See also: Online Records with Provenance and the Nazi Era Provenance Internet Portal for the Philadelphia Museum of Art
"Philadelphia Museum of Art
List of Collection Works That Changed Ownership
In Continental Europe, 1933-1945
The information on these pages represents our current state of knowledge and will be updated as research
progresses. We welcome any additional information that would help complete or clarify the provenance of
these works, at provenance@philamuseum.org.
Jean (Hans) Arp, French (born Germany), 1886 - 1966
Vase—Bust
1930
Wood
12 1/4 x 9 3/4 x 2 3/8 inches (31.1 x 24.8 x 6 cm)
A. E. Gallatin Collection, 1947
Provenance
A. E. Gallatin, New York, purchased from the artist, summer 1933 [1]; gift to PMA, 1947.
1. See Gail Stavitsky, The Development, Institutionalization, and Impact of the A. E. Gallatin Collection of
Modern Art [Ph. D. diss., New York University], 1990, v. 1, p. 248, and v. 6, p. 4. The acquisition was
announced in a Gallery of Living Art press release, December 9, 1933.
Jean (Hans) Arp, French (born Germany), 1886 - 1966
Constellation
1932
Wood
27 1/2 x 33 3/8 x 1 1/2 inches (69.9 x 84.8 x 3.8 cm)
The Louise and Walter Arensberg Collection, 1950
1950-134-2
Provenance
Marcel Duchamp (1887-1968), Paris; sold to Louise and Walter C. Arensberg, Los Angeles, 1937 [1]; gift
to PMA, 1950.
1. See letter from Duchamp to Arensbergs, September 8, 1951 (PMA Arensberg Archives, CA Use Tax
file), stating that he sold them the work from his private collection. A series of letters from Galka
Scheyer in Hollywood to Hans Arp in 1933-1934 discuss a relief referred to only as "Configuration in
White" or "das weisse Relief" purchased by the Arensbergs through Scheyer. Since "Constellation" is
the only work by Arp in the Arensberg collection as bequeathed to the PMA in 1950, either the
Arensbergs acquired a different work of his and subsequently sold or traded it, or Duchamp was
mistaken and "Constellation" was purchased through Scheyer in 1933.
Georges Braque, French, 1882 - 1963
The Cup
1917-18
Oil and graphite on cardboard
Sheet: 25 x 18 7/8 inches (63.5 x 47.9 cm)
The A. E. Gallatin Collection, 1952
1952-61-6
Provenance
A. E. Gallatin, New York, 1936, probably acquired directly from the artist [1]; bequest to PMA, 1952.
1. See Braque's dedication on the front of the painting "à M. Gallatin/ G. Braque/ 1918", and also Gallatin's
Museum of Living Art press release of October 27, 1936 stating that the new acquisition came from
Braque's studio: the artist "for many years refused to part with it. It hung always over the door of his
studio in Paris, and not until this year could he be persuaded to allow it to pass into an American
museum."
Georges Braque, French, 1882 - 1963
Figure
1920
Plaster
8 1/4 x 3 1/2 x 3 1/2 inches (21 x 8.9 x 8.9 cm)
The A. E. Gallatin Collection, 1952
1952-61-10
Provenance
With Galerie Simon, Paris; sold to A. E. Gallatin, 1933 [1]; bequest to PMA, 1952.
1. As per letter of September 18, 1987, from Maurice Jardot, Galerie Louise Leiris, to Gail Stavitsky; see
Stavitsky, The Development, Institutionalization, and Impact of the A. E. Gallatin Collection of Modern
Art [Ph.D. dissertation, New York University], 1990, v. 6, p. 38.
Georges Braque, French, 1882 - 1963
A Teapot and a Plate of Cheese
1942
Oil on canvas
13 5/16 x 21 13/16 inches (33.8 x 55.4 cm)
The Louis E. Stern Collection, 1963
1963-181-4
Provenance
Private collection, Lyon, France (?), or from the artist? [1]; Mr. Poyet [probably Galerie Alfred Poyet],
Paris [2]; with Sam Salz, New York, by 1952; sold to Louis E. Stern, New York, March 17, 1952 [3];
bequest to PMA, 1963.
1. The provenance provided by Salz to Stern cites the exhibition "De l'impressionisme à nos jours", Lyon,
1942. This painting was almost certainly no. 4, "Nature morte: L'heure du thÈ". Although it is not
illustrated, the dimensions and placement of the signature and date match the PMA painting; moreover
the Maeght catalogue does not list any other paintings matching this description other than the PMA
work. The exhibition catalogue states that all of the paintings included belonged to Lyonnais collectors.
2. The provenance provided by Salz to Stern simply states "From the artist"; however, the Maeght
catalogue, Paris, 1960, no. 24, states that the painting was formerly in the collection of M[onsieur]
Poyet, Paris, probably to be identified as Galerie Alfred Poyet, which dealt in modernist works in the
1940's. The Louis E. Stern Collection catalogue, PMA, 1964, no. 14, p. 180, gives the provenance as
"the artist; M. Poyet, Paris; Sam Salz, New York." None mention a Lyon owner. Maurice Covo,
president of Renou & Poyet, Paris, states in a letter of 27 February 2003 (curatorial file) that although
his firm has been unable to locate this painting in their records, Mr. Poyet's relationship with Braque was
well known, and he had occasion to buy directly from the artist.
3. Copy of dated receipt from Salz to Stern in curatorial file.