Reportedly found in - a sampling of interesting provenances

What does "reportedly found in" mean when it appears in a provenance text for an artworks or antiquity?

Below are a few sample texts.

(Texts published by museums are indicated by color.)

Tooth in Provenance: UK Collections Trust Spoliation Reports and Getty Public Collections

The name "Authur Tooth" appears frequently in provenances with gaps for the Nazi era. 

This post lists the search results for "Tooth" in the UK Spoliation Reports published by the Collections Trust

German Museums that do NOT publish Nazi-era provenance online as of March 23 2022

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

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

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

• Neue Pinakothek in Munich

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

• Kunstsammlung Nordrhein-Westfalen

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

 

• Lenbachhaus

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

WALLRAF-RICHARTZ-MUSEUM & FONDATION CORBOUD

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

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Influence Networks: the Students of Paul Sachs and F. Lane Faison

 

Above: Some students of Paul Sachs and F. Lane Faison, along with a glimpse of some of the institutions where they studied or worked. (Wikidata Query November 16, 2020).  

(The graph misses a lot of data which has not yet been entered in Wikidata.)

https://w.wiki/mmw

Let's try to extend the graph to include some more information about the other teachers of Sach's and Lane's students

see Wikidata Query :

https://w.wiki/mn2 

Comments:

The datavisualization, while potentially interesting, is still clumsy and hard to read given the limits of a computer screen.

How can we zoom in on the networks we want to explore? 

How to transform a graph of this type into a truly useful tool for exploring networks of influence in the art world?

Is it by improving the underlying data, by improving the Wikidata query, or by switching to another more flexible, interactive tool for dataviz and navigation?

Could the addition of color help?

SEVEN DATASETS: Frederick Mont or Galerie Sanct Lucas in the Provenance of Artworks

Frederick Mont (1894-1994) was an art dealer who sold artworks to dozens of major art museums and art collectors.

Mont, originally named Fritz Mondschein, owned the Sanct Lucas Gallery. 

Mont is known to have worked with the Austrian Nazi SS art dealer and looter Bernhard Witke and was involved in selling at least two artworks looted from the Jewish collector Julius Priester, including the El Greco, Portrait of a Gentleman.

Mont also sold a forgery to Sherman Lee at the Cleveland Museum of Art as a Grunewald, but, according to the NYT, pigment tests conducted by the museum's conservator, Ross Merrill,  proved conclusively that the painting was a 20th‐century forgery.

The provenances of those artworks were falsified, with fake owners and entirely fake histories inserted into the texts. 

Art historians, provenance researchers and scholars of the Holocaust should keep this context in mind when evaluating the ownership histories that have been published for artworks that passed through Mont's hands.

Mont was not an honest man. Everything Frederick Mont or his Galerie Sanct Lucas claimed about an artwork should be considered questionable unless it is proven to be true.

DATASETS

Frederick Mont and Galerie Sanct Lucas in GLAMHACK2020 provenances from several museums, analysed for uncertainty, anonymity and unreliability (94 records)

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Frederick Mont and Galerie Sanct Lucas in Getty Provenance Index Public Collections (showing only the lines that mention Mont/Lucas)

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Frederick Mont Sanct Lucas in Provenance Texts of Artworks at the National Gallery of Art, Washington, DC, 25 AUG 2020  

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NEPIP NGA Frederick Mont and Sanct Lucas in Provenance Texts of Artworks listed on the Nazi Era Provenance Internet Portal by the NGA

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RKD: Frederick Mont mentioned in artworks at the RKD

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Kress Collection: Frederick Mont and Galerie Sanct Lucas K-codes and provenance (in Color)

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Frederick Mont at Sotheby's and Christie's- PUBLIC

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Linked Data References for Frederick Mont or Galerie Sanct Lucas

Wikidata: Q33315010 

Viaf: 139936107  

Union List of Artist Names ID: 500437571 

WorldCat Identities ID: lccn-no2007138555

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RKDartists ID: 431910

Frederick Mont or Mondschein in Provenances of the Getty Provenance Index Public Collections Database

PROVENANCE Still Life with Sweetmeats, Boston MFAAnonymous collection, Spain. Anonymous dealer, Switzerland; sold by this dealer to Frederick Mont, New York; 1962, sold by Mont to the MFA for $7,000 [see note 1]. (Accession Date: February 14, 1962) 
NOTES: 
[1] In a letter to the MFA (October 26, 1962), Mont said that "the painting comes from Spain. We purchased it from an agent in Switzerland."

In a series of posts, we gather together provenances that mention the art dealer Frederick Mont or Mondschein. First up, mentions of Mont/Mondschein the provenances of the Getty Provenance Index Public Collections Database.

Dataset: Frederick Mont in Getty GPI Public Collections Provenance PUBLIC

Format: CSV

Google Sheet: https://docs.google.com/spreadsheets/d/e/2PACX-1vSQpCX1RzISrIHhH3dHuvEkUVP9prXbCPbSfOFhgL0L1wpwRIxYIEx7YUnuh8dpr2HRx3QPm792fzg1/pubhtml

Getty GPI Public Collections Provenance: Frederick Mont/Mondschein by Institution

Institution	Artworks that have Frederick Mont or Mondschein in the Provenance
Washington, DC, National Gallery of Art	18
Boston, MA, Museum of Fine Arts	10
Los Angeles, CA, Los Angeles County Museum of Art	8
Pasadena, CA, Norton Simon Museum	6
Oberlin, OH, Allen Memorial Art Museum	6
San Francisco, CA, Fine Arts Museums of San Francisco, M.H. de Young Memorial Museum	5
Los Angeles, CA, J. Paul Getty Museum	5
Saint Louis, MO, Saint Louis Art Museum	4
El Paso, TX, El Paso Museum of Art	4
Denver, CO, Denver Art Museum	3
Seattle, WA, Seattle Art Museum	2
Princeton, NJ, Art Museum, Princeton University	2
New York, NY, Samuel H. Kress Foundation	2
Kansas City, MO, Nelson-Atkins Museum of Art	2
Tucson, AZ, University of Arizona Museum of Art	1
San Diego, CA, Timken Museum of Art	1
Raleigh, NC, North Carolina Museum of Art	1
New York, NY, Metropolitan Museum of Art	1
New Orleans, LA, New Orleans Museum of Art	1
London, England, National Gallery	1
Coral Gables, FL, Lowe Art Museum, University of Miami	1
Allentown, PA, Allentown Art Museum	1
Grand Total	85

Getty GPI Public Collections Provenance: Frederick Mont/Mondschein by Artist

Artist Name	Artworks with Frederick Mont or Mondschein in the Provenance
RUBENS, PETER PAUL (Flemish)	5
JUAN DE FLANDES (Netherlandish)	4
CRANACH, LUCAS (THE ELDER) (German)	3
LORENZETTI, PIETRO (Italian)	2
JORDAENS, JACOB (I) (Flemish)	2
CHARDIN, JEAN BAPTISTE SIMÉON (French)	2
[FRENCH - 15TH C. - 1400-1425] (French)	2
ZURBARÁN, FRANCISCO DE (Spanish)	1
VOUET, SIMON (French)	1
VERONESE (PAOLO CALIARI) (Italian), and Assistants	1
VERONESE (PAOLO CALIARI) (Italian)	1
VELDE, ESAIAS VAN DE (I) (Dutch)	1
VELÁZQUEZ, DIEGO RODRÍGUEZ DE SILVA Y (Spanish), manner	1
VALDÉS LEAL, JUAN DE (Spanish)	1
TIZIANO VECELLIO (Italian), attributed	1
TINTORETTO, JACOPO (JACOPO ROBUSTI) (Italian)	1
SUSI, LODEWIK (Flemish)	1
STROZZI, BERNARDO (Italian)	1
STEEN, JAN (Dutch)	1
SNYDERS, FRANS (Flemish)	1
SIMONE DEL TINTORE (Italian)	1
SCHIAVONE (ANDREA MELDOLLA) (Italian)	1
SAVOLDO, GIOVANNI GIROLAMO (Italian)	1
SAENREDAM, PIETER JANSZ. (Dutch)	1
RUISDAEL, JACOB VAN (Dutch)	1
RUBENS, PETER PAUL (Flemish), after	1
RICCI, SEBASTIANO (Italian)	1
RIBERA, JUSEPE DE (LO SPAGNOLETTO) (Spanish), circle	1
PUCCINELLI, ANGELO (Italian)	1
POUSSIN, NICOLAS (French)	1
PIETRO DA CORTONA (Italian), attributed	1
PELLEGRINI, GIOVANNI ANTONIO (Italian)	1
PATINIR, JOACHIM (Netherlandish), follower	1
OS, JAN VAN (Dutch)	1
NICOLAS D'YPRES (LE PICARD) (French)	1
NICCOLÒ DI BUONACCORSO (Italian)	1
MURILLO, BARTOLOMÉ ESTEBAN (Spanish)	1
MORAZZONE (PIER FRANCESCO MAZZUCCHELLI) (Italian)	1
MOMPER, JOOS DE (II) (Flemish)	1
MASTER OF THE BRAUNSCHWEIG DIPTYCH (Netherlandish), circle	1
MARESCALCHI, PIETRO (LO SPADA) (Italian)	1
LUCAS VAN LEYDEN (Netherlandish), after	1
LIPPI, FILIPPINO (Italian)	1
LASTMAN, PIETER PIETERSZ. (Dutch)	1
JORDAENS, JACOB (I) (Flemish), attributed	1
HOOCH, PIETER DE (Dutch)	1
HEEMSKERCK, MAERTEN VAN (Netherlandish)	1
HAMEN Y LÉON, JUAN VAN DER (Spanish)	1
HALS, FRANS (I) (Dutch), imitator	1
GUARDI, FRANCESCO (Italian)	1
GRECO, EL (DOMENICO THEOTOCOPULI) (Greek and Spanish)	1
GIOVANNI DI PAOLO DI GRAZIA (Italian)	1
GIORDANO, LUCA (Italian)	1
GHERARDI, FILIPPO (SANCASCIANI) (Italian), and Coli, Giovanni; COLI, GIOVANNI (Italian), and Gherardi, Filippo (Sancasciani)	1
FRANCIA, FRANCESCO (FRANCESCO RAIBOLINI) (Italian)	1
ESSELENS, JACOB (Dutch)	1
DYCK, ANTHONIE VAN (Flemish)	1
DÜRER, ALBRECHT (German)	1
DRÖLLING, LOUISE ADÉONE (French)	1
DIEPENBEECK, ABRAHAM JANSZ. VAN (Flemish)	1
DADDI, BERNARDO (Italian)	1
CLAUDE LORRAIN (CLAUDE GELLÉE) (French)	1
BUGIARDINI, GIULIANO (Italian)	1
BRUGGHEN, HENDRICK TER (Dutch)	1
BRUEGHEL, JAN (THE ELDER) (Flemish)	1
BOSCOLI, ANDREA (Italian)	1
BASSANO, JACOPO (JACOPO DA PONTE) (Italian)	1
AMBERGER, CHRISTOPH (German)	1
[ITALIAN - NEAPOLITAN - 17TH C. - 1625-1650] (Italian)	1
[GERMAN - FRANCONIAN - 15TH C. - 1425-1475] (German)	1
[FRENCH - 16TH C. - 1500-1550] (French)	1
[AUSTRIAN - 15TH C. - 1475-1500] (Austrian)	1
Grand Total	85

For more information about art dealer Frederick Mont (Mondschein), see:

Frederick Mont in artworks listed by the National Gallery of Art on the Nazi Era Provenance Internet Portal

Fritz Mont, Frederick Mondschein and Galerie Sanct Lucas: 

What does it mean to find the names Fritz Mont, Fritz Mondschein, Frederick Mondschein or Frederick Mont in the provenance of an artwork?

Art Dealers in Provenance: Frederick Mont at the Toledo Museum of Art and LACMA

Provenance gaps in artworks: examples from DIA

Art Museums in Switzerland

Switzerland has many excellent art museums

How are Swiss art museums doing on provenance? Which museums do -- and which museums do not -- publish online provenance texts for their art collections? Have all issues regarding Nazi-era provenance been resolved as 2020 begins? What work remains to be done? Who is doing it? With what resources, goals and deadlines?

In a new series of posts, OAD will look at the situation in Switzerland regarding the provenance of artworks.

Art Museums in France

How open are French art museums concerning the acquisition history and provenance of the artworks in their collections? 

Art museums in France

On Sunday, October 20, 2019 in Paris, as part of the lecture series on the French Art Market Under the Occupation, an international panel of experts will speak on Art Restitutions in France as seen from Abroad. Reservations online.

Speakers include Wesley Fisher, Agnes Peresztegi, Emmanuelle Polack, Anne Webber, and David Zivie with moderator Philippe Dagen