Showing posts with label art provenance research. Show all posts
Showing posts with label art provenance research. Show all posts

Oct 23, 2023

Contextual Information for Nazi-era Provenance Research - Wikidata Sparql Query

Holocaust victim, art looting Red Flag name, Nazi party member, or persecuted person?

Art historians, provenance researchers, museum curators, scholars of the Holocaust and the art market,

If you would like to know whether a person in a provenance is a Holocaust victim, a looting Red Flag name, a Nazi party member, or a persecuted person, here is a Sparql query in Wikidata that can help:
                                                       (collectors, dealers)

Clicking on the link above runs a Wikidata Sparql query.

The link below is more complete but runs slower...

(collectors, dealers, curators, art historians)

Aug 8, 2023

Kurt Feldhäusser or Weyhe in provenance of artworks in American museums

Source UrlTitleArtistCredit LineAcc NumProvenance Woman with CrabAristide Maillol | Crouching Woman with Crab | French | The Metropolitan Museum of ArtBequest of Scofield Thayer, 19821984.433.35Mr. Bruno and Mrs. Sadie Adriani Bruno and Sadie Adriani, Carmel-by-the-Sea, Calif., [ Buchholz Gallery } [Buchholz Gallery, New York], E. Weyhe Gallery [E. Weyhe, New York, probably on loan to the Whitney Studio, New York, sold in March 1924 to Thayer], [probably on loan to Whitney Studio, sold in March 1924 to Thayer], Scofield Thayer (1924–d. 1982, on extended loan to the Worcester Art Museum, Worcester, Mass., as part of the Dial Collection, 1936–82, his bequest to MMA), Worcester Art Museum Fisher | Harvard Art MuseumsDiego Rivera, Mexican (Guanajuato, Mexico 1886 - 1957 Mexico City)Harvard Art Museums/Fogg Museum, Bequest of Meta and Paul J. Sachs1965.437Recorded Ownership History;[The E. Weyhe Gallery, New York, New York], sold, to Meta and Paul J. Sachs (L. 2091), Cambridge, Massachusetts, bequest, to Fogg Art Museum, 1965. 12E | Harvard Art MuseumsEl Lissitzky, Russian (Pochinok, Russia 1890 - 1941 Moscow, Russia)Harvard Art Museums/Busch-Reisinger Museum, Association FundBR49.303Recorded Ownership History;Kurt Feldhäusser, Berlin, bequest, to Marie Luise Feldhäusser, 1945, sold, [E. Weyhe Gallery, New York], sold, to Busch-Reisinger Museum, 1949. Soldatenbad (Artillerymen)Ernst Ludwig KirchnerNOTE: Claim for Nazi-looted art and Restitutionto heirs of Alfred FlechtheimProvenance;Galerie Ludwig Schames, Frankfurt;Alfred Flechtheim, Dusseldorf (acquired from the above in 1919);Städtisches Kunstmuseum, Dusseldorf (acquired by donation in 1928-29);Alfred Flechtheim, Dusseldorf (acquired from the above by exchange in 1930 and left in the custody of his niece, Rosi Hulisch, on his departure from Germany in 1933);Kurt Feldhäusser, Berlin (acquired in 1938);Marie Luise Feldhäusser, Berlin (by inheritance from her son, above, in 1945);Erhard Weyhe Gallery, New York (acquired from the above in 1949);Mr. & Mrs. Morton D. May, St. Louis (acquired by 1952);The Museum of Modern Art, New York (a gift from the above in 1956);The Solomon R. Guggenheim Museum, New York (by exchange from the above in 1988);Acquired by restitution from the above in 2018

Aug 6, 2022

Detroit Institute of Art _Archived provenance dataset 2015

Madonna and Child DIA inv 67.119

 DIA provenance listings as they appeared on October 19, 2015

Provenance researchers know that the ownership history of artworks has a tendency to change over time. Snapshots of provenance texts published by a cultural heritage institution at a specific point in time are valuable sources of information not only about the history of the artworks but also about the history of the museum.

The list below was originally published by the Detroit Institute of Art on its public website in its provenance listings ("").

This version dates from 2015.




for original file see:

For recent versions of the provenance, please consult the website of the Detroit Institute of Art

May 24, 2022

Walter Bareiss in provenances of European artworks in American museums


The Bend in the Road by Cézanne, Exhibited at the Bignou Gallery in New York in 1940*

Walter Bareiss was, along with Baron Leon Lambert, Eugene Victor Thaw, David Carritt, Count Christian zu Salm-Reifferscheidt, Philippe R. Stoclet, Count Artur Strachwitz, Heinz Berggruen and Baron Alexis de Rede,  on the board of the art trading syndicate Artemis S.A.  

(Artist and social critic Hans Haacke included information about Artemis S.A. and its board members in his installation work. See Framing and Begin Unframed page 108 to 112)

In this series of posts, we look at artworks owned by members of the Artemis syndicate.

Sep 2, 2021

DATASET: Carnegie Museum of Art merged with Github provenances

DATASET: Provenance information gathered from the 2015 CMOA Github merged with information from the Carnegie Museum of Art online collections website

Description: This dataset contains publicly available information originally published online by the Carnegie Museum of Art 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 Carnegie Museum of Art.

The CMOA collections dataset was published on Github by the Carnegie Museum of Art under a Creative Commons CC0 1.0 licence (no copyright). 

It has been enhanced with a NEW URL field in order to link to the CMOA museum website.

Date data retrieved: August 2021

AOD Version: 1.0

Format: CSV                           Click to DOWNLOAD CSV

Jul 11, 2020

DATASET: Commission for the Compensation of Victims of Spoliation

The Commission for the Compensation of Victims of Spoliation has published a new website.

The TED-CIVS database lists the paintings and drawings (TED = tableau et dessin) mentioned in files submitted by families to the CIVS. The aim is to centralize information on the works contained in the files and make sure they are readily available.

To search CIVS TED:



May 29, 2020

Comparative Art Provenances: Kornfeld and Kallir

Kornfeld, Kallir and Nierenstein in several museum provenances

(attention: some artworks appear more than once)

It can be enlightening to gather provenances from different museums or institutions to see what patterns or similarities might emerge for a given art dealer. 
Below, we look at provenances that mention Eberhard Kornfeld (famously, the dealer of Cornelius Gurlitt) and Otto Kallir, also known as Nierenstein.  
Museums include the NGA, Carnegie Museum of Art, Harvard Art Museums, UK Museums listed in the Spoliation Reports of the Collections Trust, The Art Institute of Chicago and the Museum of Fine Arts in Boston

urlprovenanceaccnumName Kornfeld); acquired 1979 by the National Gallery of Art1979.45.1Kornfeld Kornfeld); acquired 1979 by the National Gallery of Art1979.45.2Kornfeld and Kornfeld, 1957); Lessing J. Rosenwald, Alverthopre, PA; gift to NGA, 1963.1963.11.61Kornfeld, Bern, Kornfeld und Klipstein 10 June 1976, lot 729, ill.); (Fischer Fine Art, London); (William H. Schab Gallery, New York); purchased by NGA, 1977.1977.62.1Kornfeld, Galerie Kornfeld, Bern, 22 June 1990, no. 984); Wolfgang Ratjen, Munich; purchased 2007 by NGA.2007.111.41Kornfeld, Gerd Rosen, Berlin, 18 November 1957, no. 512). (sale, Kornfeld, Bern, 17 June 1987, no. 251). Wolfgang Ratjen; purchased 2007 by NGA.2007.111.176Kornfeld, Klipstein & Kornfeld, Bern, 25 May 1962, no. 530); unidentified stamp on back of mount. (L'Oeil Galerie, Paris), c. 1965. Ruth Carter Stevenson; gift 1991 to NGA.1991.38.1Kornfeld Heumann, Chemnitz [1886-1945](Lugt 555b and 2841a); taken to West Germany by his heirs after the war and remained in the family (sale, Galerie Kornfeld, Bern, 17 June 2004, no. 43); (C.G. Boerner, Inc., New York); purchased 2004 by NGA.2005.15.2Kornfeld Rüdiger Graf von der Goltz, Düsseldorf; (sale, Kornfeld und Klipstein, Bern, 20-21 June 1973, no. 362); D. Thomas Bergen, London; Carus Gallery, New York.1984.18.1Kornfeld Schiele [1890-1918], Vienna, Austria. Franz Friedrich (Fritz) Grunbaum collection, Vienna, Austria, before WWII [1]; his sister-in-law Mathilde Lukacs, Vienna, Austria and Brussels, Belgium; Gutekunst & Klipstein, Bern, Switzerland, 1956 [2]; Galerie St. Etienne, New York, NY, 1956; gift of Otto Kalir (owner of Galerie St. tienne) to Department of Fine Arts, Carnegie Institute, Pittsburgh, PA, February 1960.

[1]. See information in curatorial file on extensive litigation regarding another Schiele drawing, which also involves a Gutekunst & Klipstein and Galerie St. tienne provenance. It includes claims/counter claims of legal ownership of the Grunbaum collection during/after WWII and the role of various parties, including Mathilde Lukacs and the aforementioned galleries, in its eventual disposition.
[2]. Eberhard Kornfeld was gallery partner at the time; now Galerie Kornfeld, Bern, Switzerland.

Updated by CGK and under review
December 2012
60.5Kornfeld Schiele [1890-1918], Vienna, Austria. Franz Friedrich (Fritz) Grunbaum collection, Vienna, Austria, before WWII [1]; his sister-in-law Mathilde Lukacs, Vienna, Austria and Brussels, Belgium; Gutekunst & Klipstein, Bern, Switzerland, 1956 [2]; Galerie St. Etienne, New York, NY, 1956; gift of Otto Kalir (owner of Galerie St. Étienne) to Department of Fine Arts, Carnegie Institute, Pittsburgh, PA, February 1960.

[1]. See information in curatorial file on extensive litigation regarding another Schiele drawing, which also involves a Gutekunst & Klipstein and Galerie St. Étienne provenance. It includes claims/counter claims of legal ownership of the Grunbaum collection during/after WWII and the role of various parties, including Mathilde Lukacs and the aforementioned galleries, in its eventual disposition.
[2]. Eberhard Kornfeld was gallery partner at the time; now Galerie Kornfeld, Bern, Switzerland.

Updated by CGK and under review
December 2012
60.5Kornfeld (?) Chausson, sold [through Nouvelle Galerie Simonson, Paris, December 16, 1933, lot 525 ("La Veillée dans un Intérieur Moldave, étude prep. pour la gravure (Bonvenne 56) en contre-partie. Dessin à la plume sur papier bis. Signé et daté sur la hotte de cheminée: Rodolphe Bresdin 1856. 150 x 105."]. Louis Godefroy, Paris. [Kornfeld and Klipstein, Bern, June 13-14, 1974, lot 78]. [Robert M. Light & Co., Santa Barbara], sold, to David P. Becker, Portland, Maine, 1977, gift, to Harvard University Art Museums, 2004.2004.182Kornfeld by the artist as part of a donation to the Kunstverein Jena in 1918, in honour of Botho Graef (1857-1917), Professor of Classical Archaeology at Jena University and Kirchner's mentor. The whole gift, including this work, was confiscated from the museum by the Nazis as 'degenerate' in 1937. *Galerie Ferdinand Möller, Cologne by 1940. *Offered in a sale at Galerie Kornfeld, Bern in June 1966.*Acquired at this sale by Hanna Bekker vom Rath, Frankfurt for 6,000 Swiss Francs. It appeared in the stock catalogues of the Frankfurter Kunstkabinett Hanna Bekker vom Rath of 1967 (estimate DM 11,000) and of 1968 (estimate DM 9.700). Bought from there in 1968 by a private collector, Wiesbaden. Offered by Hauswedell und Nolte, Hamburg in June 1973 at an estimate of DM 16,000. Acquired from above by Dr Ernst Hauswedell for DM 22,000. According to Dr Hauswedell's last will, the work was sold at auction by his firm in June 1984. Acquired in 1984 by Lutz Riester, Freiburg.GMA 2924Kornfeld Lempereur, Paris; (sale, Paris, 1773, no. 696 ?). Junius S. Morgan, Princeton and Paris [1867-1932]; ( Dr. John Audley Harvey (Lugt 1409); Dr. Rossieux, Vevey, Switzerland; (sale, Bern, Kornfeld and Klipstein, 7 February 1957); Lessing J. Rosenwald, Alverthorpe, PA; gift to NGA, 1961.1961.17.51Kornfeld & Kornfeld, Bern, Switzerland59.43Kornfeld & Kornfeld, Bern, Switzerland59.43Kornfeld Isaac Walraven, Amsterdam, sold through [De Winter, Yver, Amsterdam, 14 October 1765, lot 562]. Cornelis Ploos van Amstel, Amsterdam (L. 3002-3004 with his mark). Karl Eduard von Liphart, Dorpat, Bonn and Florence (L. 1687 with his mark), bequest, to Freiherr Reinhold von Liphart, Rathshof near Dorpat, Russia (L. 1758 with his mark), sold through [C. G. Boerner, Leipzig, 26 April 1898, lot 101], to Meder. Rudolf Philip Goldschmidt, Berlin (L. 2926, with his mark), sold through [F.A.C. Prestell, Frankfurt am Main, 4-11 October 1917, lot 46]. [Karl Ernst Henrici, Berlin, 29 May 1918, lot 68]. H. Deiker, Braunfels. [Klipstein and Kornfeld, Bern], sold, to Dr. and Mrs. George C. Shattuck, Brookline, MA, 1961, gift, to Fogg Art Museum, 1961.1961.52Kornfeld (Moderne Galerie Heinrich Thannhauser, Munich).[1] Dr. Walter Minnich [1864-1940], Montreaux; gift 1937 to the Kunstmuseum, Lucerne; (sale, Klipstein & Kornfeld, Bern, 25-26 May 1962, no. 931); London art market; private collection, Rome; [2] (Galerie Anne Abels, Cologne); sold c. 1970 to Mr. and Mrs. Arnold Saltzman, Sands Point, New York; [3] gift (partial and promised) 2000 to NGA.[1] A seal of the Galerie Thannhauser is recorded as having been on the back of the painting, on the stretcher, when it was sold in 1962. However this seal is no longer evident. [2] Post 1962 sale provenance according to Aya Soika, Max Pechstein : das Werkverzeichnis der Ölgemälde, Munich, 2011, p. 326, repro.[3] The Saltzmans lent the painting to the 1970 exhibition in Ithaca and Rochester.2000.178.1Kornfeld from Hazlitt, Gooden & Fox Ltd;Previous owner/ex-collection Kornfeld;Previous owner/ex-collection Houthakker, Lodewijk1993,0724.2Kornfeld, Cologne, sold Gutekunst, Stuttgart, 13-14 May 1914 (308);H. Wendland, Lugano;Sale, Kornfeld and Klipstein, Berne, 14 June 1967 (254);where acquired through Colnaghi by SeilernD.1978.PG.404Kornfeld from the chapel of the Château de Sassangy, Saône-et-Loire. Reportedly Dr. Simon Meller, former curator of sculpture, Szépmüvészeti Múzeum [Museum of Fine Arts], Budapest, possibly in his Munich house before 1934, or at an unknown date in Paris;[1] Dr. Jacob Hirsch, New York, by 1935; (Jacques Seligmann et Cie, New York);[2] purchased 1957 by the Samuel H. Kress Foundation, New York; gift 1961 to NGA.[1] The references to the sculpture's provenance from the chapel of the Château de Sassangy and Simon Meller's Paris collection are in an undated text presumably provided either by Seligmann or the Kress Foundation, in NGA curatorial files. On the Château de Sassangy, its owners and construction phases since the fifteenth century, see Françoise Vignier, Bourgogne, Nivernais (Dictionnaire des château de France, ed. Yvan Christ, vol. 9) (Paris, 1980), 285. In the nineteenth century the château belonged to the La Roche La Carelle family, at least one of whose members was reputedly a great collector of works of art. No inventories or sale records for their collection are known to survive. This information was supplied by the Service Régional de l'Inventaire Général des Monuments et des Richesses Artistiques de la France en Bourgogne, letter to Alison Luchs, 18 December 1986, in NGA curatorial files. The reference to Meller's Munich house is inscribed on a photograph in the possession of William Forsyth, curator emeritus of medieval art, The Metropolitan Museum of Art, New York, bearing a date 1935 and inscribed "New York, Hirsch Collection." In a letter to Alison Luchs, 14 February 1986, Prof. Willibald Sauerländer of the Zentralinstitut für Kunstgeschichte, Munich, reported that Meller had come to Munich after 1920 and emigrated in 1934, and that Professor Theodor Müller, who had visited his home there, did not recall seeing the marble Madonna there or elsewhere in Munich. Anthony Geber has pointed out that a limestone Virgin and Child with a jewel-encrusted crown, strikingly similar to the marble example now in Washington, once belonged to Meller. Conceivably the source that placed the Washington sculpture in Meller's house had confused the two. For the limestone Virgin and Child see Régi Egyházmüvészet Országos Kiállítása [Ausstellung Alter Kirchlicher Kunst], exh. cat., Országos Magyar Iparmüvészeti Muzeum, (Budapest, 1930), no. 5, pl. 2. This work at the time belonged to Baron Móric Kornfeld. Notes of c. 1952-1962 by Anthony Geber's father (typescript copy in NGA curatorial files), Antal Geber, on the Kornfeld collection indicate this sculpture was "from Meller, but returned."[2] Raphael Stora was also "involved in the sale" to Seligmann (letter, Perry Cott to Mme Georges Bouchot Saupique, 9 October 1964, in NGA curatorial files).1961.9.99Kornfeld Eelking, sold, [Heberle, 3-4 June, 1902, lot 133]. Private Collector, (Scandinavia), sold, Amsler and Ruthardt, Berlin, 25-27 May 1908, lot 415]. F. Güterbock. Dr. E. Schilling, London.;Dr. W. Feilchenfeldt, Zurich. Eberhard Kornfeld, Bern, sold, to Fogg Art Museum, 1955, through [Richard H. Zinsser, Forest Hills, New York].1955.93Kornfeld Nebehay, Vienna); sold 1919 to Otto [d. 1926] and Eugenia Primavesi, Vienna;[1] acquired 1928 with other paintings from Eugenia Primavesi by Hugo or Otto Bernatzig (or Bernatzik), Vienna. Brought to the United States by Josef Urban [1872-1933], New York.[2] (Galérie St. Etienne, New York), possibly by 1959;[3] Otto and Franciska Kallir, New York; acquired 1978 through gift and purchase by NGA.[1] According to Tobias G. Natter, cited in Klimt, Schiele, Moser, Kokoschka. Vienne 1900, Exh. cat., Galeries nationales du Grand Palais, Paris, 2005-2006: unnumbered catalogue. The name Sigmund Primavesi that is listed in the painting's provenance in the 1965 Guggenheim exhibition catalogue is probably an error.[2] According to Jane Kallir, Saved from Europe: Otto Kallir and the History of the Galerie St. Etienne, Exh. cat., Galerie St. Etienne, New York, 1999: pl. 16. [3] The Galerie St. Etienne, whose owners were Otto and Franciska Kallir, included the painting in its 1959 Klimt exhibition. Mrs. Josef Urban was listed in the catalogue as a lender, but which painting(s) she lent is not specified, so it is possible she had inherited the painting from her husband and still owned it in 1959.1978.41.1Kallir von Franquet (died 1931), Braunschweig, from 1893 [acquired directly from the artist; see correspondence in Munch Museum archives, Oslo]; by descent to his nephew Herbert von Franquet, 1931. Sold to Neue Galerie, Vienna, 25 September 1935 [letter from Otto Kallir Nirenstein, Neue Galerie, to Edvard Munch, 26 September 1935, in Munch Museum archives, in which he states that he bought the picture the previous day and it "stammt aus der Sammlung Franquet," copy in curatorial file]. Harald Hort Halvorsen, Oslo, 1937 [bought in Paris in 1937 according to Halvorsen 1952]; sold by him to Pål Kavli, Oslo, c. 1937; by descent to Kavli’s second wife, Reidun Kavli (died 1996) [see correspondence and notes in curatorial file]; sold to Mr. Allan Andersen, Denmark; Luc Bellier, Paris as agent for Allan Andersen; sold to the Art Institute, 2000.2000.50Kallir Otto Kallir (Galerie St. Etienne, New York); Purchased 1973 by NGA.1973.39.1Kallir Otto Kallir; gift to NGA, 1973.1973.24.1Kallir Lederer; Mrs. Walter Feilchenfeldt, Zurich, Switzerland

[Erich Lederer, Austrian, fled to Switzerland in 1930s, brought most of his Schiele collection with him (Kallir, Schiele Catalogue raisonne)]
61.27Kallir of the artist to Emilie Flöge, Vienna, Austria. [Neue Galerie, Vienna, Austria (by 1933), Galerie St. Etienne, Paris, France (by 1939), Galerie St. Etienne, New York (by 1950)], Otto Kallir, gift, to Fogg Museum (1956-1966);Note: Otto Kallir owned the Neue Galerie, Vienna, and the Galerie St. Etienne, Paris and New York.BR66.4Kallir Klimt [1862-1918], Vienna, Austria; Gustav Nebehay [1881-1935], Vienna, Austria [1]; Joseph Urban [1872-1933], Yonkers, NY and New York, NY, by June 1922 until July 10, 1933 [2]; private collection, New York, NY, 1959 [3]; Galerie St. Etienne, New York, NY [4]; purchased by Department of Fine Arts, Carnegie Institute, Pittsburgh, PA, February 1960.

[1]. From Fritz Novotny and Johannes Dobai, "Gustav Klimt," Verlag Galerie Weltz, Salzburg, 1967, no. 164, p. 347, illustrated.
[2]. Carl (Karl) Maria Georg Joseph (Josef) Urban, born in Vienna, Austria, was a noted stage and film designer and architect, who immigrated to the United States in 1912. See letter from Neue Galerie, New York, dated June 13, 2016, regarding Urban's ownership of the painting and its exhibition at the opening of Wiener Werkstätte of America, Inc. in June1922.
[3]. Mrs. Joseph Urban (Mary Porter Beegle Urban.) Mrs. Urban is listed as a lender to the 1959 Klimt exhibition at Galerie St. Etienne in New York City, where the painting was included and illustrated in the catalogue. Information from Jane Kallir and Hildegard Bachert of Galerie St. Etienne (specifically e-mails reporting on conversations with them, dated May-June 2003) confirms the descent of the painting in the Urban family, specifically his widow, who sold it to the gallery after the 1959 Klimt exhibition there.
[4]. Galerie St. Etienne (Otto Kallir) sent the painting to the museum on approval sometime in late 1959, likely in December 1959. The museum agreed to terms for the purchase of the painting in January 1960 and accessioned it the following month.
60.1Kallir, 1913, sold by the artist to Franz Hauer (b. 1867 – d. 1914), Vienna [see note 1]. Probably about 1914/1915, acquired Oskar Reichel (b. 1869 - d. 1943), Vienna [see note 2], February, 1939, transferred by Reichel to Otto Kallir (b. 1894 - d. 1978), Galerie St. Etienne, Paris and New York [see note 3], 1945, sold by Galerie St. Etienne, New York, to the Nierendorf Gallery, New York, 1945, sold by Nierendorf to Silberman Galleries, New York, 1947/1948, probably sold by Silberman to Sarah Reed (Mrs. John) Blodgett, later Sarah Reed Platt (d. by 1972), Grand Rapids, Portland, Oregon and Santa Barbara, 1973, bequest of Sarah Reed Platt to the MFA. (Accession Date: April 11, 1973);NOTES;[1] Kokoschka wrote to Franz Hauer on July 21, 1913 outlining the terms of Hauer’s acquisition of the painting Lovers (“Liebespaar”) the following day. After Hauer’s death in 1914, the painting was listed in an inventory of his estate as the Dancing Nude Couple (“Akt Tanzender Paar”). Many thanks to Christian Bauer of the State Gallery of Lower Austria and Katharina Erling of the Kokoschka catalogue raisonné project for supplying this information. Also see Bernadette Reinhold, "Art Enthusiast and Enfant Most Terrible," in Franz Hauer: Self-Made Man and Art Collector (exh. cat., Landesgalerie Niederösterreich, 2019), pp. 94-95.;[2] Dr. Oskar Reichel was an admirer, collector, and patron of Kokoschka's work. Tobias G. Natter, Die Welt von Klimt, Schiele und Kokoschka: Sammler und Mäzene (Cologne, 2003), 254, suggests he acquired the painting around 1914/1915. It was first published as being in Dr. Reichel's collection by Paul Westheim in Das Kunstblatt 1 (1917), p. 319.;[3] On February 1, 1939, Reichel transferred the painting--along with four other Kokoschka paintings--to the dealer Otto Kallir, who at that time ran the Galerie St. Etienne in Paris. Kallir exhibited it in Paris that spring and brought it to the United States later that year. After his arrival in the United States, he paid Reichel's two sons, who had already immigrated to North and South America, for the paintings. Kallir opened a branch of his Galerie St. Etienne in New York and exhibited this work often between 1940 and 1945.;For further information, please see "Resolved Claims" at Hauer [1896-1984], Vienna; Otto Kallir (Galerie St. Etienne, New York); Hildegard Bachert, New York, 1950; gift to NGA, 1997.1997.127.1Kallir