Max Beckmann and the Jewish families searching for Nazi-looted art

1. German Lost Art Foundation lists 97 entries for Max Beckmann

Jewish families searching for Beckmann paintings and drawings include:

1. Aufricht, Ernst Josef
2. Buchthal, Eugen Moritz und Therese (Thea)
3. Dittmayer (Familie)
4. Eisenmann, Margarete (geb. Ledermann)
5. Flersheim, Martin und Florence
6. Glaser, Prof. Dr. Curt

1. Kantorowicz, Hermann und Elsa Ulrike (geb. Czapski)
2. Lachmann-Mosse, Hans
3. Ploschitzki, Johanna (geb. Zender)
4. Posen, Anna und Sidney
5. Speyer, Peter Ernst Hans Willy
6. 
   
7. 
   

(The Flechtheim family had filed claims but are not in the Lost Art list)

Looted art laundering networks in the USA: Cassirer v Thyssen

Rue St. Honoré, après midi, effet de pluie by Camille Pissarro is the object of a claim for restitution: Cassirer v. Thyssen-Bornemisza Collection Foundation

 "By 1951, the Painting had made its way to the U.S. after changing hands several times in Germany. In July, the Frank Perls Gallery (“Perls”) in Beverly Hills, California, sold the Painting to an art collector, Sidney Brody, for $14,850.^[11]Less than a year later, in February of 1952, Perls (for Brody) consigned the Painting with Knoedler Gallery (which you may remember for other reasons) for sale in New York.^[12]Missouri-based art collector, Sydney Schoenberg, was next to purchase the Painting; he sold it through New York’s Stephen Hahn Gallery several years later on consignment in 1975 or 1976"

- Case Review: Cassirer v. Thyssen-Bornemisza Collection Foundation, Center for Art Law

https://itsartlaw.org/2019/06/12/case-review-cassirer-v-thyssen-bornemisza-collection-foundation/

https://archive.is/N01Tn#selection-839.0-855.186

On Sidney Brody's rapid return of the Pissarro to Perls, see Iker Seisdedos's article in El Pais: "The Thyssen’s disputed Pissarro: a masterpiece that symbolizes the ongoing struggle to return Nazi-looted art":

"The painting arrived in Los Angeles in the possession of a German merchant called Frank Perls, who was Jewish – “ironically,” notes Cassirer, who describes him as a “super-thief.” During the war, Perls had worked as a translator for the US Army. He sold the work to a noted art lover called Sidney Brody, who was also Jewish and returned it a few months later because, according to Cassirer, he found out that it was a looted piece. A year later, Perls sold the painting again to the heir to a department store fortune in Saint Louis, where it remained for 20 years. It was offered to Baron Thyssen-Bornemisza through a well-known New York dealer, Stephen Hahn."

https://english.elpais.com/culture/2022-05-21/the-thyssens-disputed-pissarro-a-masterpiece-that-symbolizes-the-ongoing-struggle-to-return-nazi-looted-art.html

https://www.lootedart.com/news.php?r=VGPS0A541611

On Stephen Hahn, see the 2005 lawsuit filed against him jointly by two different families who were seeking to reclaim Holocaust-linked art. Artnews reported on the lawsuit in "Judge Supports Suit to Reclaim Profits from Nazi Loot".  

"NEW YORK—A California judge has ruled that two families may proceed with their lawsuit against art dealer Stephen Hahn to recover the profits Hahn is alleged to have earned on sales, some 30 years ago, of works by Pablo Picasso and Camille Pissarro that had been looted during World War II. This is believed to be the first case in the U.S. in which the heirs of Nazi victims have sought compensation from an intermediary.

Claude Cassirer and Thomas C. Bennigson had filed the joint complaint in Santa Barbara, Calif., against Hahn, former president of the Art Dealers Association of America, on July 19. They claimed that Hahn had sold the two paintings without the consent of the legal owners and therefore must hold the profits for them. All three men live in California."

The Artnews article mentions two separate cases in which Hahn played a role. One was Picasso's Femme en Blanc :

"The Picasso was looted by the Nazis in 1940 from Paris art dealer Justin K. Thannhauser, to whom it had been sent for safekeeping by Bennigson’s grandmother Carlota Landsberg, of Berlin. Dealer Hahn imported the painting from France in 1975 and sold it a year later to James and Marilyn Alsdorf of Chicago for $357,000, the complaint states. Bennigson located the Picasso, now worth some $10 million, in 2002, when Marilyn Alsdorf prepared to sell the painting, and the Art Loss Register identified it as stolen. Bennigson has filed a separate claim against Marilyn Alsdorf."

(see also: "The FBI seizes disputed Picasso" Los Angeles Times https://www.latimes.com/archives/la-xpm-2004-oct-27-et-quick27.5-story.html) 27 Oct 2004 — The circa-1922 painting, “Femme en Blanc” (Woman in White) is believed to have been stolen by the Nazis during World War II from the grandmother of Oakland-based heir Thomas Bennigson. The painting was purchased in 1975 by Chicago art collectors James and Marilyn Alsdorf before its tie to the Nazis was discovered. In 2002, Bennigson sued to have the painting returned to him. Although the painting has been taken into U.S. custody, an FBI spokeswoman said Tuesday that the artwork will remain in Alsdorf’s residence until the courts can determine the rightful owner. )

The other was Pissarro's Rue St. Honoré, après midi, effet de pluie:

"Cassirer’s grandmother Lilly Cassirer-Neubauer, of Munich, was forced to sell the Pissarro to a Nazi agent in 1939 for a nominal amount before she fled from Germany. Hahn subsequently acquired the painting and, circa 1976, sold it to Baron Hans Heinrich Thyssen-Bornemisza, who later transferred it over to the Thyssen-Bornemisza Collection Foundation in Madrid."

Tracing itineraries of Nazi-looted art with AI

Summary of news article "Landscape with Plunder" by Judd Tully with Google NotebookLLM

http://www.artnet.com/magazine_pre2000/news/tully/tully8-30-96.asp

PROMPT: "How did the Degas go from Friedrich Gutmann to Daniel Searle. Please name every entity involved and their role."

Morton D. May, itineraries of selected artworks

(Above) Sankey of Provenance of The Little Mountain Goats

--

(Below) Interactive Sankey for several artworks

• The Little Mountain Goats
• Pitcher and Fruit Bowl
• View from the Window
• Artillerymen in the Shower
• Spring
• The Dream

data extracted by ChatGPT4o

(note that the itinerary for Artillerymen does not include the earlier provenance)

Provenances for Modern Art at the AIC (selected artists)

Provenances published by the Art Institute of Chicago for artists persecuted as "degenerate" by the Nazis

(data from November 2024)

Alsdorf in provenances of artworks in the Chicago Art Institute

James and Marilynn Alsdorf contributed many valuable artworks to the Art Institute of Chicago.

The table below shows provenance texts as published on AIC's website in August 2024. 

Provenance gaps of over a thousand years are not uncommon.

Loebl, Kleinberger and Sperling in NEPIP provenances in American Museums

Harry Sperling, the grandson of art dealer Franz Kleinberger, became head of the firm F. Kleinberger Galleries. His cousin, Allan Loebl, an Art Looting Investigation Unit Red Flag Name, was in charge of the Paris office during WWII.

Below are the provenances of some of the artworks that transited via Kleinberger on their way to US museums.

How solid is an art provenance text? Analysis of a Degas sculpture at the NGA

"Probably", "possibly", "apparently", "proposes" and "allegedly" in texts for Degas' Dancer Adjusting the Shoulder Strap of Her Bodice, original wax 1880s/1890s, cast 1920/1949 at the NGA

Provenances for Chagall at the Kunstmuseum Basel in Switzerland?

 How are Swiss museums progressing on Nazi-era provenances?

A search for Marc Chagall at the Kunstmuseum Basel.

• Marc Chagall
• • Ma fiancée aux gants noirs, 1909
• Öl auf Leinwand
• 87.4 x 64.4 cm
• Kunstmuseum Basel, mit einem Beitrag von Dr. h.c. Richard Doetsch-Benziger erworben 1950
• Inv. 2239

Provenienz

spätestens 1920 – Datum unbekanntHerbert von Garvens-Garvensburg (1908–1953), Hannover
1926Alfred Flechtheim (1878–1937), Berlin (in Kommission?)
Datum unbekannt – ca. 1930Christoph Bernoulli (1897–1981), Basel
ca. 1930 – 1950Eduard Freiherr von der Heydt (1882–1964), Ascona, angekauft bei Christoph Bernoulli
1950 – heuteKunstmuseum Basel, angekauft bei Eduard von der Heydt

Holocaust victims and refugees in art provenances

Museums and auction houses rarely mention that a name in a provenance of an artwork corresponds to a person who was robbed and murdered by the Nazis or a Jewish refugee fleeing to escape the Holocaust.

This Wikidata Sparql query displays a few of the art collector whose names are absolutely to be considered red flags in provenances because they either died in the Holocaust or were forced to flee to survive.

Wikidata query run 18 May 2024: Short link: https://w.wiki/A7pr

Table: Art Collectors and Dealers who died in the Holocaust or were forced to flee

Osthaus Museum Hagen restitutes Renoir "View of the Sea from Haut Cagnes" to heirs of Jakob Goldschmidt (1882-1955)

Jakob Goldschmidt (1882-1955) was one of the most important bankers of the Weimar Republic. Persecuted by the National Socialist regime, Goldschmidt fled Germany in the spring of 1933 and emigrated to the USA via Switzerland in 1936. His German citizenship was revoked in 1940 and his assets were confiscated the following year. 

Goldschmidt's art collection was auctioned off on September 25, 1941 at the Hans W. Lange auction house in Berlin. 

The Renoir painting Blick von Haut Cagnes aufs Meer (cat. no. 45) (View of the Sea from Haut Cagnes) was purchased by Hildegard Diehn, the wife of Wehrmacht officer Wilhelm Diehn. In 1960 the Renoir was at the Nathan Gallery in Zurich, where it was acquired by Prof. Gustav Stein from Cologne, a member of the Federation of German Industries. He passed the painting on to Fritz Berg, President of the South Westphalian Chamber of Industry and Commerce in Hagen in 1948 and the first BDI President from 1949. After the death of his widow, Hildegard Berg, the Berg art collection was transferred to the Osthaus Museum Hagen. 

- source: press release from Osthaus Museum Hagen https://www.osthausmuseum.de/web/de/keom/presse/renoir2023.html

Minneapolis Institute of Art provenance status for selected artworks - mostly European

The Minneapolis Institute of Art publishes provenances for some artworks but not for others.

Below is a list of selected artworks at Artsmia.

Provenances, where present, are from April 20, 2024)

Download Data in  CSV for research

Tracking Looted Art with Knowledge Graphs: A Wikidata Case Study

Art looting networks operate on many levels, many of them hidden, over long periods of time. The native graph function of Wikidata enhanced by federated queries can help track them.

Tracking Looted Art with Graphs

April 9, 2022, Laurel Zuckerman

Graphs and Networks in the Humanities 2022 Technologies, Models, Analyses, and Visualizations

6th International Conference, 3. – 4. February 2022, Online

The 6th international conference on Graphs and Networks in the Humanities took place from Thursday 3. February to Friday 4. February 2022 online, co-organized by scholars from the Huygens Institute (Royal Netherlands Academy of Arts and Sciences), the Academy of Sciences and Literature | Mainz, Vienna University, University of Leipzig, and the University Ca’ Foscari Venice

Paper: Tracking Looted Art with Graphs: A Case Study 

See also:

The Error is the Message: Extracting Insights from Deceptive Data for Nazi looted art

The Knowledge Graph Conference, 2023

VIDEO: 

https://youtu.be/WBMpZ3NDNRQ?si=wsFtV9wzBEghCSoB

Comparing 1961 and May 30 2019 provenances for Manet's La Sultane in the Bührle collection

How many times did the provenance change?

Word/Phrase	1961 Catalogue Count	2019 Bürhle website Count
dealer	1	0
silberberg	1	9
?	0	2
art market	0	1
by	0	7
rosenberg	0	5
might	0	1
until	0	1
no documents	0	1
was never really and completely owned by Silberberg	0	1

Edouard Manet

Young Woman in Oriental Garb

ca. 1871

Provenance at American university art museums

 Morning on the Seine, Giverny (Matinée sur la Seine)
MONET AC 1966.48
(no provenance)
 https://museums.fivecolleges.edu/detail.php?t=objects&type=ext&id_number=AC+1966.48

 Part of the series on museum websites, provenance and transparency:

this post looks at the availability of provenance information on artworks at:

• Smith College Museum of Art (172 artworks on NEPIP)

• Mead Art Museum at Amherst College (18 artworks on NEPIP)

• Mount Holyoke College Art Museum (80 artworks on NEPIP)

• University Museum of Contemporary Art at UMass Amherst

• Historic Deerfield and the Hampshire College Art Gallery

DATABASE search https://museums.fivecolleges.edu

Explore the museum's full collection through the Five College Collections Database, which combines SCMA’s holdings with the collections of the Mead Art Museum at Amherst College, the Mount Holyoke College Art Museum, the University Museum of Contemporary Art at UMass Amherst, Historic Deerfield and the Hampshire College Art Gallery.

Provenance Evaluation: POOR

This evaluation was conducted by live tests on December 5, 2022. Please address corrections or any new information to OAD.

The museums appear to publish Credit Line but not provenance

Open Art Data is on Mastodon @openartdata@mastodon.art

Now on Mastodon!

Decentralized, more thoughtful, fewer trolls, more space to write. 

handle: @openartdata@mastodon.art

url: https://mastodon.art/@openartdata

Example of "Toots" on Mastodon

I'm wondering about the #mapping of #stories and the different versions that are told over time by different people in different places.

My own focus is the stories that are told about the #itineraries of #artworks, called #provenance.

But when I look at this #map of #iceberg #movement from Peter T Fretwell, I'm inspired about #dataviz possibilities for alternative histories of artworks (of which only one is true, the others false)

#30DayMapChallenge

 https://mastodon.art/@openartdata/109397742358396244

 

The #map function on #Digital #Benin is brilliant.

https://twitter.com/OpenLinkArtData/status/1595301214354571264

Can switch from #historical #landmarks of Benin Kingdom to the #museums in possession today.
Then #drill down for details and #datasets, with #provenance #links

Wonderful #dataviz #design.

https://digitalbenin.org/map

Could one go further and show #movement ?

#30DayMapChallenge

https://mastodon.art/@openartdata/109392975167318554 

DATASET: E. & A. Silberman Galleries and American museums

E. & A. Silberman Galleries was an art dealership owned by Abris and Elkin Silberman.  This dataset includes artworks in American museums that mention Silberman in the ownership history.

View DATASET 

See details below:

Provenances that mention Beyeler (Getty Provenance Index)

, Juan Gris, Mandolin and Fruit Dish, Gift of Joseph Pulitzer, Jr., inv 67.1161  

https://collections.mfa.org/objects/34014

In this post, a few provenances that mention Beyeler are gathered.

(Titles may have changed.)

Getty Provenance Index Public Collections Database 19MARCH2021

Provenance of Paintings Record 10627 GRIS, JUAN Still Life with a Guitar Boston, MA, Museum of Fine Arts 67.1161 canvas Gris, Juan. Paris, France (the artist) Simon, Galerie. Paris, France by 1960 - still in 1961 Thompson, G. David. Pittsburgh, PA, USA Beyeler, Galerie. Basel, Schweiz 1961 - 1967 Pulitzer, Joseph, Jr.. Saint Louis, MO, USA 1967 - Boston, MA, USA. Museum of Fine Arts (gift of Pulitzer)

Provenance of Paintings Record 10819 KIRCHNER, ERNST LUDWIG Mountain Landscape from Clavadel Boston, MA, Museum of Fine Arts 56.13 canvas Kirchner, Ernest Ludwig, estate of (estate of the artist, who d.1938) Beyeler, Galerie (executor of Kirchner estate?) - 1956 Silberman, (E. and Abris), Galleries. New York, NY, USA (from Beyeler) 1956 - Boston, MA, USA. Museum of Fine Arts (from Silberman?)

Provenance of Paintings Record 19766 GRIS, JUAN Mandolin and Pipe Hanover, NH, Hood Museum of Art P.959.128 canvas Kahnweiler, Daniel-Henry. Paris, France Simon, Galerie. Paris, France by 1925 - Reber, Gottlieb Friedrich, Dr.. Lausanne, Schweiz (d.1959) Fritsch, Irmgart, Mlle.. Lausanne, Schweiz Gasser, Galerie. Zürich, Schweiz Hadorn, Walter, Prof. Dr.. Bern, Schweiz Hutton, (Leonard), Galleries. New York, NY, USA Beyeler, Galerie. Basel, Schweiz Bruxelles, Belgique. Anonymous collection - 1959 Lachman, Charles R., Mr. and Mrs.. New York, NY, USA 1959 - Hanover, NH, USA. Hood Museum of Art (gift of Lachman)

Provenance of Paintings Record 3721 MONET, CLAUDE Water-Lilies London, England, National Gallery 6343 canvas - 1926 Monet, Claude. Giverny, France (the artist; d.1926) 1926 - still in ca. 1945 Monet, Claude, heirs of. Giverny, France (by inheritance; painting remained in Monet's studio until after WWII) by 1956 - Granoff, Katia. Paris, France (possibly from Monet heirs, who sold other paintings to her ca. 1950) by 1962 - 1963 Beyeler, Galerie. Basel, Schweiz 1963 - London, England, UK. National Gallery (from Galerie Beyeler)

Provenance of Paintings Record 2552 CÉZANNE, PAUL Portrait of Anthony Valabrègue Los Angeles, CA, J. Paul Getty Museum 85.PA.45 canvas by 1911 - Doria, François, Comte. Château d'Orrouy, France Pellerin, Auguste. Paris, France by 1936 - still in 1939 Pellerin, Jean Victor. Paris, France (by inheritance?) Wildenstein (?). London, England, UK; New York, NY, USA; Paris, France 1980/10/22 (0021) Meyer sale (Sotheby Parke Bernet) New York by 1962 - 1980 Meyer, André. France; New York, NY, USA (from Wildenstein?; d.1979) 1980 - 1985 Beyeler, Galerie. Basel, Schweiz (bought at Meyer sale) 1985 - Los Angeles, CA, USA. J. Paul Getty Museum (from Galerie Beyeler

Provenance of Paintings Record 25501 CÉZANNE, PAUL L'éternel féminin Los Angeles, CA, J. Paul Getty Museum 87.PA.79 canvas by 1907 - 1929 Pellerin, Auguste. Paris, France 1929 - still in 1939 Pellerin, Jean Victor. Paris, France (by inheritance) by 1947 - 1954 Wildenstein. London, England, UK; New York, NY, USA; Paris, France 1954 - still in 1959 Niarchos, Stavros S.. Paris, France (loaned painting to an exhibition in January 1959) 1959 - Hecht, Harold (?). Beverly Hills, CA, USA (loaned painting to an exhibition at Wildenstein in New York, November 1959) [This information not included on Getty central file sheet, thus the question.] by 1963 - Wildenstein (?). London, England, UK; New York, NY, USA; Paris, France (painting exhibited at Wildenstein in London) [according to Getty central file sheet 12-1988, painting loaned to exhibition by Wildenstein, but this information not included in file sheet of 12-1989; cannot find copy of catalogue to verify. If Hecht owned the painting when it was exhibited at Wildenstein in 1959, then he probably was the lender at this exhibition as well.] 1963 - still in 1964 Hecht, Harold. Beverly Hills, CA, USA (may have had painting since 1959) by 1970 - New York, NY, USA. Anonymous collection - 1973 Wildenstein. London, England, UK; New York, NY, USA; Paris, France 1973 - still in 1980(?) Goulandris, John, Mrs.. New York, NY, USA - 1987 Beyeler, Galerie. Basel, Schweiz 1987 - Los Angeles, CA, USA. J. Paul Getty Museum (from Galerie Beyeler)

Provenance of Paintings Record 54689 MONET, CLAUDE The Portal of Rouen Cathedral in Morning Light Los Angeles, CA, J. Paul Getty Museum 2001.33 canvas - 1895 Monet, Claude. Giverny, France 1895 - 1895 Durand-Ruel, buying for Gonse. New York, NY, USA; Paris, France (from Monet) 1895 - 1921 Gonse, Louis. Paris, France (buying through Durand-Ruel) - 1962 Gonse, Emmanuel, Mme. (née Suzanne Boas). Paris, France (by inheritance; daughter-in-law of Louis Gonse) - 1962 Durand-Ruel. New York, NY, USA; Paris, France (from Gonse) 1962 - 19th and 20th Century French Art, Inc. (Sam Salz). New York, NY, USA (from Durand Ruel) in ca. 1968 Vogel, Edwin C.. New York, NY, USA in ca. 1971 19th and 20th Century French Art, Inc. (Sam Salz). New York, NY, USA in ca. 1972 Goulandris, Basil P.. Schweiz Beyeler, Galerie. Basel, Schweiz Fujikawa Gallery. Tokyo, Japan [Unknown] - 2001 Acquavella Contemporary Art, Inc.. New York, NY, USA 2001 - Los Angeles, CA, USA. J. Paul Getty Museum (from Acquavella)

Provenance of Paintings Record 5256 RENOIR, PIERRE AUGUSTE Portrait of Albert Cahen d'Anvers Los Angeles, CA, J. Paul Getty Museum 88.PA.133 canvas 1881 - Cahen d'Anvers, Albert (original commission; the sitter; d.1903) Cahen d'Anvers, Hubert (presumably by inheritance) - ca. 1971 Cahen d'Anvers family (by inheritance) Steegman, Joseph, Dr.. Zürich, Schweiz Beyeler, Galerie. Basel, Schweiz [sold to Geneva, anon coll in 1984?] 1984 - Genève, Schweiz. Anonymous collection [from Beyeler??] - 1988 Beyeler, Galerie. Basel, Schweiz 1988 - Los Angeles, CA, USA. J. Paul Getty Museum (from Beyeler)

Provenance of Paintings Record 5815 KANDINSKY, WASSILY Study for Improvisation V Minneapolis, MN, Minneapolis Institute of Arts 67.34.2 wood Jawlensky, Helene von, Mrs.. Ascona, Schweiz Abels, Anne. Köln, Deutschland - 1967 Beyeler, Galerie. Basel, Schweiz 1967 - 1967 Dayton, Bruce B., Mr. and Mrs.. Minneapolis, MN, USA 1967 - Minneapolis, MN, USA. Minneapolis Institute of Arts (gift of Dayton)

Provenance of Paintings Record 5705 MANET, EDOUARD Le Fumeur (The Smoker) Minneapolis, MN, Minneapolis Institute of Arts 68.79 canvas 1888/06/06 (0001) Pertuiset sale (Tual, Escribe) Paris [as "La Bonne Pipe"] by 1866 - 1888 Pertuiset, M.. Paris, France 1888 - Bloch, Isidore. Paris, France Durand-Ruel. New York, NY, USA; Paris, France (Durand-Ruel in Paris) Milliken, E.F.. New York, NY, USA Durand-Ruel. New York, NY, USA; Paris, France (Durand-Ruel in New York) in 1907 Whitney, Helen Hay Payne, Mrs.. New York, NY, USA Miller, C. MacCulloch, Mrs.. New York, NY, USA Tribune Gallery. New York, NY, USA - 1968 Schweiz. Anonymous collection 1968 - 1968 Beyeler, Galerie. Basel, Schweiz 1968 - 1968 Dayton, Bruce B., Mr. and Mrs.. Minneapolis, MN, USA 1968 - Minneapolis, MN, USA. Minneapolis Institute of Arts (gift of Dayton)

Provenance of Paintings Record 27811 PICASSO, PABLO Bust of a Woman Pasadena, CA, Norton Simon Museum M.1970.5.16.P canvas - 1966 Picasso, Pablo. Cannes, France Beyeler, Galerie. Basel, Schweiz Rosenberg, (Paul), and Co.. London, England, UK; New York, NY, USA; Paris, France 1967 - 1970 Hunt Foods and Industries 1970 - Pasadena, CA, USA. Norton Simon Museum (from Hunt Foods)

Provenance of Paintings Record 27569 PICASSO, PABLO Women of Algiers I Pasadena, CA, Norton Simon Museum M.1986.3.P canvas Rosenberg [assumably the dealer Paul Rosenberg] Frua de Angeli, Carlo. Milano, Italia (d.1972) Beyeler, Galerie. Basel, Schweiz 1973 - 1986 Los Angeles, CA, USA. Norton Simon Foundation 1986 - 1986 Los Angeles, CA, USA. Norton Simon Art Foundation 1986 - Pasadena, CA, USA. Norton Simon Museum (from Norton Simon Art Foundation)

Provenance of Paintings Record 17073 PICASSO, PABLO Nude Woman Washington, DC, National Gallery of Art 1972.46.1 canvas - 1939(?) Pierre, Galerie. Paris, France [additional non-provenance: painting bears a label with Gertrude Stein's and Alice Toklas' 1938 address, but several sources deny that it ever belonged to them.] 1939 - Callery, Meric, Mrs.. New York, NY, USA; Boulogne-sur-Seine, France (apparently from Pierre) 1960 - 1972 Frua de Angeli, Carlo. Milano, Italia (d.1972) 1972 - 1972 Beyeler, Galerie. Basel, Schweiz (from Frua de Angeli estate) [according to a letter from Douglas Cooper in Washington NG file, painting was at Beyeler for over a decade, but they were unable to sell it. According to Beyeler, it was in Frua de Angeli's collection until his death in 1972, and was purchased from the estate in May 1972. The writer sounded pretty annoyed at Cooper's allegations that the painting was trash and denied that it had been sitting around for ten years. Since the Cooper story sounds a bit fishy (why would NGDC spend big bucks on a painting nobody wanted?), I'm ignoring it and going by Beyeler's version.] 1972 - Washington, DC, USA. National Gallery of Art (from Beyeler; formerly acc.no. 2631)

 

Mountain Landscape from Clavadel, Kirchner, Inv 56.13, Boston MFA
https://collections.mfa.org/objects/33551

Study for Improvisation V, Kandinsky, Inv. 67.34.2, 
https://collections.artsmia.org/art/1639/study-for-improvisation-v-vassily-kandinsky

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.