Showing posts with label datasets. Show all posts
Showing posts with label datasets. Show all posts
Jul 14, 2019
Art Dealers: Julius H. Weitzner in RKD provenance
Jun 22, 2019
Tate Provenance Research Project Spoliation Reports
UK Museums Provenance Research Projects: TATE
Lists of works with incomplete provenance during the period 1933 - 1945
Spoliation Reports Phases 1,2 and 3
Phase 4 - List of works with incomplete provenance during the period 1933 - 1945
ABBOTT, Lemuel Francis (1760-1803)
Portrait of the Engraver Francesco Bartolozzi, No dateOil paint on canvas
756 x 676 mm
Presented by Mrs M. Bernard 1968
T01067
Provenance:
• …; Mrs M Bernard, by 1968Questions in the operative period:
No published provenance pre-1968
AGASSE, Jacques Laurent (1767-1849)
Two Hunters with a Groom (circa 1805)
Oil on canvas
638 x 759 mm
Presented by Paul Mellon through the British Sporting Art Trust 1979
T02350
Provenance:
• …; reportedly bought by Oscar Johnson (d.1968), before 1963• Oscar & Peter Johnson Ltd
• From whom purchased by Paul Mellon 1968
• Presented by Paul Mellon, 1979
Questions in the operative period:
No information on whereabouts prior to acquisition by Oscar Johnson
ALKEN, Henry Thomas (1785-1851)
The Belvoir Hunt: Jumping into and out of a Lane (circa 1830-40)
Oil on canvas
451 x 648 mm
Presented by Paul Mellon through the British Sporting Art Trust 1979
T02353
Provenance:
• …; Arthur Ackermann and Son Ltd
• From whom purchased by Paul Mellon 1964
Questions in the operative period:
No information on whereabouts prior to acquisition by Ackermann and Son Ltd
Dec 5, 2018
Provenance dataset: Molyneux in NGA NEPIP
In this post we gather together a small subset of artworks that mention Molyneux in the provenance.
The Bruce collection of small French impressionists provides a good example of less than rigorous screening policies. She bought the paintings in 1955 from a dashing Anglo-French fashion designer named Edward Molyneux. Molyneux, who built up his collection in the immediate postwar period, provided little information about how he had come into possession of the paintings.
In purchasing the paintings, Bruce acted on the advice of the then-curator of the National Gallery, John Walker, and it was clearly understood that the collection would end up in the gallery after her death. Since Molyneux did not die until 1965, it would have been a relatively simple matter to have asked him about the provenance. But gallery officials did not get around to making inquiries until the early '70s.
While there is no reason to suspect Molyneux of knowingly buying looted art, at least some of the paintings came from a Paris dealer named Paul Petrides, who actively collaborated with Nazi art looters, according to U.S. Army files. In a letter dated December 1977, Petrides described Molyneux as "a faithful client who bought a lot of paintings from me."
The artworks selected are those that the National Gallery of Art listed on the Nazi Era Provenance Internet Portal and which also contain Molyneux in the provenance
Why is the mention of Molyneux in the provenance of an artwork noteworthy?
A Washington Post article published twenty years ago in 2000 explains the role of Molyneux in supplying one of the NGA's most important art collectors and benefactors, Ailsa Mellon Bruce, with French paintings immediately after WWII, and Molyneux's connection to a Nazi art looting Red Flag Name, Paul Petrides.
The Bruce collection of small French impressionists provides a good example of less than rigorous screening policies. She bought the paintings in 1955 from a dashing Anglo-French fashion designer named Edward Molyneux. Molyneux, who built up his collection in the immediate postwar period, provided little information about how he had come into possession of the paintings.
In purchasing the paintings, Bruce acted on the advice of the then-curator of the National Gallery, John Walker, and it was clearly understood that the collection would end up in the gallery after her death. Since Molyneux did not die until 1965, it would have been a relatively simple matter to have asked him about the provenance. But gallery officials did not get around to making inquiries until the early '70s.
While there is no reason to suspect Molyneux of knowingly buying looted art, at least some of the paintings came from a Paris dealer named Paul Petrides, who actively collaborated with Nazi art looters, according to U.S. Army files. In a letter dated December 1977, Petrides described Molyneux as "a faithful client who bought a lot of paintings from me."
by Michael Dobbs, published May 20, 2000 in the Washington Post
Archive:
Dataset of artworks listed by the National Gallery of Art in the Nazi Era Provenance Internet Portal that contain the word "Molyneux" in the provenance
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