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Provenance Research
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| Bartolomeo Passarotti (Bolognese, 1529-1592), Portrait of a Young Man, 16th century, oil on canvas, 83.3 x 55.9 cm. Gift of Mr. and Mrs. John Flemer. |
| Click here to view all the images in our provenance research collection. |
The Beaverbrook Art Gallery is dedicated to the
preservation and exhibition of works of art, and is equally committed
to the research and interpretation of those objects for which we
are responsible: our collection. While the study of stylistic influence
is important, it is the accompanying social history that provides
a context in which to thoroughly understand an artwork. This context
includes the era in which an artwork was produced, as well as its
subsequent history, including exhibitions, published references,
and ownership ("provenance").
Awareness of the extent of cultural destruction
and pillage under the Nazi regime has given new urgency to settling
histories of cultural property ownership. This Gallery has adopted
guidelines established by the International Council of Museums (ICOM)
and the Canadian Museums Association (CMA) concerning the confiscation
of objects during the Nazi era. These guidelines recommend that
collections research specifically address the provenance of a work
between the years 1933 and 1945.
The acquisitions committee of The Beaverbrook Art
Gallery now requires clarity of provenance before a work is considered
for acquisition into the collection. Works already in the collection
are being further researched in order to identify those with gaps,
or with an unclear provenance.
Consistent with the practice of other major institutions,
The Beaverbrook Art Gallery is publishing a list of works for review.
We wish to emphasise that the works listed have incomplete provenance
between the time that Hitler came to power (1933) and the end of
the Second World War (1945). Inclusion on the list does not indicate
that a work was unlawfully acquired. When our research alone is
unable to satisfactorily establish provenance making the list public
and cross-referencing it against databases of known stolen art are
the only avenues that remain.
This list is in-progress and will change if and
when new information comes to light. Should you have any concerns
or questions about works listed here please contact Laura Ritchie, Registrar, lritchie@beaverbrookartgallery.org
Our very grateful thanks go to Margot Samuel. Margot
volunteered many long hours reviewing the files of these and other
works in order to assess the state of our provenance research. Due
to Margot's efforts we have direction for further research that
will allow us to eventually reduce the number of works appearing
here.
Rachel Brodie, Former Collections Manager
Click image for complete view. |
Attr. Lucas Cranach, the
Elder (German, c.1472-1553)
(detail)
Lucretia, c.1530
tempera and oil on panel
Gift from the Estate of David H. M. Vaughan
31.1
x 23.5cm
#1996.07 Previously attributed to
“School of Lucas Cranach the Elder”. The provenance
for this work is unknown prior to 1946, when it is included
in the inventory of a private collector in Montreal.
The Beaverbrook Art Gallery (1 November, 1996); The Estate
of David H.M. Vaughan; Elwood B. Hosmer (by 1946); early history
unknown. |
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Anonymous German (Cologne)
School
Christ on the Cross and Virgin and Child between Two Angels,
c.1340-60
ivory diptych
12.7 x 20.32cm
#1996.06
The provenance is unclear prior to1940. It
is known to have been owned by a collector named Francois
Van Waegeningh of The Hague, Holland, and later by R. Storra
of New York. In April 1940 it was acquired by Watson Art Galleries,
Montreal.
The Beaverbrook Art Gallery (1 November, 1996); The Estate
of David H.M. Vaughan; Elwood B. Hosmer, Montreal (August
20, 1940); Watson Art Galleries, Montreal (April 27, 1940);
R. Storra, New York; Francois Van Waegeningh, The Hague, Holland.
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Sandro
Botticelli (Italian, 1445-1510)
Christ Bearing The Cross, c. 1490-1510
egg tempera on canvas
131.45 x 106.68cm
#1963.04
The work was acquired in 1959 by Avvocato
Luigi Albrighi of Florence. The provenance prior to this is
unknown.
The Beaverbrook Art Gallery / The Beaverbrook Foundation (in dispute, 2004); David Carritt Ltd., London . (c. 1960) .; An Italian collector in Switzerland.; Avvocato Luigi Albrighi , Florence (1959); early history unknown. |
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Sandro Botticelli (Italian,
1445-1510)
The Resurrection, c.1490-1510
egg tempera on canvas
132.08 x 106.36cm
#1963.03
The work was acquired in 1959 by Avvocato
Luigi Albrighi of Florence. The provenance prior to this is
unknown.
The Beaverbrook Art Gallery / The Beaverbrook Foundation (in dispute, 2004); David Carritt Ltd., London . (c. 1960) .; An Italian collector in Switzerland.; Avvocato Luigi Albrighi , Florence (1959); early history unknown. |
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Eugene Boudin (French,
1824-1898)
Pardon a Sainte-Anne-la-Palud, 1858
oil on panel
35,6 x 58,4cm
#1993.28
The work was acquired by M. Knoedler
and Co., Inc., New York in 1953. Previous to that it was known
to have been in the collection of John Nairne, Forth Park,
Kirkcaldy, Ireland (by 1901), and later in the collection
of Andre Weil, Paris.
The Beaverbrook Art Gallery (31 December,
1993); Mr. and Mrs. John Flemer; Estate of Elwood B. Hosmer
(March 5, 1955); M. Knoedler and Co., Inc., New York (1953);
Andre Weil, Paris, John Nairne, Forth Park, Kirkcaldy, Ireland
(by 1901). |
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Eugene Boudin (French,
1824-1898)
La Plage de Trouville, 1869
watercolour and pencil on paper
15 x 30cm
#1991.17
Purchased in 1959, by a private collector,
from Galerie André Weil, Paris. The earlier history
is unknown.
The Beaverbrook Art Gallery (17 December,
1991), Mrs. L. Marguerite Vaughan (purchased from Galerie
André Weil, Paris, 1959); early history unknown. |
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Eugene Boudin (French,
1824-1898)
Madame Juliette dans le jardin, 1895
oil on panel
35.6 x 24.1cm
#1991.19
The work was purchased by a private
collector in December 1953 from E.J. Van Wisseling & Co.,
Amsterdam. Previous to that it had been in the collections
of Mme. Juliette Caband and, later, Jean-Pierre Moueiux, Libourne.
The Beaverbrook Art Gallery (23 May,
1991); L. Marguerite Vaughan (purchased from E.J. Van Wisseling
& Co., Amsterdam, December 1953); Jean-Pierre Moueiux, Libourne,
France; Mme Juliette Caband. |
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Bartholomäus Bruyn,
the Elder (German, c.1493-1555)
The Virgin and Child with St. Anne, c.1530
oil and tempera on panel
39.4 x 18.4cm
#1996.02
The work was known to have been acquired
by Eugene L. Garbaty, Schloss Alt-Doebern, Nieder-Lausitz,
and later Shorehaven, USA in 1912. The work later appeared
at auction, as lot 74, 25 April, 1956, Sotheby Parke Bernet
& Co.
The Beaverbrook Art Gallery (1 November,
1996); David H.M. Vaughan; Mr. and Mrs. Murray Vaughan; Estate
of Elwood B. Hosmer, Montreal (21 November, 1956); Thos. Agnew
and Sons Ltd., London (25 April, 1956); Sotheby Parke Bernet
& Co. Sale, lot 74, 25 April, 1956; Eugene L. Garbaty, Schloss
Alt-Doebern, Nieder-Lausitz, and later Shorehaven, USA; "Ruhl
Collection Auction", Heberle, Cologne (1876); Christopher
Rhaban Ruhl, Cologne (by 1850); early history unknown. |
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Bartholomäus Bruyn,
the Elder (German, c.1493-1555)
St. Elizabeth of Hungary Giving Alms, c. 1530
tempera and oil on panel
39.4 x 18.4cm
#1996.03
The work was known to have been acquired
by Eugene L. Garbaty, Schloss Alt-Doebern, Nieder-Lausitz,
and later Shorehaven, USA in 1912. The work later appeared
at auction, as lot 74, 25 April, 1956, Sotheby Parke Bernet
& Co.
The Beaverbrook Art Gallery (1 November,
1996); David H.M. Vaughan; Mr. and Mrs. Murray Vaughan; Estate
of Elwood B. Hosmer, Montreal (21 November, 1956); Thos. Agnew
and Sons Ltd., London (25 April, 1956); Sotheby Parke Bernet
& Co. Sale, lot 74, 25 April, 1956; Eugene L. Garbaty, Schloss
Alt-Doebern, Nieder-Lausitz, and later Shorehaven, USA; "Ruhl
Collection Auction", Heberle, Cologne (1876); Christopher
Rhaban Ruhl, Cologne (by 1850); early history unknown. |
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Jaime Cirera (Catalan,
c.1425 1459)
St. Martin of Tours, c.1440
tempera on panel
160 x
91.4cm
#1996.04
The provenance for this work is unknown prior
to 1946, when it is included in the inventory of a private
collector in Montreal.
The Beaverbrook Art Gallery (1 November,
1996); Estate of David H.M. Vaughan; Elwood B. Hosmer, Montreal
(by 1946); early history unknown. |
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Martin de Soria (Aragonese,
active c.1471-1487)
Presentation of the Virgin, c.1475
tempera and oil on panel
116.8
x 47cm
#1996.05
The work is known to have been in the collections
of (in this order) H. Daguerre, Paris; Thomas Harris, London;
and Arnold Seligmann, Rey and Co., Inc., New York. It was
sold by Seligmann to a private collector in March 1937.
The Beaverbrook Art Gallery (1 November,
1996); the Estate of David H.M. Vaughan; Elwood B. Hosmer
(31 March, 1937); Arnold Seligmann, Rey and Co., Inc., New
York; Thomas Harris, London, H. Daguerre, Paris; early history
unknown. |
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Jean Baptiste Mozin (after
Barend van Orley) (French, active 1663-1696)
Gobelins Tapestry: The Hunts of Maximilian, July (The Report),
1693
textile
401.32 x 497.84cm
#1993.35
The early provenance of the work has been
established up to 1792 when it came into the collection of
the Ministry of Justice, Place Vendome, Paris. The only record
of it after that is in 1937, when a private Montreal collector
purchased it from the dealer J.J. Wolff of London.
The Beaverbrook Art Gallery (31 December,
1993); L. Marguerite Vaughan to 1991 and then her family;
Mrs. Howard Pillow (to 1969); Elwood B. Hosmer, Montreal (August,
1937); J.J. Wolff, London, England; unknown; Ministry of Justice,
Place Vendome, Paris (?) (by 1792); Chateau de Fontainebleau
(by 1789); Louis XIV, garde-Meuble de la Couronne, Palais
du Louvre, Paris (late 1693); Atelier of the artist. |
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Bartolomeo Passarotti
(Bolognese 1529-1592)
A Young Man, sixteenth century
oil on canvas
83.3 x 55.9cm
#1993.29
Until August 1984 the work was attributed
to Giovannie Girolamo Savoldo. It was acquired by a private
Montreal collector in December 1936 from John Levy Galleries,
Inc., New York. Previous to that, it was known to have been
in the collection of Albert R. Jones, Kansas City, and earlier
in the collections of of Dr. H. Wendland, Basle, and the Guecchio
Collection, Genoa.
The Beaverbrook Art Gallery (31 December,
1993); Elwood B. Hosmer, Montreal, and then his family (16
December, 1936); John Levy Galleries, Inc., New York; Albert
R. Jones, Kansas City; Dr. H. Wendland, Basle, Guecchio Collection,
Genoa; early history unknown. |
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Master of San Miniato
(Florentine, active late fifteenth century)
The Marriage of St. Catherine, late fifteenth century
oil on panel
42.5 x 32.4cm
#1993.32
Until very recently the work was attributed
to Bennozzo Gozzoli (1420-1497) an artist of the Florentine
School. The work was known to have been in the collection
of Barone Michele Angelo Lazzaroni, of Paris and of Rome,
until the late 19th century. In 1936 it was in the posession
of John Levy Galleries, Inc., New York, who loaned it to The
Centennial Exposition at the Dallas Museum of Fine Arts during
that same year.
The Beaverbrook Art Gallery (31 December,
1993); Mr. and Mrs. John Flemer; Elwood B. Hosmer, Montreal
(May, 1939); Nicholas M. Acquavella Galleries, Inc., New York;
John Levy Galleries, Inc., New York (1936); Barone Michele
Angelo Lazzaroni, Paris & Rome (b. 1863); His de la Salle
Collection, France; possibly Aime-Charles-Horace He De La Salle,
born 1795, died 1878, Paris. |
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Brussels Tapestry
Holykinship: Virgin and Child with St. Anne, early
sixteenth century
textile
248.9 x 204.5cm
#1993.34
No provenance has been recorded prior to
being purchased from Albert C. Morse & Son, New York, in 1937
by a private collector in Montreal.
The Beaverbrook Art Gallery (31 December,
1993); Mr. and Mrs. John Flemer; Elwood B. Hosmer, Montreal
(April, 1937) (purchased for $5,250); Albert C. Morse & Son,
New York; early history unknown. |
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Brussels Tapestry
Diana the Huntress and her Nymphs, n.d.
textile
345.4 x 360.7cm
#1996.01
The provenance of this work is unknown
until August 1937, when a private Montreal collector purchased
it from the dealer J.J. Wolff of London.
The Beaverbrook Art Gallery (1 November,
1996); David H.M. Vaughan; Mr. and Mrs. A. Murray Vaughan;
Elwood B. Hosmer, Montreal (August, 1937); J.J. Wolff, London,
England; early history unknown. |
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Jakob Van Loo (Dutch,
1614-1670)
A Gentleman, 1650
oil on canvas
105.41 x 92.39cm
#1961.48
The work was acquired by a private
collector in the early 1930's.
The Beaverbrook Art Gallery / The Beaverbrook Canadian Foundation (in dispute, 2004); Sir James Dunn Foundation; Sir James Dunn (early 1930s). |
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For reproduction rights enquiries
please contact the Reproduction
Rights Officer.
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