drouot, Paris, lot;95 as Académie de jeune home, debout, de;face, bras croisés sur la tête and au verso: Académie de jeune home, de dos, by Wi ldenstein & Co., Inc., New York, May 29, 1952- December 19, 1955;Purchased;from Wildenstein by Mr. Milton (1903-1981) and Mrs. Barbara James (1905-1996);McGreevy, Mission Hills, Kansas, December;19, 1955-May 17, 1956;Their gift to The Nelson-Atkins Museum of Art, Kansas City, MO;1956.
A Merry CompanyPurchase: William Rockhill Nelson Trust61-2Private collection, Amsterdam;Martinus Joseph Antonius Maria Schretlen (1890-1972);Amsterdam, 1958-60;R.M Light and Company, Boston, 1960-61;Purchased from R.M. Light and Company by The Nelson-Atkins;Museum of Art, Kansas City, MO, 1961.
Seaport with Antique Ruins: MorningPurchase: acquired through the generosity of Sophia K. GoodmanF84-66/1Commissioned from;the artist, along with its pendant, Coastal;Harbor with a Pyramid: Evening, by Louis-Gabriel Peilhon (1700-1762);Paris, by 1753-1762 [1];Peilhon’s posthumous sale, Tableaux du Cabinet de feu M. Peilhon, Secrétaire du Roi et Fermier;Général, “en la maison duduit défunt,” Paris, May 16, 1763, no. 71, as Vues de Mer, des Ruines, des Fabriques et du;Paysage avec beaucoup de Figures, [2];With Jean-Baptiste-Pierre;Lebrun (1748-1813), Paris, by April 16, 1811;Purchased from;Jean-Baptiste-Pierre Lebrun, Paris, April 16, 1811, no. 228, by Jean-Louis;Laneuville (1748-1826), [3];Sold privately;after the 1817 sale;Biancourt and;Portalis sale, Paris, May 12-13, 1893, nos. 93 and 94;With the Fould;family, Paris;Purchased from;the Fould family descendants, Importants;Tableaux Anciens, Sotheby’s, Monte Carlo, May 26, 1980, lot 541, by Richard;Green and Edward Speelman, London, [4];With Mrs. Charles;Atkins, New York, by 1981;With Newhouse;Galleries, New York, by 1984;Purchased from;Newhouse by The Nelson-Atkins Museum of Art, Kansas City, MO, 1984.;NOTES;[1] Louis;Gabriel-Peilhon commissioned Seaport with;Antique Ruins: Morning in 1750 and Vernet painted it in Rome in 1751. It;was dispatched to Peilhon in Paris in time for the 1753 Salon.;[2] According to;the Getty Provenance Index Database, Pierre Remy made an inventory of Peilhon’s;collection in 1762. They have discovered that Peilhon’s full name was Louis;Gabriel-Peilhon. Previously they attributed the collection to Anne-Joseph;Peilhon, who was likewise Secrétaire du Roi and Trésorier des Bâtiments;but he was only in his thirties in the 1760s. The seller was recently deceased;at the time, as was Louis-Gabriel Peilhon. “Description of Sale Catalogue;F-A131,” May 16, 1763, The Getty Provenance Index Database, Los Angeles.;[3] Jean-Louis Laneuville;withdrew Seaport Morning, along with its pendant, at a sale;organized by Lebrun, Paris, January 27, 1813, both paintings were under lot 95.;“Lot 0095 from Sale Catalog F-421,” The Getty Provenance Index Databases, Los;Angeles, CA. He withdrew it again at the Bordier;Bareira, Rioult sale, Paris, January 27, 1817, which Laneuville organized;both were under lot 77.;[4] Seaport Morning was purchased along with;its pendant, lot 540.
Sleeping BacchusPurchase: Nelson Gallery Foundation through the exchange of various Foundation propertiesF98-2With;the artist, until 1824;Purchased;at his posthumous sale, Tableaux, esquisses;dessins et croquis, de M. Girodet-Trioson, peintre d’histoire, 55, Rue;Neuve-Saint-Augustin, Paris, April 11, 1825, lot 63, by Alexis Nicolas;Pérignon, the Elder (1785-1864), Paris, April 11, 1825-1864;Sold at his posthumous sale, Tableaux et des Dessins Provenant de la Collection de Mr. A.-N. Pérignon;père, Ancien Commissaire-Expert des Musées Royaux, Hôtel Drouot, Paris, May;17-20, 1865, lot 40, as Le Berger endormi;Sold at Etudes Couturier-Nicolay, Dessins, Aquarelles et Tableaux Modernes, Dessins et Tableaux Anciens;Objets d’Art, Meubles et Sièges, Tapisseries, Tapis d’Orient et d’Aubusson;Palais Galliéra, Paris, June 2, 1972, lot 92, as Bacchus endormi;With;Galerie Arnoldi-Livie, Munich, by summer 1977;With;David Carritt Limited, Artemis Group, London, by November 15, 1979;With;E. V. Thaw and Co., New York;Private;collection, USA;With;Artemis Fine Arts Inc., New York, by October 20-December 15, 1997;Purchased;from the latter by The Nelson-Atkins;Museum of Art, Kansas City, MO, 1997.
Copy of the "Venus de Medici"Purchase: the Elmer F. Pierson FoundationF73-3Madame;Boël, Paris;Private;Collection, New York;With;Heim Gallery, London, on joint account with Artibus, S. A. and Harrison, by;1969;Purchased;from Heim Gallery, Artibus and Harrison by Alfred W. T. Hood, Oxford, March 17;1969-February 23, 1973 [1];Purchased;from Hood, through Heim Gallery, London, by the Nelson-Atkins Museum of Art;Kansas City, MO, 1973.
Rehearsal of the BalletPurchase: the Kenneth A. and Helen F. Spencer Foundation Acquisition FundF73-30Purchased by Louisine Waldron Elder (later Mrs. H. O.;Havemeyer, 1855-1929), New York, by 1877-no later than January 6, 1929 [1];By descent to her daughter, Mrs. Peter Hood Ballantine Frelinghuysen;(née Adaline Havemeyer, 1884-1963), Morristown, NJ, and Palm Beach, FL, by;April 10, 1930-July 25, 1932 [2];Given to her son, George Griswold Frelinghuysen (1911-2004);Beverly Hills, CA, 1932-April 14, 1965 [3];Purchased at his sale, Impressionist;and Modern Paintings, Sculptures, Drawings: “La Glace Haute” and “Ma Maison à;Vernon” by Bonnard, “La Barque à St. Jean” and “La Madone du Village” by;Chagall, “Répétition de Ballet” by Degas, “La Baignade devant le Port de;Pont-Aven” by Gauguin, “Femme à l’Ombrelle Verte” by Matisse, “Les Peupliers”;and “Nymphéas” by Monet, “Volume de Choses” by Staël, “Les Déchargeurs” by Van;Gogh, “Portrait de la Comtesse de Noailles” by Vuillard, Sotheby’s, New;York, April 14, 1965, lot 49, as Répétition;de ballet, through Stephen Hahn, New York, by Norton Simon (1907-1993), Beverly Hills, CA, 1965- May 2, 1973;Purchased at his sale, Ten;Important Paintings and Drawings from the Private Collection of Norton Simon;Sotheby’s, New York, May 2, 1973, lot 7, as Repetition;[sic] de ballet, by Marlborough Gallery, Vaduz;Liechtenstein, May 2-November 16, 1973;Purchased from Marlborough Gallery by The Nelson-Atkins;Museum of Art, Kansas City, MO, 1973.;NOTES;[1] Elder wrote in her memoirs that she purchased the pastel;at an unnamed color shop. Scholars have not been able to definitively identify;which one, but Portier, Latouche and Père Tanguy have all been proposed.;Tanguy’s shop is cited by Susan Alyson Stein in Elder’s memoirs. See Frances;Weitzenhoffer, The Havemeyers;Impressionism Comes to America (New York: Harry;N. Abrams, 1986), 21, and Louisine W. Havemeyer, Sixteen to Sixty: Memoirs of a Collector, ed. Susan Alyson Stein;2nd ed. (New York: Ursus Press, 1993), 331n291.;The date of Elder’s purchase of the work is not certain, but;it was one of Elder’s first purchases, bought on the advice of her friend;artist Mary Cassatt (American, 1844-1926). Most scholars agree that Elder;bought the pastel by 1877, see Havemeyer, Sixteen;to Sixty, 331n291. Elder definitely owned the pastel before February 1878;when she lent it to the Eleventh Annual;Exhibition of the American Water Color Society.;[2] Louisine Havemeyer may have given the pastel to her;daughter when she married on February 7, 1907. Havemeyer writes, “As each of;you acquired a home of your own I gave to you works of art to beautify it;believing it would be the wish of Father to have me do so. These objects are;yours and the disposition you finally make of them, your responsibility.”;Havemeyer also noted, “Degas: I have given Adaline…the one I bought when a;girl.” This was probably in reference to the Nelson-Atkins’ pastel, which;Havemeyer fondly recalled her in memoires as her first Degas purchase when she;was still a teenager. See Louisine Waldron Elder Havemeyer, “Notes to My;Children” regarding disposition of Havemeyer art collection, Series II. Miscellaneous, box 3;folder 23, pp. 1, 7, The Havemeyer Family Papers relating to Art Collecting;The Metropolitan Museum of Art Archives, New York. In any case, the pastel was;not in Havemeyer’s will listing artworks to be donated to the Metropolitan;Museum of Art, New York, and it was also not among the artworks donated by;Havemeyer’s three children in 1929. It was published in the 1931 H. O. Havemeyer Collection catalogue as;being in Frelinghuysen’s collection.;[3] Paper label on the pastel’s verso inscribed: “To George;on his / 21 st birthday / from Mother”.
Leda and the Swan with CupidPurchase: Nelson Gallery FoundationF83-36Marchese Carlo Gerini (d. 1757), by 1757;Purchased by the collector’s father, Vienna, ca. 1930;Private collection, San Francisco, by 1981;Purchased at Sotheby Parke Bernet, Los Angeles, November 4;1981, no. 752, as Leda and the Swan with;Amore, by Alex Wengraf, Ltd., London, 1981-July 25, 1983;Purchased from Alex Wengraf, Ltd. by The Nelson-Atkins Museum;of Art, 1983.
Boulevard des CapucinesPurchase: the Kenneth A. and Helen F. Spencer Foundation Acquisition FundF72-35Purchased from the artist by Charles Vaillant de;Meixmoron de Dombasle (1839-1912), Diénay, France, 1875-1912 [1];Inherited by his widow, Mme. de Meixmoron de Dombasle;(née Lucie Marie Emma de Maillart de Landreville, 1848-1932), Diénay, France;1912-1919;Purchased;from Mme. de Meixmoron de Dombasle by Bernheim-Jeune et Cie, Paris, stock no.;21631, June 22, 1919-November 15, 1919 [2];Purchased;from Bernheim-Jeune et Cie by Alex Reid, Glasgow, November 15, 1919-January 2;1920;Purchased;from Reid by Mr. Robert Alfred and Mrs. Elizabeth Russe (née Allan, 1874-ca.;1937) Workman, Esq., London, January 2, 1920 [3];Returned;by the Workmans to Alex Reid, Glasgow;Purchased;from Reid by Knoedler and Company, London, Stock Book, No. 7206, January 3;1924;Transferred;from Knoedler, London, to Knoedler, New York, Stock Book 7, No. 15819, November;21, 1924-January 23, 1925;Purchased;from Knoedler by James Horace Harding (1863-1929), New York, January 23, 1925;Inherited;by his widow, Dorothea Harding (née Barney, 1871-1935), Rumson, NJ, by 1929;[4];With;Knoedler and Company, New York, March 7-October 15, 1935 [5];Transferred;from Knoedler to Carroll Carstairs Gallery, New York, October 15, 1935-by April;11, 1945 at the latest [6];Purchased;from the Estate of Dorothea Harding, through Carroll Carstairs Gallery, New;York, by “a private collector in America”, by April 11, 1945 [7];Marshall;Field III (1893-1956 (1956-11-08));Lloyd’s Neck, NY, and Chicago, by April 11, 1945-November 8, 1956 [8];Inherited;by his widow, Mrs. Marshall Field III (née Ruth Pruyn Phipps, 1908- 1994), Lloyd’s Neck, NY, and New York City;1956-December 4, 1972 [9];Purchased;from Mrs. Marshall Field III, through E. V. Thaw and Co., Inc, New York, by The;Nelson-Atkins Museum of Art, Kansas City, Missouri, 1972.;NOTES;[1] According to Impressionnisme;en Lorraine, exh. cat. (Nancy;Musée des Beaux-Arts, 1975), our painting was bought by Meixmoron de Dombasle;in 1875 from Claude Monet and was in Meixmoron’s collection until his death in;1912.;[2] See;letter from Bernheim-Jeune et C ie to Glynnis Stevenson, NAMA;October 17, 2017, NAMA curatorial files. Durand-Ruel, Paris, purchased a half;share of the painting from Bernheim-Jeune on June 23, 1919, and then sold their;share back to Bernheim-Jeune on January 7, 1920. Durand-Ruel stock number was;11519. See email from Paul-Louis Durand-Ruel and Flavie Durand-Ruel;Durand-Ruel et Cie, Paris, to Nicole Myers, NAMA, curatorial file.;[3];Tate Britain, London, Alex Reid and Lefèvre archives, “1913-1920 Daybook,” TGA;2002/11/279.;[4] Our;painting was not sold in James Horace Harding’s estate sales of 1941. According;to the Frick, where James Horace Harding was on the Board of Trustees, there’s;nothing in his correspondence related to our picture. The Frick suspects that;the painting was inherited by his widow, who inherited her husband’s estate;and then sold after her death in 1935. See email from Eugenie Fortier, Frick;Art Reference Library Archives, New York, to Glynnis Stevenson, NAMA, April 3;2017, NAMA curatorial files.;[5] See;Knoedler label numbered 24721 on verso. The Estate of Mrs. Dorothea Horace;Harding had the painting delivered to Knoedler on March 7, 1935. Upon receipt;Knoedler decided to retain the picture on commission rather than purchase it;from the estate. See email Karen Mayer-Roux, Archivist, Special Collections;Getty Research Institute, Los Angeles, to Glynnis Stevenson, NAMA, October 11;2019, NAMA curatorial files.;[6];Knoedler transferred the picture to Carroll Carstairs, New York. Knoedler;Commission Book 3, Folio 69, CA 802, Getty Research Institute, Los Angeles. See;also M. Knoedler and Co. records;approximately 1848-1971. Series IV. Inventory cards, Getty Research Institute;Los Angeles.;[7];According to The Frick Art Reference Library, New York, Photo Archives, artist;file for Claude Monet (1840-1926), “Boulevard des Capucines,” “…after ownership;by J. Horace Harding, the painting was sold by Carroll Carstairs Gallery, New;York, to a private collector in America, then acquired by Mr. and Mrs. Marshall;Field III, circa 1945.” See email from Eugenie Fortier, Frick Art Reference;Library Archives, New York, to Glynnis Stevenson, NAMA, April 3, 2017, NAMA;curatorial files.;[8] Boulevard hung in the living room at the;Fields’ Caumsett Estate in Lloyd Harbor, Long Island. See Matthew Bessell, Caumsett: The home of Marshall Field III in;Lloyd Harbor, New York (Huntington, NY: Huntington Town Board, 1991);51n48.;[9] Following the death of her husband in 1956, Field;moved to an apartment in New York City. The estate was purchased by New York;State on February 3, 1961 and converted into a state park. Though she sold off;much of the art she inherited, Boulevard was;in her New York apartment when she sold it to The Nelson-Atkins Museum of Art;through E.V. Thaw, New York in 1972. See letter from E.V. Thaw and Co., Inc. to;Mr. Ralph T. Coe, NAMA, November 21, 1974, NAMA curatorial files. Previous scholars confused Mrs. Marshall Field III and Mrs. Marshall;Field IV. According to Matthew Bessell, Caumsett;The home of Marshall Field III in Lloyd Harbor, New York, Boulevard des Capucines was among the;pictures inherited by Ruth Field after her husband’s death (p. 25). Ralph T. Coe;states that the painting was owned by Ruth Field before being bought by NAMA;see Ralph T. Coe, “Claude;Monet’s ‘Boulevard des Capucines’: After a Century,” Bulletin (The Nelson Gallery and Atkins Museum) 5, no. 3 (February;1976). Eugene Victor Thaw confirmed that;the painting was purchased directly from Mrs. Marshall Field III not Mrs.;Marshall Field IV, see letter from E.V. Thaw and Co. to Meghan Gray, NAMA, July;14, 2011, NAMA curatorial files.
Faaturuma (Melancholic)Purchase: William Rockhill Nelson Trust38-5Paul Gauguin (1848-1903);Tahiti and Paris, 1891-no later than September 29;1901 [1];Purchased from Gauguin by Georges-Daniel de;Monfreid (1856-1929), Paris;by September 29, 1901-December 21, 1901 [2];Purchased from Monfreid by Ambroise Vollard (1866-1939), Paris, December 21, 1901-at least;March 15, 1912, Stockbook B, no. 3330, as Femme en rouge dans un fauteuil, and no. 4506, Femme assise sur un;fauteuil [3];Probably purchased from Vollard by Johann Erwin;Wolfensberger (1873-1944), Zurich, ca. spring 1912-at least September 15, 1928;[4];Probably purchased from Wolfensberger through;Justin Kurt Thannhauser (1892-1976), Berlin, by Josef Stransky (1872-1936), New;York, ca. October 1928-March 6, 1936 [5];Stransky estate, New;York, 1936-January 4, 1938 [6];Purchased from the;Stransky estate through Wildenstein, New York, by The Nelson-Atkins Museum of;Art, Kansas City, MO, 1938.;NOTES;[1] Some scholars believe that Faaturuma;was bought in by Gauguin at the following sale: Vente de tableaux et dessins par Paul Gauguin;Hôtel Drouot, Paris, February 18, 1895, no. 30, as Faturuma [sic], see;Richard Brettell et al., The Art of Paul;Gauguin, exh. cat. (Washington: National Gallery of Art, 1988), 228. Others;believe Te Faaturuma (Worcester Art Museum) is more likely to have been;included in this sale as no. 30, see Jonathan Pascoe Pratt, “Ambroise Vollard: Dealer;and Publisher 1893-1900,” (PhD diss., The Courtauld Institute of Art, 2006);77. The Wildenstein Institute and Worcester Art Museum both agree with Pratt, see;letter from Sylvie Crussard, Wildenstein Institute, to Meghan Gray and Simon;Kelly, November 6, 2009, e-mail from Sylvie Crussard, Wildenstein Institute, to;Brigid Boyle, August 24, 2015, and e-mail from Karysa Norris, Curatorial;Assistant, Worcester Art Museum, to Brigid Boyle, November 16, 2015, NAMA;curatorial files.;On June 28, 1895, Gauguin departed Marseille for;Tahiti, leaving behind the paintings from his first Tahitian trip, including Faaturuma.;He likely entrusted them to Georges-Daniel de Monfreid with instructions to;sell them. Monfreid purchased Faaturuma from Gauguin sometime between June 1895 and September 1901.;[2];In a letter dated September 29, 1901, Monfreid;informs Vollard that an amateur collector has expressed interest in purchasing Faaturuma;from him. Since Vollard “ avez;la priorité sur d’autres ” [has priority over others] as Gauguin’s agent;Monfreid gives him the option of purchasing Faaturuma himself, see;letter from Georges-Daniel de Monfreid to Ambroise Vollard, September 29, 1901;Harry Ransom Center, Carlton Lake Collection, Container 189.10. Vollard agreed;to purchase the painting, see letter from Ambroise Vollard to Georges-Daniel de;Monfreid, October 2, 1901, Getty Research Institute, Miscellaneous Papers Regarding;Ambroise Vollard (1890-1939), Series I, Box 1, Folder 18. He completed his;purchase on December 21, 1901, see letter from Ambroise Vollard to;Georges-Daniel de Monfreid, December 23, 1901, Getty Research Institute, Miscellaneous;Papers Regarding Ambroise Vollard (1890-1939), Series I, Box 1, Folder 19.;Bengt Danielsson claims erroneously that Vollard;purchased Faaturuma as early as 1893, after it was exhibited at the Galeries Durand-Ruel, see Gauguin in the South Seas, trans.;Reginald Spink (1964, Garden City, NY: Doubleday, 1966), 155.;[3] Faaturuma remained in Vollard’s;possession until at least March 15, 1912, when Vollard shipped the painting to;Zurich for the Ausstellung von Werken Paul Gauguin’s im;Kunstsalon Wolfsberg (March 17-April 15, 1912), see Musée d’Orsay;Paris, Documentation Center;Fonds Vollard, Ms 421 (4,13), Registre consignant des expéditions, avec;adresses des destinataires, du 33 mai 1907 au 15 février 1923, fº 46-47.;Stockbook B is preserved at the Musée d’Orsay, Paris;Documentation Center, Fonds Vollard, Ms 421 (4,5), Registre des entrées et sorties de juin 1904 à décembre;1907 avec des achats aux artistes Gauguin, Redon, Cézanne, Valtat, Denis;Cassatt, K. X. Roussel. There is also a glass;plate of Faaturuma preserved at the Musée d’Orsay, Paris, Documentation;Center, Archives photographiques du fonds Vollard, ODO;1996-56-3722, which bears the stock number 4506.;[4] After the close of the Ausstellung von Werken Paul;Gauguin’s im Kunstsalon Wolfsberg, an exhibition of works loaned by;Ambroise Vollard, Johann Erwin Wolfensberger (owner of the Kunstsalon Wolfsberg);purchased a Gauguin painting from Vollard for 9000 francs, which he paid in two;installments. The first installment of 2000 francs was received on June 18;1912 and the second installment of 7000 francs was received on July 12, 1912;see Musée d’Orsay, Paris, Documentation Center, Fonds Vollard, Ms 421 (5,8), Agenda de;bureau pour 1912, p. 112 and 131. Vollard’s agenda book does not identify the;painting by title or stock number, but Lukas Gloor believes the painting;Wolfensberger purchased was Faaturuma, see Raphaël Bouvier and Martin Schwander;eds., Paul Gauguin, exh. cat. (Basel;Beyeler Museum, 2015), 189. As Gloor points out, Faaturuma disappears;from Vollard’s books after the spring of 1912, see e-mail from Lukas Gloor;Director, Sammlung E. G. Bührle;to Brigid Boyle, July 23, 2015, NAMA curatorial files.;Faaturuma remained in Wolfensberger’s;collection until at least September 15, 1928, when the Kunsthalle Basel;returned it to him after the close of their exhibition, Paul Gauguin, 1848-1903 (July 1-September 9, 1928), see letter from;the Kunsthalle Basel to J. E. Wolfensberger, September 15, 1928, Staatsarchiv des Kanton Basel-Stadt, Basel;Pa 888a N6 (1) 239.;The Wildenstein catalogue raisonné of 1964;tentatively suggests that a certain “Dr. Hahnloser, Zurich” owned Faaturuma;between Vollard and Wolfensberger. The best-known collectors fitting this;description are Arthur Hahnloser (1870-1936) and his brother Emil Hahnloser;(1874-1940). However, neither began collecting works by Gauguin until after;World War I. As Lukas Gloor notes, “an acquisition by Arthur Hahnloser of Faaturuma;in 1912 would…have been totally out of sync with Arthur’s collecting behaviour at that time” and;“an acquisition by Emil Hahnloser of Faaturuma in 1912 would have been a;totally isolated affair”, see e-mail from Lukas Gloor, Director, Sammlung E. G. Bührle, to Brigid Boyle;July 23, 2015, NAMA curatorial files.;[5] The Wildenstein catalogue raisonné of 1964 claims;that Justin K. Thannhauser owned Faaturuma between Wolfensberger and;Stransky, but there is no documentary evidence to support this. Shortly after;receiving Faaturuma back from the Kunsthalle Basel in September 1928;Wolfensberger presumably shipped it to Berlin for the exhibition Paul Gauguin, 1848-1903 (October 1928) at;the Galerien Thannhauser. Sylvie Crussard believes that Justin K. Thannhauser;acted as an intermediary for Wolfensberger when he sold Faaturuma, see;e-mail from Sylvie Crussard, Wildenstein Institute, to Brigid Boyle, August 24;2015, NAMA curatorial files. This was not without precedent: in 1920, Stransky;purchased Gauguin’s A Farm in Brittany (Metropolitan Museum of Art;54.143.2) from Thannhauser, who had it on consignment from a private collector.;However, Dr. Günter Herzog found no reference to Faaturuma in the archives;of the Galerien Thannhauser, Zentralarchiv;des internationalen Kunsthandels, Cologne, see e-mail from Günter Herzog;to Brigid Boyle, August 12, 2015, NAMA curatorial files.;Stransky definitely owned Faaturuma by May 16;1931, when his collection was featured in Art News. Mark Aitken;Stransky’s great-nephew, does not know how Faaturuma came into;Stransky’s possession, nor does he believe any documentation of Stransky’s;collection has survived, see phone conversation between Mark Aitken and Brigid;Boyle, June 16, 2015, NAMA curatorial files.;[6] When Stransky died in 1936, married but;childless, Faaturuma passed to his estate. Wildenstein negotiated with the;estate on behalf of the Nelson-Atkins, see Trustees’ Meeting, December 10;1937, NAMA curatorial files.
Three Putti in the CloudsPurchase: acquired through the generosity of Helen Cronin Bourke and Elaine Bourke Lally in honor of Ross E. Taggart83-27François Renaud, Paris;Jan Baptist de Graaf (1742-1804), Amsterdam;Fine Old;Master Drawings, Including…François Boucher, Three Putti in Clouds;Sotheby and Company, London, December 10, 1968, lot 75, as Three Putti in Clouds;Thomas Agnew and Sons, Ltd., London;Private collection;Purchased from Thomas Agnew and Sons, Ltd., London by The;Nelson-Atkins Museum of Art, Kansas City, MO, 1983.
Presentation of the Christ Child in the TempleGift of the Samuel H. Kress FoundationF61-59With Paolo Paolini, Rome, by November 5, 1916;[1];With Giuseppe Salvadori, Florence, by 1925;Probably Achillito Chiesa, Milan, by 1925 [2];Purchased from Chiesa by Count Alessandro Contini;Bonacossi (1878-1955), Rome and Florence, by October 10, 1936;Purchased from Bonacossi by Samuel H. Kress (1863-1955);New York, October 10, 1936-1939;His gift to the National;Gallery of Art, Washington, DC, 1939-1952;Returned by the National Gallery of Art to the;Samuel H. Kress Foundation, 1952-1961;Its gift to The Nelson-Atkins Museum of Art;Kansas City, MO, 1961.;NOTES;[1] According to Harold Woodbury Parsons, in a;letter to Bernard Berenson, November 5, 1916, Biblioteca Berenson, Villa I Tatti;– The Harvard University Center for Italian Renaissance Studies;Florence, Bernard and Mary Berenson Papers, Harold Woodbury Parsons, folder 1.;[2] Raimond van Marle, The Development of the Italian Schools of Painting, Volume V (The;Hague: Nijhoff, 1925), 473-74, locates the painting in a private collection in;Milan, probably that of Achillito Chiesa. Hans D. Gronau, “Notes on Trecento;Painting: Some Unpublished Works by Jacopo di Casentino,” Burlington Magazine 53, no. 305 (August 1928): 82, places it in a;private collection in Florence as by Taddeo Gaddi, while footnoting van Marle;as citing it in Milan. The inclusion of Chiesa in this narrative is by;recommendation of the National Gallery of Art, Kress Provenance Research;Project.
Madonna and Child with Saints Peter and PaulPurchase: William Rockhill Nelson Trust through exchange of the bequests of Mrs. Jacob L. Loose, Mr. Paul Gardner, and Mr. Herbert V. Jones Jr.;the gifts of Mr. and Mrs. Frederick Mont, Mrs. Carol L. Brewster, Mrs. Fred Wolferman, Mr. and Mrs. Arthur Wiesenberger, Mr. and Mrs. Louis S. Rothschild, Mrs. Virginia Jones Mullin, Charles S. Dewey, Edward M. Pflueger, Mrs. William H. Chapman, Mrs.Inez Grant Parker, Mrs. Justin L. Moody, and the Westport Garden Club;and other Trust properties91-14Probably Pope Paul;V Borghese (1552-1621), Palazzo Vaticano, Rome, by 1621 [1];Vatican collection;Anticamera de’ Cavalieri detti di Spada e Cappa, Palazzo di Sisto V, Palazzo;Vaticano, Rome, 1621-at least 1766;Possibly seized;from the Vatican by French troops, March-June 1798 [2];Jean-Baptiste-Joseph;Wicar (1762-1834), Rome and Naples, by 1834 [3];Private educational;institution, Philadelphia;With Charles A.;Sterling (1946-2008), Philadelphia, by October 11, 1990 [4];Purchased at his;sale, Old Master Paintings, Sotheby’s;New York, October 11, 1990, lot 136, by P. and D. Colnaghi, New York, on joint;account with Newhouse Galleries, New York, 1990-1991 [5];Purchased from;Colnaghi and Newhouse by The Nelson-Atkins Museum of Art, Kansas City, MO;1991.;NOTES;[1] According to;Dr. Herwarth Röttgen, Institut für Kunstgeschichte, Stuttgart, in a letter to;Nicholas Hall, Colnaghi, February 1, 1991, NAMA curatorial files.;[2] The Vatican;collections were sacked by French troops March 9-June 2, 1798.;Jean-Baptiste-Joseph Wicar, the French arts commissioner in Rome, participated;in the looting, although it is unclear if he acquired the painting at this;time.;[3] Wicar bequeathed;this painting to Pope Gregory XVI. “Spiegazione di Fiducia emessa Dal Sig.;Giuseppe Carattoli per l’Eredità del fù Cav. r Gio: Batta Wicar…,” 1834;Istromenti di Filippo Bacchetti, fol. 331v, 30 Notari Capitolini, Ufficio I, vol. 658, Archivio di Stato, Rome.;However, according to Röttgen, February 1, 1991, NAMA curatorial files, the;painting must have either disappeared from the Vatican soon after the bequest;or never came into Gregory XVI’s possession.;[4] According to;Eliot Rowlands, Assistant Curator, in a letter to Joseph Rishel, Curator of;Paintings, Philadelphia Museum of Art, October 21, 1991, NAMA curatorial files.;[5] Colnaghi;Archive, Waddesdon Archive at Windmill Hill, Stock files series.
Portrait of Joannes de MarschalckPurchase: William Rockhill Nelson Trust57-55Possibly a Saxon private collection, before 1932 [1];Possibly Boynich, Berlin, on behalf of Ms. Hollander, 1947;or 1948 [2];With Ante Topic Mimara (1898-1986), Tangier, Morocco, as by;Anthony van Dyck, by August 13, 1950-1957 [3];Purchased from Mimara by The Nelson-Atkins Museum of Art;Kansas City, MO, 1957.;NOTES;[1] According to Ante Topic Mimara, in a letter to Patrick;J. Kelleher, Curator of European Art, September 14, 1957, NAMA curatorial files.;[2] According to Mimara, in a report of the American;Legation, Tangier, Morocco, to the U.S. Department of State, December 19, 1955;copy in NAMA curatorial files.;[3];The painting was attributed to Anthony van Dyck by art historian Friedrich;Winkler. His handwritten authentication, dated August 13, 1950 and indicating;Mimara as the owner, is on the back of a photograph of the painting at the;Staatliche Museen zu Berlin, Kupferstichkabinett, Friedrich Winkler archives.
Saint Francis Adoring a CrucifixPurchase: acquired through the bequest of Katherine Kupper MosherF86-32Conte Segni, Bologna, by 1678;Senatore Conte Ludovico Segni, Strada Maggiore, Bologna, by 1769;Conte Cav. Avvocato Luigi Salina (1762-1845), Casa Salina (formerly Casa Alamandini), Bologna, by 1841;Probably by descent to his son, Conte Camillo Salina (1792-1855), Bologna, by 1855;Private collection, London, by 1984-1986;With Orbis Pictus S. A., Chiasso, Switzerland, 1986;Purchased from Orbis Pictus S. A. through Matthiesen Fine Art, London, by The Nelson-Atkins Museum of Art, Kansas City, MO, 1986.
Coffee Grinder and GlassGift of Earle Grant in memory of Gerald T. Parker71-22Purchased;from the artist by Galerie L’Effort Moderne, Paris, stock no. 5175, January 31;1918;Private collection, Paris, by November 16;1927 [1];With Galerie Jeanne Bucher, Paris;Mrs. B. Raymond, Los Angeles;With;Dalzell Hatfield Galleries, Ambassador Hotel, Los Angeles, as Le Journal;Earle W.;Grant (1890-1971), San Diego, CA, by November 1970-1971;Bequeathed;by Grant to The Nelson-Atkins Museum of Art, Kansas City, MO, 1971.;NOTES;[1] According to Léonce Rosenberg, in a letter to Amédée;Ozenfant, November 16, 1927, Musée national d’art moderne-Centre de création;industrielle, Paris, Fonds Léonce Rosenberg.
Rest on the Flight into EgyptGift of Mr. and Mrs. Robert L. Bloch80-49Joséphine de Beauharnais (1763-1814), Château de Malmaison, as by Carle Maratte [sic], by 1811-1814;By descent to her son, Eugène de Beauharnais, 1st Duke of Leuchtenberg (1781-1824), Munich, 1814-1824;By descent to his son, Auguste de Beauharnais, 2nd Duke of Leuchtenberg (1810-1835), Munich, 1824-1835;Inherited by his brother, Maximilian de Beauharnais, 3rd Duke of Leuchtenberg (1817-1852), Munich and St. Petersburg, 1835-1852;Inherited by his wife, Grande-Duchesse Maria Nikolaevna (1819-1876), St. Petersburg and Florence, 1852-1876;By descent to her son, Nikolai de Beauharnais, 4th Duke of Leuchtenberg (1843-1891), St. Petersburg, 1876-1891;By descent to his son, Nikolai de Beauharnais (1868-1928), St. Petersburg, 1891;With A.-B. Nordiska Kompaniet, Stockholm, by 1917;Private collection, by December 14, 1979 [1];Purchased at Fine Old Master Pictures, Christie, Manson and Woods, London, December 14, 1979, lot 88, as by Carlo Maratti, by Robert L. and Barbara Bloch, Mission Hills, Kansas, 1979-1980;Their gift to The Nelson-Atkins Museum of Art, Kansas City, MO, 1980.;NOTES;[1] Offered for sale at Fine Old Master Pictures, Christie's, London, July 13, 1979, lot 103, as by Carlo Maratti, but failed to sell.
Portrait of the Marquise d'Usson de BonnacPurchase: acquired through the generosity of Mary RunnellsF77-14To the sitter, Esther;de Jaussaud, Marquise d’Usson de Bonnac (ca. 1654-1748), 1707 [1];Paul Meyerheim (1842–1915), Berlin, by;1896-March 14, 1916;His posthumous;sale, Nachlass Paul Meyerheim;Rudolph Lepke’s Kunst-Auctions-Haus, Berlin, March 14, 1916, lot 92, as by;Alexandre Roslin (1718-1793), as Weibliches;Bildnis [2];U.S. art;market, ca. 1967;Purchased on;the U.S. art market by an unknown private collector, ca. 1967 [3];Purchased from;the private collector, through an unknown intermediary, by Heim Gallery;London, stock no. 30/77, by March 1977;Purchased from;Heim by The Nelson-Atkins Museum of Art, Kansas City, MO, 1977.;NOTES;[1] Rigaud’s Livre de Raison, published by Joseph;Roman in 1919, lists that he charged 500 livres in the year 1707 for a portrait;of Mad e la marquise d’Usson de Bonnac. There has been some confusion;regarding the sitter’s identity. In the 2011 online version of his Dictionary of pastellists before 1800;Neil Jeffares noted that Rigaud had painted Madeleine-Françoise de;Gontaut-Biron (1692-1739), the second Marquise de Bonnac. In his 2016 in-depth;essay on Louis Vigée’s portrait of Le;marquis de Bonnac (c. 1752), Jeffares clarified that Rigaud had painted;Esther de Jaussaud, the first Marquise de Bonnac and the mother of the sitter;in Vigée’s portrait. See Neil Jeffares;“Vigée, Le marquis de Bonnac, ”;Pastels and Pastellists Online;(February 3, 2016): 3, 3n13.;[2] Alexandre Roslin (1718-1793) was a Swedish portrait;painter best known for his depictions of European aristocrats and skill at;rendering fabrics. His style is quite similar to Rigaud’s. If our date of 1707;for the Portrait of the Marquise d'Usson de Bonnac is correct, then Alexandre Roslin could not;have painted it as he was born in 1718.;[3] According to A. S. Ciechanowiecki;Heim Gallery, London, in a letter to Ross Taggart, April 19, 1977, NAMA;curatorial files, the unknown private collector purchased the painting in the;U.S. “about ten years ago,” then sold the painting indirectly to Heim on the;Continental art market “quite recently.”
The Martyrdom of Saint SebastianPurchase: Nelson Gallery FoundationF84-71With Hadfield and Burrowes, London, by May 10, 1785;Their sale, First;Part of the Large Collection of Pictures, made by Messrs. Hadfield and;Burrowes, during their tour Through Flanders, France, Germany and Holland, Greenwood’s;London, May 10, 1785, lot 79;With Philip Hill, by June 20, 1807;Purchased at his sale, A;Most Capital and Valuable Collection of Pictures, Christie’s, London, June;20, 1807, lot 44, by Michael Bryan (1757-1821), London, 1807;The;Properties of a Gentleman and a Baronet, H. Phillips’s, London, June;2, 1815, lot 5;With Alexis Delahante, Esq., Paris, by May 30, 1817;His sale, A Select and Pleasing Collection of Cabinet;Pictures, H. Phillips’s, London, May 30, 1817, lot 84;Sir Edward Cockburn, 8th Baronet (1834-1903), Herefordshire;England, by 1903;Purchased at his sale, Important;Pictures of the Early English School and Works by Old Masters, Christie;Manson and Woods, London, April 25, 1903, lot 139, by Hamblin, 1903 [1];With Van der Perre, Paris, by 1905-1906;With S.A. L’Antiquaille, Paris, by 1937-1938 [2];With M. Samuel, Paris, 1938;Purchased from Samuel by an unknown private collector;France, 1938-June 25, 1984;Purchased at the private collector’s sale, Tableaux Anciens, Sotheby Parke Bernet;Monte Carlo, June 25, 1984, lot 3305, by Galerie Bruno Meissner, Zürich, 1984;[3];Purchased from Meissner and Newhouse Galleries, New York, by;The Nelson-Atkins Museum of Art, Kansas City, MO, 1984.;NOTES;[1] The handwritten notation ‘Hamblin’ is located in the;right margin of a copy of the 1903 sale catalogue in the Getty Research;Institute, Los Angeles.;[2] According to letters between S. A. “L’Antiquaille” and;the Centraal Museum, Utrecht, December 10, 1937-February 12, 1938, concerning;the latter’s attempt to purchase the painting, Centraal Museum, Utrecht;Archives, copies in the NAMA curatorial files. According Edwin Buijsen, Curator;of Early Netherlandish Painting, Rijksbureau voor Kunsthistorische;Documentatie, in a letter dated July 9, 1998, NAMA curatorial files, a notation;on the back of an old photograph in the Rijksbureau voor Kunsthistorische;Documentatie states the painting was offered to dealer P. Graupe (1881-1953) in;1938, but it is unclear who offered it.;[3] Galerie Bruno Meissner sold a quarter share of the;painting to Newhouse Galleries following the Sotheby’s sale. See a letter to;the editor from Bruno Meissner, Art;Auction (December 1984).
The Adoration of the MagiGift of Mr. and Mrs. Robert L. Bloch in honor of Geraldine E. FowleF85-20Possibly Pierre-Charles, marquis du Plessis-Villette;(1700-1765), Paris, by April 8, 1765;Possibly purchased at his sale, Tableaux, de Diffe’rens Bons Maîtres des Trois Écoles, De Figures de;Bronze, de Bustes de Marbre, d’Estampes montées sous verre, et d’Estampes en;Feuilles, après le Décès de M. le Marquis de Villette, Pere [sic], l’Hôtel;d’Elbeuf, rue de Vaugirard, Paris, April 8, 1765, lot 30, as Sébastien Bourdon;Une Adoration des Rois, by;Jean-Baptiste-Pierre Le Brun (1748-1813), Paris, 1765 [1];Possibly;purchased at the sale of M. ***, Tableaux;du Cabinet de Monsieur ***. Sçavoir, Tableaux, Desseins, Estampes, Bronzes, Bustes de;marbre, Gaînes de marbre et de bois, Porcelaines différentes, montées et non;montées, Meubles, Pendules, Feux, Bras de cheminées, Secrétaires, etc., Hôtel des Américains, rue Saint Honoré, Paris, December 15, 1766, lot 16, as;Sébastien Bourdon, l’Adoration des Rois;by Pierre-François Basan (1723-1797), Paris, 1766 [2];Possibly le Doux Collection, by 1775 [3];Possibly purchased at his sale, Une Précieuse Collection de Tableaux, Bronzes, Marbres, Porcelaines;Lacques, Pierres gravées et autres Pierres précieuses, Meubles et objets de;curiosité, Provenans du Cabinet de M. le Doux., Maison de Saint Louis, rue;Saint Antoine, Paris, April 24, 1775, lot 46, as Sébastien Bourdon, L’adoration des Rois, by Feullet, Paris;1775 [4];Possibly Joseph-Hyacinthe-François de Paule de Rigaud;Comte de Vaudreuil (1740-1817), Paris, by 1787;Possibly purchased at his sale, Une Très-Belle Collection de Tableaux, d’Italie de Flandres, de;Hollande, et de France […] Provenans;du Cabinet de M. ***., grande;Salle, 96 rue de Cléry, Paris, November 26, 1787, lot 42, as Sébastien Bourdon;L’Adoration des Rois, by;Jean-Baptiste-Pierre Le Brun, for Laurent Grimod de La Reynière (1734-1793);1787-April 3, 1793 [5];Possibly purchased at his sale, Tableaux Formant le Cabinet de M. de Lareynière, Composé en partie des;Tableaux des plus grands Maîtres de l’Ecole Française: on y distingue;par-dessus tout, les chef-d’œuvres de l’immortel Lemoyne, les seuls, pour ainsi;dire, qui soient connus., Salle;de Vente, 96 rue de Cléry, Paris, April 3, 1793, lot 8, as Sébastien Bourdon, L’adoration des Rois, by Defer, 1793 [6];Possibly purchased at the sale of M. ***, Une Belle Collection de Tableaux des Trois;Écoles, Et autres Objets curieux, du Cabinet de M. ***, ancien hôtel;Notre-Dame, rue du Bouloy, Paris, June 16, 1797, lot 6, as Sébastien Bourdon, l’Adoration des Mages, by Trudaine, 1797;[7];Laurens;Collection, Montpellier [8];With;André de Haspe, Paris, by May 15, 1961-June 2, 1961 [9];Purchased;from de Haspe by Germain Seligman (1893-1978), New York, June 2, 1961-March 27;1978 [10];Possibly;inherited by his wife, Ethlyne Jackson Seligman (1906-1993), New York, 1978 [11];Purchased;at Important Paintings by Old Masters;Christie’s, New York, June 5, 1980, lot 29, as attributed to Sébastien Bourdon, The Adoration of the Magi, by Robert L.;Bloch, Shawnee Mission, KS, 1980-1985;Given;by Mr. and Mrs. Robert L. Bloch to The Nelson-Atkins Museum of Art, Kansas;City, MO, 1985.;NOTES;[1];Annotated sales catalogue at the Bibliothèque Publique et Universitaire, Geneva;records “LeBrun” as the buyer. It is unclear whether the painting in this sale;was the Nelson-Atkins’ or the version attributed to Bourdon in the collection;of the Rijksmuseum Twenthe, Enschede.;[2] Annotated sales;catalogue at the Bibliothèque;Publique et Universitaire, Geneva, records “Basan” as the buyer. It is unclear;whether the painting in the sale was the Nelson-Atkins’ or the version;attributed to Bourdon in the collection of the Rijksmuseum Twenthe, Enschede.;[3];M. le Doux may have been Paul-Guillaume Ledoux (d. 1781), a painter at the;Académie de Saint-Luc who was active as a dealer from the early-1750s through;the mid-1770s.;[4];Annotated sales catalogue at the Bibliothèque;municipale de Versailles records “Feullet” (believed to be a misspelling of;“Feuillet”) as the buyer. Between 1768 and 1784, a buyer named “Feuillet”;bid on 249 works of art in 49 different sales. This may have been Jean-Baptiste;Feuillet (d. 1806), a director of the Académie de Saint-Luc and well-known;dealer. It is;unclear whether the painting in this sale was the Nelson-Atkins’ or the version;attributed to Bourdon in the collection of the Rijksmuseum Twenthe, Enschede.;[5];Annotated sales catalogues at the Bibliothèque;d’Art et d’Archéologie, Paris, the Bibliothèque Municipale, Orléans, and;the British Museum, London, record “LeBrun” as the buyer. Lebrun acted as an;agent for Grimod de La Reynière. It is unclear whether the painting in the sale;was the Nelson-Atkins’ or the version attributed to Bourdon in the collection;of the Rijksmuseum Twenthe, Enschede. The version featured in this sale was;subsequently sold in the Grimod de La Reynière sale, see description for lot 8.;[6];Annotated sales catalogue at the Bibliothèque d’Art et d’Archéologie, Paris;records “Defer” as the buyer of lots 8 and 14. Lot 14 was later resold at Radix;de Sainte-Foy’s sale on January 16, 1811 (lot 33), and an annotated sales;catalogue at the Bibliothèque d’Art et d’Archéologie, Paris, records “de Fer de;Lanoray” in the provenance of lot 33. “De Fer de Lanoray” may thus be the full;name of the buyer that purchased lot 8 at the Grimod de La Reynière sale.;[7];Annotated sales catalogue at the Bibliothèque Publique et Universitaire, Geneva;records the buyer as “Trudaine.” It is unclear whether the painting in the sale;was the Nelson-Atkins’ or the version attributed to Bourdon in the collection;of the Rijksmuseum Twenthe, Enschede.;[8];Per Jacques Seligmann & Co. records, Archives of American Art, Smithsonian;Institution, Washington D.C., Series 12.2 “Private Art Collection,” Box 426;Folder 13. This collector is usually described as “Madame Laurens” in the;literature.;[9];See letter from André de Haspe to Germain Seligman, May 15, 1961, Jacques;Seligmann & Co. records, Archives of American Art, Smithsonian Institution;Washington D.C., Series 1.3, General Correspondence (1913-1978), Box 29, Folder;21.;[10];Per Jacques Seligmann & Co. records, Archives of American Art, Smithsonian;Institution, Washington D.C., Series 7.11.2 “Sales Ledgers, 1931-1973,” Box;331, Folder 5, no. 8637. Although the painting was assigned a stock number (no.;8637), Seligman purchased it for his private collection, not his gallery.;[11];Although most of Germain Seligman’s private collection was purchased by Artemis;S. A. and E. V. Thaw and Co. and published in John Richardson, The Collection of Germain Seligman;Paintings, Drawings, and Works of Art (New York: E. V. Thaw, 1979), this;painting may have been one of the few personal bequests Seligman made to his;wife.
Martyrdom of Saint LawrenceGift of Mary E. Evans and Mrs. John E. Wheeler in memory of Harry Martin Evans40-44/1Private collection, Austria [1];Harry Martin Evans (1859-1939), Pasadena, California, by 1937-1939;Inherited by his wife, Mary Ellison Evans (1861-1963), Pasadena, and their daughter, Helen Wheeler (née Evans), Pasadena, 1939-1940 [2];Given by Evans and Wheeler to The Nelson-Atkins Museum of Art, Kansas City, MO, 1940.;NOTES;[1] The painting was photographed by Kunstverlag Wolfrum (negative no. 2818), a Viennese firm that specialized in reproducing works of art in Austrian collections. Wolfrum has been unable to identify the owner of the painting (see letter from Kunstverlag Wolfrum, Vienna, February 8, 1989, NAMA curatorial files).;[2] On loan by the Evans to NAMA from 1937 to 1940.
Coastal Harbor with a Pyramid: EveningPurchase: acquired through the generosity of Sophia K. GoodmanF84-66/2Commissioned from the artist, along with its pendant, Seaport with Antique Ruins: Morning, by;Louis-Gabriel Peilhon (1700-1762), Paris, by 1753-1762 [1];Peilhon’s posthumous sale, Tableaux du Cabinet de feu M. Peilhon;Secrétaire du Roi et Fermier Général, “en la maison duduit défunt,” Paris;May 16, 1763, no. 71, as Vues de Mer, des;Ruines, des Fabriques et du Paysage avec beaucoup de Figures, [2];With Jean-Baptiste-Pierre Lebrun (1748-1813), Paris, by;April 16, 1811;Purchased from Jean-Baptiste-Pierre Lebrun, [ Sale name ], Paris, April 16, 1811, no.;228, by Jean-Louis Laneuville (1748-1826), [3];Sold privately after the 1817 sale;Biancourt and Portalis sale, Paris, May 12-13, 1893, nos.;93 and 94;Fould family, Paris;Purchased from the Fould family descendants, Importants Tableaux Anciens, Sotheby’s;Monte Carlo, May 26, 1980, lot 540, by Richard Green and Edward Speelman;London, [4];With Mrs. Charles Atkins, New York, by 1981;With Newhouse Galleries, New York, by 1984;Purchased from Newhouse by The Nelson-Atkins Museum of;Art, Kansas City, MO, 1984.;NOTES;[1] Louis Gabriel-Peilhon commissioned Coastal Harbor with a Pyramid: Evening in;1750 and Vernet painted it in Rome in 1751. It was dispatched to Peilhon in;Paris in time for the 1753 Salon.;[2] According to the Getty Provenance Index Database;Pierre Remy made an inventory of Peilhon’s collection in 1762. They have;discovered that Peilhon’s full name was Louis Gabriel-Peilhon. Previously they;attributed the collection to Anne-Joseph Peilhon, who was likewise Secrétaire;du Roi and Trésorier des Bâtiments, but he was only in his;thirties in the 1760s. The seller was recently deceased at the time, as was;Louis-Gabriel Peilhon. “Description of Sale Catalogue F-A131,” May 16, 1763;The Getty Provenance Index Database, Los Angeles.;[3] Laneuville;withdrew Coastal Harbor Evening, along with its pendant, at a sale;organized by Lebrun, Paris, January 27, 1813, both paintings were under lot 95.;“Lot 0095 from Sale Catalog F-421,” The Getty Provenance Index Databases, Los;Angeles, CA. He withdrew it again at the Bordier;Bareira, Rioult sale, Paris, January 27, 1817, which Laneuville organized;both were under lot 77. “Lot 0077 from Sale Catalog F-717,” The Getty;Provenance Index Databases, Los Angeles, CA.;[4] Coastal Harbor;Evening was purchased along with its pendant, lot 541.
Iris Carrying the Water of the River Styx to Olympus for the Gods to Swear ByPurchase: the Mr. and Mrs. Earl D. Wilberg Fund for European Art, Louis L. and Adelaide C. Ward Fund for European Art, the bequest of Menefee D. Blackwell (by exchange), and The Nelson Gallery Foundation2000.14The artist’s posthumous sale, Pictures, consisting of fine;originals of the Italian and Flemish schools, accurate copies from some of the;most distinguished works in Europe, as well as originals and studies by Mr.;Head, also, some beautiful Greek vases, sculpture, etc., the;artist’s home, London, April 27-June 27, 1801, lot 249;With Pawsey & Payne, London, by February 17, 1967 [1];Purchased at their sale, Paintings;and Drawings c. 1800-c. 1900, Christie, Manson & Woods, London, February;17, 1967, lot 74, by Brady [2];Private collection, Italy, by 2000 [3];Purchased from the latter through an anonymous intermediary;and Charles Beddington Ltd., London, by The Nelson-Atkins Museum of Art, Kansas;City, MO, 2000.;NOTES;[1] According to Jeff Pilkington, Principal Researcher;Christie’s Archives, in an email to MacKenzie Mallon, Specialist, Provenance;October 11, 2017, NAMA curatorial files.;[2] A price list included with a sale catalogue in the Richardson;Memorial Library at the Saint Louis Art Museum records the buyer’s name as;Brady.;[3];According to Charles Beddington, in an email to MacKenzie Mallon, March 30;2012, NAMA curatorial files, he received the painting on consignment from an;intermediary representing a private collection in Italy.
The Adoration of the MagiPurchase: the Mr. and Mrs. Earl D. Wilberg Fund for European Art2004.1Possibly Olimpia Aldobrandini (1567-1637), Rome, by 1626 [1];William Beckford (1760-1844), Fonthill Abbey, Wiltshire and;Lansdown Crescent, Bath, as by Marcello Venusti, by October 15, 1822-1844 [2];By descent to his daughter, Susan Euphemia Hamilton (née;Beckford, 1786-1859), and her husband, Alexander Hamilton, 10th Duke of;Hamilton (1767-1852), Portman Square, London, as by Marcello Venusti, 1844-1859;[3];By descent to their son, William Alexander Anthony Archibald;Hamilton, 11th Duke of Hamilton (1811-1863), Hamilton House, London, as by Marcello;Venusti, 1859-1863;By descent to his son, William Alexander Louis Stephen Douglas-Hamilton;12th Duke of Hamilton (1845-1895), Hamilton House, London and Hamilton Palace;Scotland, as by Marcello Venusti, 1863-June 24, 1882 [4];Purchased at his sale, The;Hamilton Palace Collection, Christie, Manson and Woods, London, June 24, 1882;lot 403, as by Marcello Venusti, by The Honorable William Frederick Barton;Massey-Mainwaring (1845-1907), London, 1882;Christopher Beckett Denison (1825-1884), London, by 1884 [5];Purchased at his posthumous sale, Ancient Pictures of the Italian, Spanish, Flemish, Dutch and French;Schools, Christie, Manson and Woods, London, June 5, 1886, lot 81, as by;Marcello Venusti, by Thomas Agnew and Sons, Ltd., London, Picture Stock Book 5, no. 4097, 1886 [6];Purchased from Thomas Agnew and Sons by Sir M. Stewart, Bt., June 5;1886 [7];Private collection, United Kingdom, by 1983;Purchased at Old Master;Pictures, Christie’s, London, April 24, 1998, lot 127, by Hall and Knight;Ltd., New York, 1998-2004 [8];Purchased from Hall and Knight by The Nelson-Atkins Museum of;Art, Kansas City, MO, 2004.;NOTES;[1] According to the sale catalogue for The Hamilton Palace Collection, Christie, Manson and Woods, London;June 24, 1882, this painting was once part of the Aldobrandini collection in;Rome. This may be the picture recorded in the 1626 inventory of Olimpia;Aldobrandini’s collection as “un quadro con la natività di N.S., copiato da;Girolamo da Carpi.” See P. della Pergola, “Gli inventari Aldobrandini,” Arte antica e moderna 19 (1962): 428.;[2] This painting was published in the catalogue for Beckford’s;sale, Magnificent Effects at Fonthill;Abbey, Wilts., Christie’s, Fonthill Abbey, Wiltshire, October 15, 1822, lot;94, as by Marcello Venusti, but the sale was never held. According to Godfrey;Evans, Principal Curator of European Decorative Arts, National Museums;Scotland, in an email to MacKenzie Mallon, Specialist, Provenance, November 14;2015, NAMA curatorial files, the painting is recorded as in the Dining Room of;Lansdown Crescent in the 1844 post-mortem inventory of William Beckford’s;properties in Bath (Bodleian Library, Oxford, MS. Beckford c. 58, p. 11).;[3] According to Godfrey Evans, in an email to MacKenzie;Mallon, November 14, 2015, NAMA curatorial files, the painting is recorded in;the list of “Furniture, Pictures, China, &c &c at Portman Square from;Bath Feb y 1850,” Lennoxlove House, East Lothian, Scotland, Hamilton;Archive, M12/51/1, p. 8.;[4] According to Godfrey Evans, in an email to MacKenzie;Mallon, November 14, 2015, NAMA curatorial files, the painting is recorded as;in the Yellow Drawing Room at Hamilton House in 1864 (Lennoxlove, Hamilton Archive;M4/79, 1864 Hamilton House Inventory, p. 100). The painting may have left;Hamilton House in 1870, when the Hamiltons gave up Hamilton House and sent a;large number of items to Hamilton Palace. It is recorded as in the Boudoir at;Hamilton Palace in 1876 (Hamilton, Hamilton Town House Library, 1876 Hamilton;Palace Inventory, p. 28).;[5] According to Godfrey Evans, in an email to MacKenzie;Mallon, October 21, 2015, NAMA curatorial files, Massey-Mainwaring passed on 35;of his own 63 purchases at the June 24, 1882 Hamilton Palace sale to Beckett;Denison, possibly as a friend bidding on Denison’s behalf. This painting was;probably one of them. According to Jeff Pilkington, Christie’s Archives, in an;email to MacKenzie Mallon, March 11, 2015, NAMA curatorial files, this painting;was offered for sale at Denison’s posthumous sale, The Valuable Collection of Pictures, Works of Art, and Decorative;Objects, of Christopher Beckett Denison, Esq., Christie, Manson and Woods;London, June 6, 1885, lot 912, as by Marcello Venusti, but failed to sell.;[6] According to Jeff Pilkington, Christie’s Archives, in an;email to MacKenzie Mallon, March 11, 2015, NAMA curatorial files.;[7] National Gallery London, Thomas Agnew and Sons Archive;NGA27/1/1/7, Picture Stock Book 5, 1881-1891, p. 92-93.;[8] According to Nicholas Hall, Christie’s, in an email to;MacKenzie Mallon, February 13, 2015, NAMA curatorial files.
Oedipus Conquering the SphinxPurchase: the Mr. and Mrs. Earl D. Wilberg Fund for European Art2004.21Private Collection, by 1980s;Robert Bowman Gallery, London, no later than September;20, 2004;Purchased from the Robert Bowman Gallery by the;Nelson-Atkins Museum of Art, Kansas City, MO, 2004.
Little Girl with White-Yoked DressBequest of Jeanne McCray Beals in memory of David Thomas Beals II, Helen Ward Beals, and David Thomas Beals III2006.9.36Mr.;M. A., Beirut, Lebanon, by 1970 [1];Sold;at Modern and Contemporary Paintings;Drawings, and Sculpture, Sotheby Parke Bernet Incorporated, New York;December 14, 1976, no. 8A, as by Mary Cassatt, Little Girl with White Ruffled Yoke to her Dress;With;Kennedy Galleries Inc., New York, stock no. A20779, as by Mary Cassatt, Little Girl with White-Yoked Dress, by;1985;Private;collection, New York;Jeanne;McCray Beals (1933-2005), Fairway, Kansas, by September 22, 2005;Estate;of Jeanne McCray Beals, 2005- April 17, 2006;Given;the by estate of Jeanne McCray Beals to The Nelson-Atkins Museum of Art, Kansas;City, MO, 2006.;NOTES;[1] According to a;letter from Pamela Ivinski, Mary Cassatt Catalogue Raisonne Committee, to Margi;Conrads, NAMA, April 12, 2006, the painting was consigned by M.A. to the sale, Catalogue of Barbizon;Impressionist and Modern Drawings, Paintings and Sculpture, Christie, Manson and;Woods, London, December 15, 1967, no. 90. According to the price list, the work;was purchased by Benderson, but the sale must not have gone through because;M.A. wrote to Adelyn Dohme Breeskin in March 1969 that he still owned the work;and did not plan to sell it.
Saints George and WolfgangPurchase: William Rockhill Nelson Trust34-101Monis Chapel, Dominican Church, Frankfurt am Main, Germany, 1491-17th;century [1];A. Schäffner, Tetschen an der Elbe, Bohemia (today Děčín, Czech Republic);possibly by 1923-at least April 1925 [2];With Galerie Fischer, Luzern, Switzerland;With A. S. Drey, New York, as by the Hausbuchmeister, by January 27, 1934;Purchased from Drey by The Nelson-Atkins Museum of Art, Kansas City, MO, 1934.;NOTES;[1];According to Otto Lauffer, "Ein neugefundenes Altarwerk des ausgehenden;15. Jahrhunderts aus der Dominikanerkirche zu Frankfurt a. M.," Hessen-Kunst: Kalender fur alte und neue;Kunst (1907): 5, Lauffer found a document in the Stadtarchiv, Frankfurt am;Main, originally from the Dominican Church of that city, which states;The chapel of Wynrich Monis with its altar was consecrated in the year of;the Lord 1491 by the venerable Lord Heinrich of Rubenach, bishop of;Venecomponense, in honor of Saints Dominic, our original confrere, John the;Baptist, Nicholas the Bishop, Wolfgang the bishop, Quirinus the martyr, [and];Catherine, Barbara, and Margaret the virgins." (Translated from the;original Latin by Reverend Paul Turner, Diocese of Kansas City-St. Joseph, MO.);[2] According;to Heinrich Weizsäcker, Die Kunstschze;des ehemaligen Dominikaner-closters in Frankfurt a. M. (München: Verlag von;F. Bruckmann A.-G., 1923), 7, the painting was in a private collection in;Prague in 1923. According to Dr. Christiane Andersson, Curator, Städel Museum, Frankfurt;am Main, to Dr. Eliot Rowlands, Assistant Curator, January 15, 1990, NAMA;curatorial files, an old photograph of the painting at the Städelsches;Kunstinstitut, Frankfurt am Main, contains a handwritten note on the verso indicating;the painting was offered for sale by Schäffner to the Städelsches Kunstinstitut;in April 1925.
The Virgin and Child EnthronedPurchase: the Kenneth A. and Helen F. Spencer Foundation Acquisition FundF74-7Private collection, Paris;With Edward R. Lubin, Inc., New York, by 1974;Purchased from Edward R. Lubin, Inc., by The;Nelson-Atkins Museum of Art, Kansas City, MO, 1974.
DaydreamingPurchase: acquired through the generosity of an anonymous donorF79-47Paul-Antoine (1833-1905);and Marguerite Blanche (née Girod, 1844-1901) Bérard, Paris and Wargemont, near;Dieppe, France, as Rêverie, by May;25, 1892 [1];With C. Martin et G. Camentron, Paris by March 5, 1896;Auguste Pellerin (1853-1929), Paris, by January 29, 1899-March;27, 1911;Acquired from Pellerin in an exchange by Galerie Bernheim-Jeune;Paris, March 27, 1911-at least 1933 [2];With Sam Salz (1894-1981), New York, by 1961;Leigh B. (1905-1987) and Mary Lasker (1904-1981) Block;Chicago, by September 1966;Purchased from the Blocks by;E. V. Thaw and Co., Inc., by June 18, 1979 [3];Purchased from Thaw by Norton Simon (1907-1993), Beverly Hills, June 18-November;16, 1979 [4];Returned by Simon to E. V. Thaw, November 16, 1979;Purchased from E. V. Thaw and Co., Inc. by The Nelson-Atkins;Museum of Art, Kansas City, MO, 1979.;NOTES;[1] Marie-Louise Bataille and Georges Wildenstein identified;the pastel lent by Bérard to the 1892 exhibition, Exposition de Tableaux, Pastels et Dessins par Berthe Morisot, as;the Nelson-Atkins pastel. See Bataille and Wildenstein, Berthe Morisot: Catalogue;des Peintures, Pastels et Aquarelles (Paris: Les Beaux-Arts, 1961), no.;434, p. 52.;[2] Possible stock no. 18645. Pellerin used Bernheim-Jeune;as his intermediary in an exchange with dealer Ambroise Vollard on March 27;1911, where Pellerin acquired Cezanne’s Maison;dans les Arbres. In exchange, Pellerin gave away several works including;the Morisot pastel, Femme sur un canapé. Possibly due to his role in the transaction;Bernheim-Jeune kept the Morisot pastel. For a complete listing of the exchange;see John Rewald, The Paintings of Paul;Cézanne: A Catalogue Raisonné (New York: Harry N. Abrams, 1996), 341. It is;not clear if the pastel was part of the gallery’s stock or part of the private;collection of Jossé (called Joseph, 1870-1941), and Gaston (1870-1953);Bernheim-Jeune, see Henri de Régnier, L’art;moderne et quelques aspects de l’art d’autrefois, cent-soixante-treize planches;d’après la collection privée de MM. J. et G. Bernheim-Jeune (Paris;Bernheim-Jeune, 1919).;[3] See letter from Eugene Victor Thaw to Meghan Gray, NAMA;July 14, 2011, NAMA curatorial files. According to Thaw, the gallery had the pastel;for a very short time, as it was purchased by NAMA almost immediately.;[4] See Sara Campbell, Collector Without Walls;Norton Simon and His Hunt for the Best (New Haven, CT: Yale University;Press, 2010), 426.
The MowerPurchase: William Rockhill Nelson Trust through the Mr. and Mrs. Earl D. Wilberg Fund for European Art, George H. and Elizabeth O. Davis Fund, exchange of the bequests of Helen George Harding and Menefee D. Blackwell, and The Nelson Gallery Foundation (by exchange)2006.10Private collection, United Kingdom;Robert Bowman, Ltd, London, by April 5, 2006;Purchased from Bowman by The Nelson-Atkins Museum of;Art, Kansas City, Missouri, 2006.
The BeachGift of Henry W. and Marion H. Bloch2015.13.2With Galerie Cadart et Luquet, Paris;Hembert Collection, Paris;With Raphaël Gérard, Paris, by 1966;Purchased at;Barbizon and Nineteenth-Century Paintings, Drawings and Sculpture, Sotheby & Co.;London, December 7, 1966, lot 98, as La;Plage à Trouville, by a private collector [1];With Galerie Schmit, Paris, by February;17, 1981-March 26, 1981 [2];Purchased from Galerie Schmit by Marion;(née Helzberg, 1931-2013) and Henry (1922-2019) Bloch, Shawnee Mission, KS, March;26, 1981-June 15, 2015;Given by Henry and Marion Bloch to The Nelson-Atkins Museum of Art;Kansas City, MO, 2015.;NOTES;[1] Per Georgina Eliot, Sotheby’s, in an email dated April;27, 2015, NAMA curatorial files.;[2] Per Robert Schmit, Galerie Schmit, in a letter to Henry;Bloch, dated February 17, 1981, NAMA curatorial files.
Pinning the HatGift of Henry W. and Marion H. Bloch2015.13.20With the artist, Paris and Les Collettes, near Cagnes-sur-Mer, France, 1890-December 3, 1919;Inherited by the artist’s family, Les Collettes, near Cagnes-sur-Mer, France, 1919-October 1922 [1];By descent to the artist’s son, Pierre Renoir (1885-1952), Paris and Les Collettes, near Cagnes-sur-Mer, France, 1922-at least October 7, 1928 [2];Possibly with Galerie Alfred Flechtheim, Düsseldorf, Berlin, Cologne and Frankfurt, Germany, by October 1928 [3];Private collection, U.S., by 1929;With James Vigeveno Galleries, Los Angeles, photo book 20, no. 1460, as Le Chapeau epinglé [sic], by July 1954 [4];Purchased from James Vigeveno Galleries by George I. (d. 1984) and Myna Friedland (née Siegel, 1912-1995), Merion, PA, July 1954-1969;To Myna Brady (formerly Mrs. George Friedland), by 1969-October 27, 1976 [5];Purchased from Myna Brady (formerly Mrs. George Friedland) t hrough John and Paul Herring and Co., New York, by Marion (née Helzberg, 1931-2013) and Henry (1922-2019) Bloch, Shawnee Mission, KS, 1976-present [6];Given by Henry and Marion Bloch to The Nelson-Atkins Museum of Art, Kansas City, MO, 2015.;NOTES;[1] Distribution of Renoir’s paintings among his three sons did not occur until October 1922, a few months after the youngest son, Claude, came of age. Accordingly, an itemized inventory of Renoir’s paintings titled “Partage par lots” was drawn up, presumably with an indication of which painting went to which son. The “ Partage par lots” is undated, however, a typed letter dated August 8, 1922 from Pierre Renoir to his cousin Eugéne suggests that it was drawn up in October 1922, see The Unknown Renoir: The Man, The Husband, The father, The Artist, Heritage Auctions, New York, September 19, 2013, lot 89007. Unfortunately, this document is not currently accessible to scholars.;[2] A photograph of this pastel in Julius Meier-Graefe, Renoir (Leipzig: Klinkhardt and Biermann Verlag, 1929), 261, is credited to Galerie Alfred Flechtheim, while the caption describes the pastel as being in a private U.S. collection. In the illustration index, the pastel is listed in Pierre Renoir’s collection.;[3] See footnote 2. The pastel was probably on exhibition at Galerie Alfred Flechtheim from October 7-November 9, 1928. It is possible that Pierre Renoir sold the pastel to Flechtheim who in turn sold the pastel to an American collector by 1929. According to Laurie Stein, President, L. Stein Art Research LLC, Chicago, and Senior Advisor for the Provenance Research Initiative at the Smithsonian Institution, Flechtheim records do not survive. S ee correspondence from Mackenzie Mallon to Laurie Stein, May 2015, NAMA curatorial files.;[4] See stock card, James Vigeveno Galleries records, 1940-1975, Archives of American Art, Smithsonian Institution, Washington, D.C.;[5] George I. Friedland and Myna Friedland (née Siegel) married in 1946. Around March 1965, Mr. Friedland left the common home and moved to St. Thomas, Virgin Islands. On February 10, 1966, Mrs. Friedland filed for divorce. After a series of legal injunctions it appears the appeal was taken to the Supreme Court of Pennsylvania (January Term 1969, No. 213). According to the Laurence H. Eldredge Papers, The University of Archives and Records center, University of Pennsylvania, a divorce was granted by the opinion of the court in 1969. M yna Brady (formerly Mrs. George Friedland) married Samuel P. Brady in 1971.;[6] In a telephone call with MacKenzie Mallon on May 7, 2015, John Herring relayed that John and Paul Herring and Co. had the pastel on consignment from Myna Brady (formerly Friedland).
Portrieux, The Bathing Cabins, Opus 185 (Beach of the Countess)Gift of Henry W. and Marion H. Bloch2015.13.23Given by the;artist to Paul Merme, Paris, by 1930;Dikran;Garabed Kelekian (1868-1951), New York, by September 1930-January 18, 1935;His sale, Paintings, Watercolors and Drawings of the;Moderns, Rains Galleries, New York, January 18, 1935, lot 36, as The Seashore;Mollie;Netcher Bragno (1923-2002), Chicago, by 1959;Purchased from Bragno by Richard;L. Feigen and Co., Chicago, 1959;Jerome K.;Ohrbach (1908-1990), Los Angeles, 1959-1990;Jerome K. Ohrbach Trust, 1990-November;8, 1994 [1];Purchased;from the Jerome K. Ohrbach Trust, via Sotheby’s private sale through Richard L.;Feigen &. Co., New York, by Marion (née Helzberg, 1931-2013) and Henry (1922-2019) Bloch, Shawnee Mission, KS, November 8, 1994-June 15, 2015;Given by;Henry and Marion Bloch to The Nelson-Atkins Museum of Art, Kansas City, MO;2015.;NOTES;[1] This;painting was offered for sale;by the Jerome K. Ohrbach Trust at The Collection of Jerome K. Ohrbach;Sotheby’s, New York, November 13, 1990, lot 10, as La Plage (corrected to Portrieux;les Cabines à la Comtesse, Opus 185 in the sale results), but failed to;sell. The painting was on consignment with Richard L. Feigen & Co. from the;Ohrbach Trust, December 3, 1993-November 8, 1994, per Emelia Scheidt, Richard L. Feigen & Co., New York, in an email to;Meghan Gray, April 13, 2015, NAMA curatorial files.
The Emperor Napoleon as a Roman ConsulGift of Michael Hall Fine Arts, Inc.66-26/7Private collection, England;Given by Michael Hall Fine Arts, Inc., New York, to The;Nelson-Atkins Museum of Art, Kansas City, MO, 1966.
Assumption of the Virgin with Old Testament FiguresPurchase: acquired through the generosity of Mr. and Mrs. Louis Larrick WardF92-1Private collection, Berlin, possibly after 1918;With Frieda Hintze, Berlin, possibly by 1939 [1];Private collection, South America, possibly by 1940 [2];Possibly by descent to Mrs. Pallavicini, Buenos Aires, Argentina, by January 11, 1991 [3];Purchased at her sale, Important Paintings by Old Masters, Christie, Manson and Woods, New York, January 11, 1991, lot 81, by Hazlitt, Gooden and Fox, London, 1991-1992;Purchased from Hazlitt, Gooden and Fox by The Nelson-Atkins Museum of Art, Kansas City, MO, 1992.;NOTES;[1] According to Erich Schleier, Staatliche Museen Preußischer Kulturbesitz, Berlin, in a letter dated August 21, 1992, NAMA curatorial files, Hintze probably sold the painting sometime between the start of her career in the 1920s and the outbreak of World War II.;[2] Ian Kennedy, former NAMA curator, in conversation, 1993.;[3] According to Ian Kennedy, in an email to MacKenzie Mallon, July 13, 2013, NAMA curatorial files, he saw the painting in the home of Mrs. Pallavicini in Buenos Aires just prior to her consignment of it to Christie’s. Mrs. Pallavicini told him her family brought the painting to Argentina from Italy in the 1930s.
Betrothal Portrait of a WomanPurchase: William Rockhill Nelson Trust46-9/2Private collection, Scotland, by 1936;Purchased from the latter by an unknown dealer, England, by 1936;Purchased from the latter by Albert Duveen (1892-1965), New York, 1936 [1];Private collection, U.S., by January 16, 1946 [2];Purchased from the latter through Clyfford Trevor, New York, by The Nelson-Atkins Museum of Art, Kansas City, MO, 1946.;NOTES;[1] Comments by Albert Duveen dated March 5, 1940, preserved in the Frick Art Reference Library, New York, indicate the picture was once in a castle in Scotland where it had been attributed to Hans Holbein the Younger. It was sold through an unnamed English dealer to Duveen in 1936.;[2] See correspondence from Clyfford Trevor, NAMA curatorial files. Trevor described himself as a “consultant on art matters.”
The Embankment at Billancourt - SnowBequest from the collection of Mr. and Mrs. W. J. Brace75-6With Gaston-Alexandre Camentron, Paris, by 1892;Purchased from;Camentron by Durand-Ruel, Paris, stock no. 2021, as La berge à Bellancourt, February 23, 1892-July 1897 [1];Transferred from;Durand-Ruel, Paris, to Durand-Ruel, New York, stock no. N. Y. L 1902, July 1897-March 16, 1927 [2];Purchased from;Durand-Ruel by Effie Seachrest, New York and Kansas City, MO, March 16, 1927;[3];Private;Collection, by 1959;Mr. William James;(1875-1960) and Mrs. Mildred (née White, 1882-1975) Brace, Kansas City, MO, by 1966-March;31, 1975 [4];Bequeathed by Mr.;and Mrs. Brace to The Nelson-Atkins Museum of Art, Kansas City, MO, 1975.;NOTES;[1] See email from Paul-Louis Durand-Ruel and;Flavie Durand-Ruel, Durand-Ruel & Cie., Paris, to Nicole Myers, NAMA;January 11, 2016, NAMA curatorial file.;[2] Ibid.;[3] Ibid. Seachrest (1869-1952) had a gallery called Little Gallery in;the Woods in Kansas City. She encouraged Kansas Citians, particularly women, to;buy modern art. She was heavily involved in the decision of NAMA to purchase;van Gogh’s Olive Trees (32-2).;[4] Mrs. Brace lent the painting to an exhibition at NAMA in 1966;honoring Seachrest. The catalogue states that the painting was “acquired by;Kansas City collectors through the efforts of Miss Effie.” It’s possible that;the Braces are the “private collection” in the line above and that they;purchased the work directly from Seachrest.
Betrothal Portrait of a ManPurchase: William Rockhill Nelson Trust46-9/1Private collection, Scotland, by 1936;Purchased from the latter by an unknown dealer, England, by 1936;Purchased from the latter by Albert Duveen (1892-1965), New York, 1936 [1];Private collection, U.S., by January 16, 1946 [2];Purchased from the latter through Clyfford Trevor, New York, by The Nelson-Atkins Museum of Art, Kansas City, MO, 1946.;NOTES;[1] Comments by Albert Duveen dated March 5, 1940, preserved in the Frick Art Reference Library, New York, indicate the picture was once in a castle in Scotland where it had been attributed to Hans Holbein the Younger. It was sold through an unnamed English dealer to Duveen in 1936.;[2] See correspondence from Clyfford Trevor, NAMA curatorial files. Trevor described himself as a “consultant on art matters.”