Alphonse Bellier

 

2017.75.2

Two Studies of Dancers

about 1873

Edgar Degas (French, 1834 - 1917)

Not currently on view 

https://www.getty.edu/art/collection/object/109NEY#full-artwork-details

• 1918 

  Edgar Degas(L.657, L.658, L.658bis)French, 1834 - 1917

  [sold, Atelier Degas, 2ème Vente, Galerie Georges Petit, Paris, December 11-13, 1918, lot 227 to Jules Strauss.] 

• 1918-1932 

  Jules Strauss

  [sold, Collection Jules Strauss, Galerie George Petit, Paris, December 15, 1932, lot 10 to M. Bellier, possibly Alphonse Bellier or Jean-Claude Bellier.] 

  Source: Sotheby's, London. Impressionist, Modern & Surrealist Art Evening Sale, 5 February 2014, p. 30. 

• 1932 

  Possibly Alphonse BellierFrench, 1886 - 1980

• - 

  Or Jean-Claude BellierFrench

• 1938 

  André Schoeller1879 - 1955

  sold to Wildenstein & Co., 1938. 

• 1938-1954 

  Wildenstein & Co. (New York)

  sold to Mr. Edwin C. Vogel, 1954. 

• 1954 

  Edwin C. VogelAmerican, 1884 - 1973

  and Florence GoldmanAmerican, 1891 - 1960

• 1988 

  Acquavella Galleries, Inc.

  sold to Jan Krugier, December 1988. 

• 1988-2008 

  Jan KrugierSwiss, born Poland, 1928 - 2008

  and Marie-Anne PoniatowskiPolish, born 1931

  upon the death of Jan Krugier, retained by Marie-Anne Poniatowski. 

• 2008-2014 

  Marie-Anne PoniatowskiPolish, born 1931

  [sold, Impressionist, Modern & Surrealist Art Evening Sale, Sotheby's, London, 5 February 2014, lot 1, to Jean-Luc Baroni.] 

• 2014-2016 

  Jean-Luc Baroni, Ltd.

  sold to private collector, 2014. 

• 2016-2017 

  Private Collection, St. Peter Port, Guernsey

  sold to the J. Paul Getty Museum, 2017.

DATASET: Toledo Museum of Art Provenance Archive

This art provenance dataset contains publicly available information originally published online by a cultural heritage institution which has been formatted as a CSV file for easy download and analysis with digital tools.  It is intended to facilitate research into Holocaust-era provenance for scholars, art historians and families. 

Toledo Museum of Art Provenance Research

DATASET DOWNLOAD CSV FILE

(based on

http://www.toledomuseum.org/wordpress/wp-content/uploads/Provenance-Research-lowres.pdf
archived at:
https://web.archive.org/web/20121224083005if_/http://www.toledomuseum.org:80/wordpress/wp-content/uploads/Provenance-Research-lowres.pdf )

What happened to the Arkansas Art Center Database?

 The Arkansas Art Center changed its name to the Arkansas Museum of Fine Arts.

There used to be an online art collections database with a search function.

https://web.archive.org/web/20110201214103/http://www.aacwebkiosk.com/

Where is the database today?

https://arkmfa.org/art/collection/

Back when the museum was known as the Arkansas Art Center, it listed 447 artworks on the Nazi Era Provenance Internet Portal (NEPIP).

BLOGGER POST ID: 167711942511517822/8382952564275784305

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 ("http://www.dia.org/art/provenance-listings.aspx").

This version dates from 2015.

---

DOWNLOAD CSV

---

for original file see:

https://archive.ph/uISaz#selection-929.1-934.0

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

Correspondence regarding looted works of art in Switzerland 1945-6 UK Archives

Interesting sources available in the UK Archives for Nazi looted art.

FO 371/45771/21

https://discovery.nationalarchives.gov.uk/details/r/C13370847

Registry Number: UE 6318/123/77. 

Derain in the Nazi Era Provenance Internet Portal

Numerous artworks by André Derain have been listed by American museums on NEPIP, the Nazi Era Provenance Internet Portal

This post contains a list of NEPIP artworks by Derain with the title, accession number and museum collection.

Modern art seized by Nazis and sold through Curt Valentin: Where are they today?

Nazi Looted Art Research, focus on Curt Valentin and the sale of modern art, classified by Nazis as "Degenerate" and seized for resale to finance the Nazi war effort

Location of "Degenerate Art" seized by Nazis and sold by Curt Valentin (where it it known)

New York, Museum of Modern Art	16
Privatbesitz	12
St. Louis, Saint Louis Art Museum	5
Detroit, Institute of Arts	5
USA, Privatbesitz	4
Washington, National Gallery of Art	3
Philadelphia, Museum of Art	3
Hannover, Sprengel Museum	3
Essen, Museum Folkwang	3
Washington, Smithsonian Institution	2
Providence, Rhode Island School of Design	2
New York, Solomon R. Guggenheim Museum	2
Cambridge/MA, Fogg Art Museum	2
Cambridge/MA, Busch-Reisinger Museum - Harvard University Art Museums	2
Berlin, Neue Nationalgalerie	2
Würzburg, Sammlung Hermann Gerlinger	1
Winterthur, Kunstmuseum	1
Washington, Library of Congress	1
Washington, International Gallery of Art	1
Sydney, Art Gallery New South Wales	1
Stuttgart, Staatsgalerie	1
Schweiz, Privatbesitz	1
Sammlung Rolf Horn	1
Oberlin, Allen Memorial Art Museum	1
New York, Weintraub Gallery	1
New York, Metropolitan Museum of Art	1
New York, Brooklyn Museum	1
Nagoya, Aichi Prefectural Museum of Art	1
Miyazaki, Miyazaki Prefectural Art Museum	1
Minneapolis, Walker Art Center	1
Minneapolis, Institute of Arts	1
Michigan, Slg. Adolph Alfred Taubmann	1
Mailand, Fondazione Antonio Mazzotta	1
Madrid, Museo Nacional Thyssen-Bornemisza	1
London, Sammlung Goodwin	1
Locarno, Museo Civico e Archeologico Castello Visconteo	1
Kunsthandel	1
Köln, Kunstmuseum des Erzbistums Köln	1
Köln, Kunsthaus Lempertz	1
Kansas City, The Nelson-Atkins Museum of Art	1
Hamburg, Hamburger Kunsthalle	1
Hagen, Karl Ernst Osthaus Museum	1
Dresden, Skulpturensammlung	1
Cleveland, The Cleveland Museum of Art	1
Chicago, The Art Institute	1
Boston, Museum of Fine Arts	1
Bern, Galerie Kornfeld und Cie.	1
Berlin, Staatliche Museen zu Berlin - Museum Berggruen	1
Berlin, Galerie Michael Haas	1
Bergen, Kunstmuseum, Stenersen's Collection	1

 raw data source: Beschlagnahmeinventar "Entartete Kunst", "Degenerate Art" Research Center, FU Berlin; filtered for "Curt Valentin" and Location not blank or "Unbekannt"

http://emuseum.campus.fu-berlin.de/eMuseumPlus?service=RedirectService&sp=Scollection&sp=SfieldValue&sp=0&sp=5&sp=3&sp=SdetailList&sp=0&sp=Sdetail&sp=2&sp=F

See also: Buchholz and Valentin in Provenance Texts in American Museums

Henri Matisse The Blue Window

Henri Matisse

The Blue Window

Issy-les-Moulineaux, summer 1913

at the Museum of Modern Art in New York, Credit

Abby Aldrich Rockefeller Fund

Object number

273.1939

 https://web.archive.org/web/20150805185104/https://www.moma.org/collection/works/79350

EK no. 3688: Stillleben, blaues Zimmer. One of 139 paintings removed from the Folkwang Essen in July and August 1937 (exh. cat. Folkwang 2010, p. 348). [4] Included in the exhibition Art in Our Time, The Museum of Modern Art, New York, May 10- September 30, 1939 (no. 93).

Franz Marc Foxes Kurt and Else Grawi vs. Landeshauptstadt Düsseldorf Recommendation decided on February 10, 2021

Franz Marc, The Foxes (1913) Wikimedia Commons

 Advisory Commission on the return of cultural property seized as a result of Nazi persecution, especially Jewish property Office: Seydelstr. 18, 10117 Berlin

Recommendation of the Advisory Commission in the case of the heirs of Kurt and Else Grawi vs. Landeshauptstadt Düsseldorf

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.

Galerie Bing in Provenances of Artworks in UK Spoliation reports, Museums and Auctions

Are the provenances clear and solid for the Nazi years 1933-1945? Why or why not?

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

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

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

Tracking looted art by examining the names in between. Example: MEISSNER

 

In this post, we look in art provenances that contain Meissner, a name that has appeared in connexion with Nazi-looted art.

Tracking Nazi-looted art dealers: Restitutions as data

What can we learn by analyzing the provenances of artworks which have been restituted to the heirs of Jewish art collectors persecuted by the Nazis?

Patterns. Repetition. Familiar faces. 

Those art dealers who just keep "popping up".

In this post we see what we can learn from the provenance published by auctions houses which have been authorized to sell previously looted art AFTER it has been restituted to the families.

Gurlitt Status: source German Lost Art Foundation website April 27 2022

What are the results of a decade of provenance research into the origins of the stash of artworks found in the home of Cornelius Gurlitt, the son of Hitler's art dealer Hildebrand Gurlitt? 

The German Lost Art Foundation publishes online a selection color coded Green, Yellow or Red from the "Provenienzrecherche Gurlitt".

At present, only four are coded RED. A whopping 615 are coded YELLOW. And 28 have received the GREEN code. As for the artworks that have not been coded, there is a note:

After the research reports on works originally suspected of Nazi looting have successfully undergone an expert review, they are approved by the board of the project sponsor. The final note summarizes the key data and research findings on the work and completes the Object Record Excpert (ORE). Then the investigated artwork is assigned to one of the categories of the agreement. Works that are classified as so-called "Degenerate Art" with a clearly unencumbered origin and the family collection* do not undergo a review and therefore do not receive a final note.

*The family holdings are works that are attributed to the Gurlitt family because they were either created after 1945, were created by family members, or can be directly attributed because of personal dedications

Translated with www.DeepL.com/Translator (free version)

Below are the  artworks in each color category:

Forgery and false provenances

False provenances are needed to insert art forgeries into the historical record.

Where there is forgery there is false provenance.

Dealers who sell forgeries are great sources of false provenances. A special kind of writing is involved in the creation of false provenances. A talent for making things that are not true seem at least plausible. 

Question: Do dealers of forgeries also sell looted art?

Some, like Knoedler, are known to have sold both at one time or another. Knoedler's prestige and power enables it to insert lies into the historical record without being challenged for a very long time. 

What about the others? How to find out?