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

url	provenance	accnum	Name
https://www.nga.gov/content/ngaweb/Collection/art-object-page.57152.html	(Galerie Kornfeld); acquired 1979 by the National Gallery of Art	1979.45.1	Kornfeld
https://www.nga.gov/content/ngaweb/Collection/art-object-page.57153.html	(Galerie Kornfeld); acquired 1979 by the National Gallery of Art	1979.45.2	Kornfeld
https://www.nga.gov/content/ngaweb/Collection/art-object-page.46794.html	(Klipstein and Kornfeld, 1957); Lessing J. Rosenwald, Alverthopre, PA; gift to NGA, 1963.	1963.11.61	Kornfeld
https://www.nga.gov/content/ngaweb/Collection/art-object-page.56393.html	(sale, Bern, Kornfeld und Klipstein 10 June 1976, lot 729, ill.); (Fischer Fine Art, London); (William H. Schab Gallery, New York); purchased by NGA, 1977.	1977.62.1	Kornfeld
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139129.html	(sale, Galerie Kornfeld, Bern, 22 June 1990, no. 984); Wolfgang Ratjen, Munich; purchased 2007 by NGA.	2007.111.41	Kornfeld
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139257.html	(sale, Gerd Rosen, Berlin, 18 November 1957, no. 512). (sale, Kornfeld, Bern, 17 June 1987, no. 251). Wolfgang Ratjen; purchased 2007 by NGA.	2007.111.176	Kornfeld
https://www.nga.gov/content/ngaweb/Collection/art-object-page.72170.html	(sale, 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.	1991.38.1	Kornfeld
https://www.nga.gov/content/ngaweb/Collection/art-object-page.131153.html	Carl 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.	2005.15.2	Kornfeld
https://www.nga.gov/content/ngaweb/Collection/art-object-page.63217.html	Dr. 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.	1984.18.1	Kornfeld
http://collection.cmoa.org/CollectionDetail.aspx?item=1011345	Egon 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. Notes: [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	60.5	Kornfeld
http://collection.cmoa.org/CollectionDetail.aspx?item=1011345	Egon 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. Notes: [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	60.5	Kornfeld
https://www.harvardartmuseums.org/art/299487	Ernest (?) 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.	2004.182	Kornfeld
http://records.collectionstrust.org.uk/spoliation/kirchner-ernst-ludwig-1880-1938	Given 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 2924	Kornfeld
https://www.nga.gov/content/ngaweb/Collection/art-object-page.46355.html	J.D. 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.	1961.17.51	Kornfeld
http://collection.cmoa.org/CollectionDetail.aspx?item=1011021	Klipstein & Kornfeld, Bern, Switzerland	59.43	Kornfeld
http://collection.cmoa.org/CollectionDetail.aspx?item=1011021	Klipstein & Kornfeld, Bern, Switzerland	59.43	Kornfeld
https://www.harvardartmuseums.org/art/296827	Possibly 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.	1961.52	Kornfeld
https://www.nga.gov/content/ngaweb/Collection/art-object-page.118731.html	Probably (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.	2000.178.1	Kornfeld
http://records.collectionstrust.org.uk/spoliation/drawn-by-barnuevo-sebastian-de-herrera	Purchased from Hazlitt, Gooden & Fox Ltd;Previous owner/ex-collection Kornfeld;Previous owner/ex-collection Houthakker, Lodewijk	1993,0724.2	Kornfeld
http://records.collectionstrust.org.uk/spoliation/rembrandt-harmensz-van-rijn-14	R.Peltzer, 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 Seilern	D.1978.PG.404	Kornfeld
https://www.nga.gov/content/ngaweb/Collection/art-object-page.46198.html	Reportedly 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).	1961.9.99	Kornfeld
https://www.harvardartmuseums.org/art/297426	Von 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].	1955.93	Kornfeld
https://www.nga.gov/content/ngaweb/Collection/art-object-page.56662.html	(Galerie 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.	1978.41.1	Kallir
http://www.artic.edu/aic/collections/artwork/154235	Arthur 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.	2000.50	Kallir
https://www.nga.gov/content/ngaweb/Collection/art-object-page.53996.html	Dr. Otto Kallir (Galerie St. Etienne, New York); Purchased 1973 by NGA.	1973.39.1	Kallir
https://www.nga.gov/content/ngaweb/Collection/art-object-page.53826.html	Dr. Otto Kallir; gift to NGA, 1973.	1973.24.1	Kallir
http://collection.cmoa.org/CollectionDetail.aspx?item=1011410	Erich 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)]	61.27	Kallir
https://www.harvardartmuseums.org/art/299849	Gift 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.	BR66.4	Kallir
http://collection.cmoa.org/CollectionDetail.aspx?item=1011166	Gustav 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. Notes: [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.	60.1	Kallir
https://collections.mfa.org/objects/34173/two-nudes-lovers	July, 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 http://www.mfa.org/collections/provenance/nazi-era-provenance-research	1973.196	Kallir
https://www.nga.gov/content/ngaweb/Collection/art-object-page.82933.html	Leopold Hauer [1896-1984], Vienna; Otto Kallir (Galerie St. Etienne, New York); Hildegard Bachert, New York, 1950; gift to NGA, 1997.	1997.127.1	Kallir

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RKD provenances that mention museums, collections or art dealers in California

Bust of Christ 1964.172 Fogg Museum, https://rkd.nl/explore/images/232193 *

The RKD database publishes provenances for many artworks by Dutch artists and has excellent search functionalities. 

What kind of information can be found about artworks that passed through California at one time or another in their history?

Below is a partial list:

DATASET Provenance Yale University Art Gallery

DATASET: 

Provenance 1559 European Artworks Yale University Art Gallery

Description: 

This dataset contains publicly available information originally published online by the Yale University Art Gallery which has been formatted as a CSV file for easy download and analysis with digital tools. It includes the fourteen artworks listed on "Artworks with Nazi Era Provenance Gaps", the two artworks listed on the Nazi Era Provenance Internet Portal, as well as selected artworks from the Yale Art Gallery's collection of 1707 European artworks. It is intended to facilitate research into Holocaust-era provenance for scholars, art historians and families. 

Contents:1559 artworks published on the public Yale Art Gallery website and created before 1945, of which 846 contain a provenance text while 713 contain no provenance texts. Some of the artworks were acquired prior to 1933 but have been included for purposes of comparison.

Date Retrieval: 

2 January 2020

Date Publication:  

8 January 2020

Information in the Dataset:
Source URL, Artist, Title, Date Creation, Medium, Dimensions, Credit Line, Accession Number, Culture, Period, Classification, Provenance, Status (on view or not on view)

Format: 
CSV

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Google Sheet: https://docs.google.com/spreadsheets/d/e/2PACX-1vQ7r4DxRsj3ZRsB_am2_vyDOe00bh-Zmtcwq_YtrJu8RDTSvRa7RkrW0YB3Fl2_H6J1t39I4ox4ukKv/pubhtml?gid=1274972313&single=true


DOI: https://www.openartdata.org/2020/01/dataset-provenance-yale-university-art.html

Example of filter: 
Excerpt from DATASET (artworks that mention "private" in the provenance)

Credit Line	Accession Number	Culture	Period	Classification	Provenance
Ananda Foundation N.V.	ILE2015.15.1	Italian	16th century	Paintings	Corsini Collection, Palazzo Corsini, Florence (by 1842), Private Collection (–2015), Private Collection (2015–)
Anonymous gift	1931.134	Italian, Naples or Sicily	15th century	Sculpture	Carelli Collection, Naples, Private dealer, Rome (according to Harold Parsons, during Gallery visit on February 1935), Maitland F. Griggs Collection, New York (Purchased in Florence).;Bibliography;Dorothy Gillerman, Gothic Sculpture in America: The New England Museums, 1 (New York: Garland Publishing, 1989), 327–28, no. 243, ill.
Bequest of Maitland F. Griggs, B. A. 1896	1943.216	Italian, Lucca	14th century	Paintings	Mrs. Benjamin Thaw Collection, New York, Mme X Collection sale, Galerie Georges Petit, Paris, 1922, no. 18 (as Sienese School), private dealer (as Allegretto Nuzi), Maitland F. Griggs Collection, New York, by 1925-1943.;Bibliography;Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass.: Harvard University Press, 1972), 600.
Bequest of Maitland F. Griggs, B.A. 1896	1943.239	Italian, Siena	14th century	Paintings	Believed to have come from church of San Francesco, Colle Val d'Elsa, Commandatore Giulio Sterbini Collection, Rome, Wildenstein & Co., New York and Paris, purchased by Bernard Berenson from Godefroy Brauer (57 rue Pigalle, Paris) 28 June 1910, Edward Hutton (?-?), Mrs. Benjamin Thaw Collection, New York (by 1917–1922), Mme. X Collection Sale, Hôtel Drouot, Paris, 15 May 1922, Duveen Brothers, Inc., New York, 1922–1924/25, Maitland F. Griggs Collection, New York (private purchase from Lord Duveen, 1925–1943), Yale University Art Gallery (1943–);Bibliography;Masterpieces of Art: Exhibition at the New York World’s Fair 1939, exh. cat. (New York: The Art News, 1939), 17, n.p., no. 3.;Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass.: Harvard University Press, 1972), 600.;Clay M. Dean, A Selection of Early Italian Paintings from the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 2003), 13, 22–23, no. 4.
Enoch Vine Stoddard Fund	1960.42	Flemish	17th century	Paintings	Private Collection in France,?-1960 (D.A. Hoogendijk [art dealer], Amsterdam)
George A., Class of 1954, and Nancy P. Shutt Acquisition Fund	2013.93.1	French	19th century	Paintings	Paul Delaroche, by descent within the Delaroche-Vernet family, from whom acquired by a private collector, by whom offered for sale at Sotheby’s, New York, 31 January 2013, lot 279 (bought in).;Bibliography;Jules Goddé, Exposition des oeuvres de Paul Delaroche, exh. cat. (Paris: Goupil & Cie, 1858), no. 43, pl. 57.;Claude Allemand-Cosneau and Isabelle Julia, Paul Delaroche: un peintre dans l’histoire, exh. cat. (Nantes: Editions de la Réunion des Musées Nationaux, 1999), 169, 322–33, no. 85.;“Acquisitions 2014,” http://artgallery.yale.edu/sites/default/files/files/Pub_Bull_acquisitions_2014_02.pdf (accessed December 1, 2014).
Gift of Art Gallery Associates	1961.26	Italian, Florence(?)	16th century	Sculpture	Heilbing's Sale, Munich, Private Collection, Munich, Julius Böhler Gallery, Munich, The Arcade Gallery, Ltd., London.
Gift of Dr. and Mrs. Alfonso Costa, parents of Joseph Costa, B.A. 2008, and Alfonso Costa, Jr., B.A. 2011	2017.58.1	British	19th century	Paintings	Private Collection (and sold, Sotheby Parke-Bernet, New York, October 28, 1982, lot 88), Private Collection (and sold, Sotheby's, New York, May 23, 1997, lot 152, illustrated), Acquired at the above sale by the present owner, Sale, Nineteenth Century European Art, Sotheby’s, New York, November 8, 2012, lot 75 (unsold);Bibliography;“Acquisitions July 1, 2016–June 30, 2017,” https://artgallery.yale.edu/sites/default/files/files/bulletin/Pub-Bull-acquisitions-2017.pdf (accessed December 1, 2017).
Gift of J. Davenport Wheeler, Ph.B. 1858	1911.7	French	19th century	Paintings	Private Collection. Christie's, October 25, 1984, lot #46, J. Davenport Wheeler Collection, Yale University Art Gallery, New Haven, Conn.
Gift of J. Watson Webb, B.A. 1907, and Electra Havemeyer Webb	1942.301	French	19th century	Paintings	Atelier Courbet (photographed by Eugène Feyen in Courbet's Ornans studio, 1864), Courbet's studio sale, Paris, Hôtel Drouot, 28 June 1882, lot no. 5 (purchased by Bernheim for Fr 1,600), Théodore Duret Collection, France, Mrs. H. O. Havemeyer Collection, New York, before 1914-1929 (purchased from Duret for Fr 30,000), Electra Havemeyer Webb Collection, New York (by descent), 1929-1942.;Bibliography;George Riat, Gustave Courbet, peintre (Paris: H. Floury, 1906), 246, 254.;The Metropolitan Museum of Art, Loan exhibition of the works of Gustave Courbet, exh. cat. (New York: The Metropolitan Museum of Art, 1919), no. 26, ill.;Charles Léger, Courbet (Paris: Éditions G. Crès, 1929), 122, 128, 216–17.;Pierre Courthion, Courbet (Paris: Librairie Floury, 1931), 84.;Yale University Art Gallery, Yale University Art Gallery Bulletin, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1943), 4, fig. 11.;“Les Amis de Gustave Courbet,” Les Amis de Gustave Courbet 1 (1947).;Charles Léger, Courbet et son temps, lettres et documents inédits (Paris: Éditions universelles, 1948), 110.;Pierre Courthion, Courbet. Raconté par lui-même et par ses amis. Sa vie et ses œuvres. (Geneva: P. Cailler, 1948), 39.;Yale University Art Gallery, Yale University Art Gallery Bulletin, 26, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1960), 30–38, no. 3, fig. 1.;Louisine Waldron Havemeyer, Sixteen to to sixty: memoirs of a collector (New York: privately printed, 1961), 195.;Francoise Forster-Hahn, French and School of Paris Paintings in the Yale University Art Gallery (New Haven, Conn.: Yale University Press, 1968), 5–6, fig. pl. 8.;“Bulletin of the Virginia Museum of Fine Arts,” Bulletin of the Virginia Museum of Fine Arts 12, no. 2 (1972): 16.;“Les Amis de Gustave Courbet,” Les Amis de Gustave Courbet (1972).;Katherine Neilson and Andrew Carnduff Ritchie, Selected Paintings and Sculpture from the Yale University Art Gallery (New Haven, Conn.: Yale University Press, 1972), no. 75, fig. 75.;Marie Thérèse Lemoyne de Forges, Autoportraits de Courbet, exh. cat. (Paris: Éditions des Musées nationaux, 1973), 45, no. 6, fig. pl. 56.;Robert Fernier, La vie et l’œuvre de Gustave Courbet: catalogue raisonne´, II (Lausanne, Switzerland: Lausanne: Bibliothèque des Arts, 1977), 212–13, no. 375, fig. 375.;Pierre Courthion and Gustave Courbet, L’opera completa di Courbet (Milan: Rizzoli International Publications, Inc., 1985), 93, no. 361, fig. 361.;Sarah Faunce and Linda Nochlin, Courbet Reconsidered, exh. cat. (New Haven, Conn.: Brooklyn Museum of Art, 1988), 179–82, no. 69, fig. 69.;Burijisuton Bijutsukan, Gustave Courbet: 3 juin-6 aou^t 1989, Bridgestone Museum of Art, Tokyo, exh. cat. (Tokyo: Bridgestone Museum, 1989), 74, no. 23, fig. 23.;Michael Fried, Courbet’s Realism (Chicago: University of Chicago Press, 1990), 287–90, fig. pl. 16.;Sarah Gaunce, Gustave Courbet (New York: Harry N. Abrams, Inc., 1993), 100–01, no. 27.;Alice Cooney Frelinghuysen, Splendid Legacy: The Havemeyer Collection (New York: The Metropolitan Museum of Art, 1993), 314–15, no. 138, fig. 138, pl. 22.;Pierre Georgel, Le Poème de la Nature (France: Gallimard, 1995), 96, ill.;Zörg Zutter and Nationalmuseum, Courbet: artiste et promoteur de son œuvre, exh. cat. (Paris: Flammarion, 1998), 22–25, 137, no. 26, fig. 16.;Nationalmuseum, Zörg Zutter, and Petra ten-Doesschate Chu, Gustave Courbet En Revoltör Lanserar Sitt Verk, exh. cat. (Stockholm: Flammarion, 1999), 22–5, no. 26, fig. 16.;Musee Fabre, Montpellier, Dominique de Font-Réaulx, and Galeries Nationales du Grand Palais, Gustave Courbet, exh. cat. (Paris: The Metropolitan Museum of Art, 2008), 404, no. 201, ill.;Dominique de Font-Réaulx et al., Gustave Courbet, exh. cat. (New York: The Metropolitan Museum of Art, 2008), 404, no. 201, ill.;Klaus Herding, Max Hollein, and Schirn Kunsthalle, Courbet A Dream of Modern Art, exh. cat. (Ostfildern, Germany: Hatje Cantz Verlag, 2010), 73–4, fig. 6.;Michele Haddad, A la chasse avec Gustave Courbet (Besancon, France: Les Cahiers de l’Ethnopole, 2012), 100–101, fig. 52.;Les Chasses de Monsieur Courbet, exh. cat. (Besancon, France: Les Editions du Sekoya, 2012), 70–71, fig. 9.
Gift of Laila Twigg-Smith, by exchange, the Leonard C. Hanna, Jr., Class of 1913, Fund, and the Maitland F. Griggs, B.A. 1896, Fund	2011.75.1	Italian, Rome	17th–18th century	Sculpture	The original provenance of this bronze is unknown, but it was clearly an expensive commission - judging from its size and the quality of its casting, chasing, and gilding - intended for an altar rather than for private devotion. It is said to have come from the collection of the Princes Chigi in Rome, descendants of the family from which Pope Alexander VII derived, prominent landowners in the Sienese territories in Tuscany and at Ariccia near Rome, and perhaps the greatest of Bernini's major patrons. In all probability it was part of a commission intended from the first for one of their benefices. From the Chigi, the bronze was sold to a private collection in Germany. It was acquired there by Alex Wengraf, Ltd., London, who sold it to Dr. Arthur Sackler. It is now being offered at auction (Sotheby's, New York, January 29, 2010, lot 448) by the Arthur Sackler Foundation.
Gift of Liza and Michael Moses	2004.101.1	Italian	17th century	Paintings	[Mattei family, Rome], [Private Collection, London, late 19th century], Trafalgar Galleries, London (late 1970s), [Private Collection], Christie's, South Kensington, 12 Dec 1996, #124, Michael Moses, New York.
Gift of Mr. Walter Bareiss, B.S. 1940S	1954.43.2	German	16th century	Paintings	Originally part of side altar in the Collegiate Church of Messkirch, Baden-Württemberg, Germany (sold late 17th century or removed by Zuge der Barockisierung in 1772), Joseph Otto Entres Collection, Munich, Dr. Franz Ludwig Baumann Collection, Donaueschingen (by inheritance, late 1880s), Professor Schleibner Collection, Munich, M. Orterer Collection, Munich, dealer Julius Böhler, Munich, 1918, Fabrikant Bum Collection, Kottbus, Germany, by 1922, Richard Zinser Collection, New York, by 1942, auction, Private Collection of a Czechoslovakian Gentleman, Parke-Bernet Galleries, New York, 5 November 1942, lot #45, Walter Bareiss Collection, New York.;Bibliography;Katherine Neilson and Andrew Carnduff Ritchie, Selected Paintings and Sculpture from the Yale University Art Gallery (New Haven, Conn.: Yale University Press, 1972), no. 7, ill.;Anna Moraht-Fromm and Hans Westhoff, Der Meister von Messkirch: Forschungen zur südwestdeutschen Malerei des 16. Jahrhunderts (Ulm, Germany: Süddeutsche Verlagsgesellschaft, 1997), 200–01.
Gift of Mrs. H. B. Loomis in memory of her husband, Henry Bradford, B.A. 1875	1949.98	Italian, Nola(?)	10th century	Sculpture	Salvadore Romono, dealer, Florence (acquired from private villa at Nola, a village on the Benevento side of Naples. Also described as having "come from 'an abbey, completely destroyed during the last war, at Benevento, near Naples.'"), Joseph Brummer Collection in 1930. (Herbert 1974)
Gift of Richard L. Feigen, B.A. 1952	2018.69.1	Italian, Florence	15th century	Paintings	Private collection, England (?) (sale, Sotheby's London, 18 October 1995, lot 50);Bibliography;“Acquisitions July 1, 2017–June 30, 2018,” https://artgallery.yale.edu/sites/default/files/files/bulletin/Pub-Bull-acquisitions-2018.pdf (accessed December 1, 2018).
Gift of Richard L. Feigen, B.A. 1952 in honor of Laurence Kanter	2011.235.1	Italian, Bologna	16th century	Paintings	(probably) Queen Christina of Sweden, Rome (until 1689), Cardinal Dezio Azzolino, Rome (1689), Marchese Pompeo Azzolino, Rome (1689-96), Prince Livio Odescalchi, Rome (1696-1713), Prince Baldassarre Odeschalchi-Erba, Rome (1713-21), Philippe Duc d'Orleans, Palais Royal, Paris (1721/23), Louis Philippe Duc d'Orleans, Paris (1752-85), Louis Philippe Joseph Duc d'Orleans, Paris (1785-92), Viscomte Edouard de Walckiers, Brussels (1792), Francois de laborde de Mereville, Paris (1792-98), Jeremiah Harman, London (1798), A Syndicate (3rd Duke of Bridgewater, Lords Carlisle and Gower), London - exhibited for asale by Bryan at the Lyceum, Strand, London (1798-99), no. 126, 3rd Duke of Bridgewater, London (1799-1803), By descent to: 5th Earl of Ellesmere, London - his sale, Christie's London, Oct. 18, 1946, lot 64 - bought by "Madeira" with Wetzler, Madeira (1946), Edourdo Paquete, Funchal, Madeira.;Bibliography;Louis François Dubois de Saint-Gelais, Description des tableaux du Palais royal (Paris: Chez d’Houry, 1727), 31–32.;William Buchanan, Memoirs of Painting with a Chronological History of the Importation of Pictures by the Great Masters into England Since the French Revolution, 1 (London: R. Ackermann, 1824), 81.;John Young, A Catalogue of the Collection of Pictures, of the most noble the Marquess of Stafford, Cleveland House, London, Containing an etching of every picture, and accompanied with historical and biographical notices, 1 (of 2 vols.) (London: Hurst, Robinson, and Co., 1825), 77–78, no. 105.;Anna Brownell Murphy Jameson, Companion to the most celebrated private galleries of art in London: Containing accurate catalogues, arranged alphabetically, for immediate reference, each preceded by an historical and critical introduction, with a prefatory essay on art, artists… (London: Saunders and Otley, 1844), 100, fig. 21.;Francis Egerton Ellesmere, Earl of Ellesmere, Catalogue of the Bridgewater collection of pictures, belonging to the Earl of Ellesmere, at Bridgewater House, Cleveland Square, St. James’s (London: J. M. Smith, 1851), fig. 245.;Gustav Friedrich Waagen, Treasures of Art in Great Britain: Being an Account of the Chief Collections of Paintings Drawings, Sculptures, Illuminated MSS, 3 (London: London, 1854), 488, fig. 4.;Casimir Stryienski, La Galerie du Regent, Philippe, Duc d’Orleans (Paris: Goupil & Cie, 1913), 169, no. 240.;Karl Theodore Parker, Catalogue of the Collection of Drawings in the Ashmolean Museum, volume II: Italian Schools (Oxford: Oxford: Clarendon Press, 1956), 80.;Donald Posner, Annibale Carracci: A Study in the Reform of Italian Painting around 1590, 2 vols. (London: Phaidon, 1971), 10, no. 18, pl. 18.;D. Stephen Pepper, “I limiti del Positivismo: L’A nnibale Carracci di Donald Posner,” Arte Illustrata 49 (June 1972): 267.;Gianfranco Malafarina, L’opera completa di Annibale Carracci (Milan: Rizzoli International Publications, Inc., 1976), 92, fig. 19.;R. B. Simon, Important Old Master Paintings. Discoveries…in una nuova luce… (New York: Piero Corsini Inc., 1988), 41–44, fig. 7.;Daniele Benati and Eugenio Riccòmini, Annibale Carracci, exh. cat. (Milan: Electa, 2006), 146–47, no. III.7.;Paola D’A gostino, “Reconsidering the Crucifixion by Annibale Carracci,” Yale University Art Gallery Bulletin (2014): 64–69, fig. 1.
Gift of Sandra E. Canning	2014.14.1	French	17th century	Paintings	Anonymous sale, London, Sotheby's, 25 June 1969, lot 64, private collection of Sandra E. Canning.;Bibliography;“Acquisitions 2014,” http://artgallery.yale.edu/sites/default/files/files/Pub_Bull_acquisitions_2014_02.pdf (accessed December 1, 2014).
Lent by Dr. and Mrs. Herbert Schaefer	ILE1981.9.6	Dutch	17th century	Paintings	With Dr. Benedict, Berlin, 1926, Auction, Sotheby's, London, 24 June 1970, no. 57, Private Collection, Zurich, 1971, With Galerie Sanct Lucas, Vienna, 1972, With Kurt Müllenmeister, Solingen, Dr. and Mrs. Herbert Schaefer Collection.
Lent by Dr. and Mrs. Herbert Schaefer	ILE1990.12.1	Dutch	17th century	Paintings	Sickese van Harlingen Collection, Lochem, Hubert Pluygers Collection, Rotterdam, 1880-1938, Collection van Pannhuys-Hubert, The Hague, 1942, J.A.E. van Pannhuys Collection, Leyden, A.F. van Pannhuys Collection, Wassenaar, 1974-1978, Private Collection, Berlin, Dr. and Mrs. Herbert Schaefer Collection.
Lent by Dr. and Mrs. Herbert Schaefer	ILE1981.9.13	Spanish	14th century	Paintings	Private Collection, Andorra la Vella, Dr. and Mrs. Herbert Schaefer Collection.
Lent by Dr. and Mrs. Herbert Schaefer	ILE1996.2.1	German	16th century	Paintings	Gosta Stenman Collection, Helsinki, 1925, Private Collection, Sweden, 1925, Dr. Einmar perman Collection, Stockholm, 1955, Professor J. H. Hellema Collection, Laren, Dr. Heinrich Jellissen Collection, 1995, Dr. and Mrs. Herbert Schaefer Collection.
Lent by Richard L. Feigen, B.A. 1952	ILE2019.3.35	Italian, Florence	14th century	Paintings	Private collection, France (sale, Paris, Palais d'Orsay, [Laurin-Guilloux-Buffetaud-Tailleur], 15 June 1978, h.c.)
Leonard C. Hanna, Jr., Class of 1913	1959.47	French	17th century	Paintings	Hans Georg Werdmüller (1616-1678) Collection, Zurich, Switzerland (commissioned through an agent in Rome, Liber Veritatis 116, dated 1648), Captain T. B. Brydges Barrett Collection, Lee Priory, England, 1777, T.B. Brydges Barrett collection, Christie's sale, London, 28 May 1859, no. 147 (as "Sunset"), Peter Norton, private dealer, London, Sir Francis Cook Collection, 1st Bart. (1817-1901), Doughty House, Richmond, Surrey, England, until 1901, by inheritance to Sir Frederick Lucas Cook, 2nd Bart. (1844-1920), Doughty House, Richmond, Surrey, England (1901- d. 1920), by inheritance to Sir Herbert Frederick Cook, 3rd Bart. (1868-1939), Doughty House, Richmond, Surrey, England (1920- d. 1939), by inheritance to Sir Francis Ferdinand Maurice Cook, 4th Bart. (1907-1978), Doughty House, Surrey, England (1939-1958), Cook Collection sale, Sotheby & Co., 25 June 1958, lot 55 (550£), Newhouse Galleries, Inc., New York.;Commission of Liber Veritatis 116 and Yale painting;First of three landscapes (nos. 115, 124) made in 1648 and 1651 for Hans Georg Werdmüller (1616-78). One is a small copper, the other, with somewhat similar scenery, a large canvas, and the third its pendant. The patron was a military engineer and collector from Zürich. He was elected a counselor of Zürich in 1648, and at the beginning of 1650 was sent as an envoy on a short military mission to Venice. He did not go to Rome. What brought him in touch with Claude is not known. In Italian he signed his name 'Verdmiller', Claude's spelling is a correct phonetic rendering. Werdmüller, an amateur painter himself, increased his inherited collection, for instance, later he patronized the Dutch landscape painter Jan Hackaert (1629- c. 1699). The greater part of the collection was dispersed at the beginning of the 18th century and passed into foreign countries. The inventory of 1789 contains no Claude, but still has a few paintings of Asselyn, Salvator, Teniers, etc" (Röthlisberger 1961, Vol. I, p. 290).;Bibliography;Alan Shestack, ed., Yale University Art Gallery Selections (New Haven, Conn.: Yale University Art Gallery, 1983), 34–35, ill.
Leonard C. Hanna, Jr., Class of 1913, Fund	1964.13.1	French	20th century	Sculpture	Private Collection, Paris, Jacques Seligmann & Co., Inc., New York, NY (–1964), Yale University Art Gallery (1964–);Bibliography;Maurice Rheims, L’O bjet 1900 (Paris: Arts et Métiers Graphiques, 1964), 62.;Katherine Neilson and Andrew Carnduff Ritchie, Selected Paintings and Sculpture from the Yale University Art Gallery (New Haven, Conn.: Yale University Press, 1972), no. 132, ill.
Leonard C. Hanna, Jr., Class of 1913, Fund	2005.8.1	Italian, Siena	17th century	Paintings	P. & D. Colnaghi, London, 1969, from whom purchased by Sir John Wyndham Pope-Hennessy (as Francesco Vanni), Sir John Wyndham Pope-Hennessy (1913-1994) Collection, Palazzo Canigiani, Florence, Sir John Wyndham Pope-Hennessy collection sale, Christie's, New York, 10 January 1996, lot 95, Private Collection, 1996-2005, Sotheby's, New York, 27 January 2005, lot 184.;Note: The painting is in a frame of the type associated with the Chigi family, and it has been proposed that the picture comes from the Chigi collection. Such frames have, however, been available on the market independent of paintings, and this particular example is cut down, which suggests that it was given to the picture after leaving the Chigi collection.;There is no reference to this painting's whereabouts during the Nazi era. Nonetheless, the work has bene well known and well published since its appearance in London in 1969, which suggest that any improprieties in its history are likely to have been noted by now.;Bibliography;Paintings by old masters, exh. cat. (London: P. & D. Colnaghi & Co., 1969), no. 8, fig. Plate IV.;Diega Giunta and Lidia Bianchi, Iconografia di S. Caterina da Siena (Rome: Città Nuova editrice, 1988), 428–29, no. 435, ill.;John Pope-Hennessy, Learning To Look (New York: Doubleday & Company, Inc., 1991), 311–22.;John J. Marciari et al., Francesco Vanni: Art in Late Renaissance Siena, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 2013), 25, 224–25, no. 83.
Maitland F. Griggs, B.A. 1896, Fund	2009.95.1	Italian, Naples	16th century	Paintings	Severino Spinelli, Florence (sale, Lino Pesaro, Milan, 11 June, 1928, lot 85, sale, Galleria Bellini, Florence, 23 April, 1934, lot 55), Private collection (sale, Sotheby's, London, 2 July 1997, lot 36)
Maitland F. Griggs, B.A. 1896, Fund	1967.37	French	18th century	Sculpture	Purchased from a private collection in Paris by Mrs Walter Feilchenfeldt, dealer, Zurich, until sold to YUAG in 1967.;Bibliography;Katherine Neilson and Andrew Carnduff Ritchie, Selected Paintings and Sculpture from the Yale University Art Gallery (New Haven, Conn.: Yale University Press, 1972), no. 126, ill.
Maitland F. Griggs, B.A. 1896, Fund	2006.111.1	Italian, Florence	16th century	Paintings	Possibly identical with a painting found in Pontormo's house at his death (January 1, 1557) and sold out of his estate in 1559 to Alfonso Quistelli, fiscal agent of Cosimo I de' Medici, Grand duke of Tuscany, sold by Quistelli in 1559 to Alessandro Allori, acting on behalf of Agnolo Bronzino, sold by Bronzino and Allori to Piero Salviati, Florence, 1559, Grand duke Cosimo de' Medici, 1564. Private collection, France (sale, Jean-Claude Anaf & Associe, Lyon, Lot 215, March 25, 2001). Matteo and Marco Grassi, Paris and New York, Sotheby's, New York, January 23, 2003 (BI);Bibliography;Art for Yale: Collecting for a New Century, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 2007), 222, 394, pl. 209.
Maitland F. Griggs, B.A. 1896, Fund	2003.22.1	Italian, Siena	16th century	Paintings	Orlandini Collection, Siena, Private Collection, London, by 1786, Van Diemen Gallery, Berlin, by 1930*, Private Collection, New York (sale Christie's, New York, 9 January 1981, lot 127), Private Collection, New York? (sale Christie's, London, 30 October 1987, lot 168), Paul F. Walter, New York (sale Christie's, New York, 24 January 2003, sale BLIVVET-1194, lot 84);*One important factor in the painting's provenance needs to be highlighted. Although it left Italy in the eighteenth century, it belonged to the Van Diemen Gallery in Berlin by 1930. Clearly it was acquired under legitimate circumstances by the Van Diemen Gallery, but it has not been possible to determine when or to whom it was sold by them. The Van Diemen Gallery relocated from Berlin to New York before 1935, becoming Van Diemen Lillienfeld. There is every reason to imagine that this painting presents no improprieties of provenance, but we have no hard proof of that. The present owner of the Van Diemen Lillienfeld stock cards, which in any event go back only to 1945, can find no mention of this painting among them.;Paul Graupe Collection, Berlin, 25 January 1935 (sale of Van Diemen Gallery Collection, Berlin, Vanni's Madonna della Pappa not included).;Bibliography;Gugielmo Della Valle, Lettere Sanesi, 3 (Rome: Salomoni, 1786), 351.;Ulrich Thieme et al., Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, 34 (Leipzig, Germany: W. Engelmann, 1940), 97–99, (Vanni Francesco).;“Bullettino Senese di Storia Patria,” Bullettino Senese di Storia Patria (1942).;Ettore Romagnoli, Biografia cronologica de’ bellartisti Senesi: opera manoscritta in tredici volumi (Florence: Edizioni S.P.E. S., 1976), 707–08, 339, vol VIII pp. 707–708;Vol. XII p. 399.;Susan Wegner, Images of the Madonna and Child by three Tuscan artists of the early seicento: Vanni, Roncalli, and Manetti (Brunswick, Me.: Bowdoin College Museum of Art, 1986), 16–18, 37, fig. 13.;Antoine Schnapper et al., Curiosité: études d’histoire de l’art en l’honneur d’Antoine Schnapper (Paris: Flammarion, 1998), 416–22.;Art for Yale: Collecting for a New Century, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 2007), 223, 394–95, pl. 210.;Federico Barocci, Alessandra Giannotti, and Claudio Pizzorusso, Federico Barocci, 1535-1612: l’incanto del colore: una lezione per due secoli, exh. cat. (Milan: Silvana, 2009–10), 104–7, fig. 68.;Marco Ciampolini et al., Pittori senesi del Seicento, 3 (Siena: Nuova immagine, 2010), 928–9.;John J. Marciari et al., Francesco Vanni: Art in Late Renaissance Siena, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 2013), 11, 138–41, 145, 162n2, 178, 200, 224, no. 42, cover ill.
Maitland F. Griggs, B.A. 1896, Fund	2017.65.1	French	19th century	Paintings	Louis Joseph Auguste Coutan (1799-1830), Paris;By descent to his wife, Lucienne, née Hauguet (1788-1838), Paris;By descent to her brother, Ferdinand Hauguet (d. 1860), Paris;By descent to his son, Jacques Albert Hauguet (1819-1883), Paris;By descent to his wife, Marie-Thérèse, née Shubert;Her sister, Mme. Gustave Milliet, Paris;Robert Goury, baron de Roslan (1894-1958), Paris;By descent to his wife, Countess Marcelitta Marguerite Dagmar Louise Moltke-Huitfeldt Goury de Roslan, (1900-2005);Private collection, New York;Bibliography;“Acquisitions July 1, 2016–June 30, 2017,” https://artgallery.yale.edu/sites/default/files/files/bulletin/Pub-Bull-acquisitions-2017.pdf (accessed December 1, 2017).
Maitland F. Griggs, B.A. 1896, Fund	1958.70	German	16th century	Sculpture	English Private Collection, Kunsthandlung Art Gallery, Zurich (–1958), Yale University Art Gallery (1958–);Bibliography;Anneliese Harding, German Sculpture in New England Museums (Boston: Goethe Institute, 1972), 87.
Maitland F. Griggs, B.A. 1896, Fund and Leonard C. Hanna, Jr., Class of 1913, Fund	2015.138.1	Italian	16th century	Paintings	Private Collection, Bergamo, Italy (1982), Dino Franzin, New York (by 1985), Marco Grassi, Inc., New York on consignment for conservation (1994), Private Collection, Potomac, Maryland (by 1997), Grassi Studio, New York on consignment for sale (2015);Bibliography;“Acquisitions July 1, 2015–June 30, 2016,” https://artgallery.yale.edu/sites/default/files/files/Pub_Bull_acquisitions_2016.pdf (accessed December 1, 2016).
Maitland F. Griggs, B.A. 1896, Fund, Robert Lehman Foundation Acquisition Fund for Early European and Modern and Contemporary Art, and Director’s Fund, by exchange	2019.29.1	Italian, Bologna	16th century	Paintings	Commissioned for the Palazzo Lambertini, Bologna, probably in 1596, for 20 scudi;Sold before 1678 for 300 scudi to a French private collection;Anonymous sale, Brussels, Beaux-Arts, 14-15 May 1996, lot 86;Sheldon Fish, Canada;New York, Sotheby’s, 30 January 1998, lot 117 (bought in);Sold privately to Mark Fisch, New York
Maitland F. Griggs, B.A., 1896, Fund	1956.17.1	German	16th–17th century	Paintings	Dr. Alfons Jaffé Collection, Berlin, Private English Collection, in 1920s, Durlacher Bros., New York (as Adam Elsheimer, "Nude Reclining in Landscape").
Purchased with a gift from Richard L. Feigen, B.A. 1952, and the Leonard C. Hanna, Jr., Class of 1913, Fund	2011.136.1	French	19th century	Paintings	The painting stayed in the artist’s studio, located at 42 rue de La-Ville-l’Evêque in Paris until at least 1832 when it was shown in another charity exhibition. After this, The Retreat of Napoleon’s Army from Russia in 1812 disappeared, and was known only through a lithograph published in 1833 and an 1844 engraving by Edouard-Henri Girardet, of which Yale owns a fine version (1993.1.189). Having been lost for over a century and a half, the painting was discovered by a private collector when cleaning out his basement in the Ile Saint-Louis, Paris, around 1986. It was then purchased after by Richard Feigen, who sold it to the Gallery in 2011.;Bibliography;“Le Globe, journal philosophique et litteraire,” Le Globe IV (2 September 1826): 45–6.;Marthe Kolb, Ary Scheffer et son temps, 1795-1858 (Paris: Boivin Et Cie Editeurs, 1937), 300–2, 471.;Leo Ewals, Ary Scheffer 1795-1858: gevierd romanticus, exh. cat. (Dordrecht, Netherlands: Dordrechts Museum, 1995), 114–15, no. 18, ill.;Leo Ewals, Ary Scheffer, 1795-1858: Musée de la vie romantique, 10 avril-28 juillet 1996, exh. cat. (Paris: Musée de la vie romantique, 1996), 28, no. 16, ill.;Karen Serres, “Ary Scheffer’s “The Retreat of Napoleon’s Army from Russia in 1812”,” Yale University Art Gallery Bulletin (2012): 107–111, ill.
Purchased with the Leonard C. Hanna, Jr., Class of 1913, Fund and a gift in memory of James Sherman Pitkin	2005.26.1	French	19th century	Paintings	Pierre-Paul Prud'hon, Charles Boulanger de Boisfremont, Paris, 1821–38, Bequeathed to his daughter, Mme. Power, 1838–64, Carles-Nicolas Odiot 1864–1869, Odiot Collection, March 25, 1869, Justin Courtois, 1869–76, Courtois Collection, March 28, 1876, Frederic Mallet, 1876–1920, Mallet Collection, May 20, 1920, Chrissoveloni collection, 1920–922, Camille Gronkowski, from 1923, Private Collection, to 2005, Yale University Art Gallery, New Haven, Conn.;Bibliography;Edmond de Goncourt, Catalogue raisonné de l’oeuvre peint, dessiné et gravé de P.P. Prud’hon (Paris: Rapilly, 1876), 10–13.;Petit Palais, Exposition P.-P. Prud’hon: Palais des beaux-arts de la Ville de Paris (Petit-Palais): mai-juin 1922: catalogue., exh. cat. (Paris: Impr. G. Petit, 1922), no. 27.;Arthur Sambon and Joseph Billiet, L’A rt français au service de la science française. Exposition d’oeuvres d’art des XVIII e, XIX e et XX e siécles … du 25 avril au 15 mai 1923 (Paris: Chambre syndic de la Curiositè et des Beaux-Arts, 1923), 13, fig. 32.;J.-J. Guiffrey, L’O euvre de P.-P. Prud’hon (Paris: Armand Colin Editeur, 1924), 276–77, no. 746.;Sylvain Laveissière and Harry N. Abrams, Inc., Pierre-Paul Prud’hon, exh. cat. (Paris: Galeries Nationales du Grand Palais, 1998), 308–09, no. 217, fig. 217b.;Elizabeth E. Guffey, Drawing an elusive line: the art of Pierre-Paul Prud’hon (Newark, Del.: University of Delaware Press, 2001), 228–233, fig. 169.;Art for Yale: Collecting for a New Century, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 2007), 235, 398–99, pl. 223.
Purchased with the Maitland F. Griggs, B.A. 1896, Fund and with the Director’s Fund, by exchange	2014.125.1	Italian, Siena	17th century	Sculpture	Private collection, Cassel, Germany, since the 1970s, sale, Auktionshaus Mars, Wrzburg (October 12, 2013, lot 6033);Bibliography;“Acquisitions 2015,” http://artgallery.yale.edu/sites/default/files/files/Pub_Bull_acquisitions_2015_updated 12_16_15.pdf (accessed December 1, 2015).
Robert Lehman Foundation Acquisition Fund for Early European and Modern and Contemporary Art	2014.20.1	Italian, Urbino	16th century	Containers - Ceramics	W.J.H. Whittall Collection (–1947), Sotheby's, London, England (April 18, 1947, lot 39), John Scott-Taggart Collection, Christie's, London (April 14, 1980, lot 16), Private Collection, England(?), Christie's, London (May 24, 2011, lot 27), Christie's, New York (January 30, 2013, sale 2673, lot 108), Richard Feigen Gallery, New York (2011–2014), Yale University Art Gallery (2014–);Bibliography;John Scott-Taggart, Italian Maiolica (London: Hamlyn Publishing Group, 1972), title page, 48, ill.;J.V.G. Mallet, Xanto, i Suoi Compagni e Seguaci, exh. cat. (Rovigo, Italy: Centro Polesano di Studi Storici, Archeologici ed Etnografici, 1980), 72, 97, in G.B. Siviero, “Francesco Xanto Avelli da Rovigo”, fig. 9.;Giuliana Gardelli, “A Gran Fuoco” Mostra di Maioliche Rinascimentali Dello Stato di Urbino da collezioni private, exh. cat. (Urbino, Italy: Accademia Raffaello, 1987), 68–69, fig. 23.;“Acquisitions 2014,” http://artgallery.yale.edu/sites/default/files/files/Pub_Bull_acquisitions_2014_02.pdf (accessed December 1, 2014).
Stephen Carlton Clark, B.A. 1903, Fund	1988.39.1	French	19th century	Paintings	Private collection, England, (?- 1988), Hazlitt, Gooden and Fox, London.
Stephen Carlton Clark, B.A. 1903, Fund	1964.52	Spanish, possibly Madrid	17th century	Sculpture	Holagray collection, Bordeaux, private collection (France?), Cesar de Hauke, Paris;Bibliography;Katherine Neilson and Andrew Carnduff Ritchie, Selected Paintings and Sculpture from the Yale University Art Gallery (New Haven, Conn.: Yale University Press, 1972), no. 124, ill.;Suzanne L. Stratton, Spanish Polychrome Sculpture 1500–1800 in United States Collections, exh. cat. (New York: The Spanish Institute, 1993), 120–21, no. 21, ill.;James Clifton, The Body of Christ: In the Art of Europe and New Spain, 1150–1800, exh. cat. (Houston: Museum of Fine Arts, Houston, 1997), 80–1, no. 34, ill.
University Purchase from James Jackson Jarves	1871.63	Italian, Siena	15th century	Paintings	James Jackson Jarves Collection, Florence (possibly the painting attributed to Pollaiuolo purchased from private collection, securing the painting only after Jarves "bought all in the room (44 in all)" as demanded by the owner).;Bibliography;Mrs. Francis Steegmuller, The Two Lives of James Jackson Jarves (New Haven, Conn.: Yale University Press, 1951), 301, fig. 12.;Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass.: Harvard University Press, 1972), 599.;Susan B. Matheson, Art for Yale: A History of the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 2001), 48, 53, fig. 43.;Clay M. Dean, A Selection of Early Italian Paintings from the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 2003), 13, 38–39, no. 12.