Works of art intended to form part of a forthcoming exhibition at Tate that may be covered by immunity from seizure are listed below.

Part 6 of the Tribunals, Courts and Enforcement Act 2007 provides immunity from seizure for cultural objects which are loaned from overseas to temporary public exhibitions in approved museums or galleries in the UK where conditions are met when the object enters the UK.

The conditions are:

  • The object is usually kept outside the UK
  • The object is not owned by a person who is resident in UK
  • Importing the object does not contravene any law
  • The object is brought into UK for the purpose of a temporary public exhibition at an approved museum or gallery
  • The museum or gallery has published information about the object.

All works currently being proposed for or covered by immunity from seizure in the UK are linked to the Arts Council’s website.

If you have any further enquiries, please write to:

Immunity from seizure
Director’s Office
Tate
Millbank
London SW1P 4RG

Any specific enquiries concerning works in private collections included in Tate exhibitions should be directed to Matthew Gale, Head of Displays, Tate Modern.

Artworks currently at Tate

David Hockney

Tate Britain (London, UK) from 09 Feb 2017 until 29 May 2017.

David Hockney
(born 1937, born: Bradford)

David Hockney, The Cha Cha Cha That Was Danced in the Early Hours of 24th March, 1961

X63779
The Cha Cha Cha That Was Danced in the Early Hours of 24th March

1961
painting
Oil paint on canvas
support: 1725 x 1535 mm frame: 1925 x 1735 x 40 mm
Private collection
Provenance:
Acquired 1998, Ivor Braka, London; Private collection, Paris; Mr and Mrs Robert Melville, London; Tony Reichardt, North Queensland; Private collection, Paris; Kasmin Ltd, London; the artist.
Nationality of the artist: British
Identifying marks: none
Place of manufacture: London, UK
Catalogue raisonne: David Hockney Paintings, Prints and Drawings: 1960-1970, exh. cat., The Whitechapel Art Gallery, London, 1970, p. 21.

David Hockney, Play Within a Play, 1963

X58948
Play Within a Play

1963
painting
Oil paint and Plexiglas on canvas
support: 1830 x 1980 mm
Private collection c/o Connery & Associates
Provenance:
Acquired 2014; private collection by descent; Private collection, Los Angeles; Andre Emmerich Gallery, New York; Sale, Sotheby's New York, 1 November 1984, Lot 14; Private collection, Beverley Hills; Mr and Mrs Paul Cornwall-Jones, London; the artist.
Nationailty of the artist: British
Identifying marks: none
Place of manufacture: London, UK
Catalogue Raisonne: Nikos Stangos (ed.), David Hockney by David Hockney, New York, 1976, p. 85.

David Hockney, Hotel Beirut, 1966

X61983
Hotel Beirut

1966
on paper, unique
Graphite and coloured pencil on paper
support: 508 x 403 mm frame: 737 x 584 x 38 mm
Lent by the Metropolitan Museum of Art, Bequest of William S. Lieberman, 2005 (2007.49.50)
Provenance:
Acquired 2005, bequest of William S. Lieberman; by 1974 William S. Lieberman, New York.
Nationality of the artist: British
Identifying marks: Signature, lower right: DH. 66'. Inscription: lower right: Hotel Bierut [sp]
Place of manufacture: Beirut, Lebanon

David Hockney, The Room, Tarzana, 1967

X58986
The Room, Tarzana

1967
painting
Acrylic paint on canvas
support: 2440 x 2440 mm
Private collection
Provenance:
Private collection; Private collection, London; Private collection, Los Angeles; Astrup Fearnley Museet, Oslo; Marlborough Fine Art, London; Elton John, London; Rory McEwan, London; Kasmin Gallery, London; the artist.
Nationality of the artist: British
Identifying marks: none
Place of manufacture: Los Angeles, United States
Catalogue Raisonne: Marco Livingstone, David Hockney, London, 1987, no. 52, p. 71, illustrated in colour, no. 52, p. 247.

David Hockney, American Collectors (Fred & Marcia Weisman), 1968

X58983
American Collectors (Fred & Marcia Weisman)

1968
painting
Acrylic paint on canvas
support: 2134 x 3048 mm
The Art Institute of Chicago, restricted gift of Mr. and Mrs. Frederic G. Pick
Provenance:
Acquired 1984 through William Beadleston Inc. Fine Art, New York; William Beadleston Inc. Fine Art, New York, by 1983; Private collection, Germany, by 1981; Acquired Mr and Mrs Frederick R. Weisman, Los Angeles, 1969 (through Andre Emmerich Gallery, New York); Andre Emmerich Gallery, New York; the artist.
Nationality of the artist: British
Identifying marks: none
Place of manufacture: Los Angeles, United States
Catalogue Raisonne: David Hockney, Paintings Prints and Drawings: 1960-1970, exh. cat., The Whitechapel Art Gallery, London, 1970, p. 73.

David Hockney, Portrait of an Artist (Pool with Two Figures), 1972

X58989
Portrait of an Artist (Pool with Two Figures)

1972
painting
Acrylic paint on canvas
support: 2140 x 3048 mm
Lewis Collection
Provenance:
Acquired March 1995 through Asya Chorley Ltd. London; Private collection USA; William Beadleston Gallery, New York; Andre Emmerich Gallery, New York; the artist
Nationality of the artist: British
Identifying marks: none
Place of manufacture: Los Angeles, United States
Catalogue Raisonne: Nikos Stangos (ed.), David Hockney by David Hockney, New York, 1976, p. 238.

David Hockney, Mount Fuji and Flowers, 1972

X58990
Mount Fuji and Flowers

1972
painting
Acrylic paint on canvas
support: 1524 x 1219 mm frame: 1610 x 1308 x 67 mm
Lent by the Metropolitan Museum of Art, Purchase, Mrs. Arthur Hays Sulzberger Gift, 1972 (1972.128)
Provenance:
Acquired 1972 from Andre Emmerich Gallery, New York; the artist.
Nationailty of the artist: British
Identifying marks: none
Place of manufacture: London, UK
Catalogue Raisonne: Nikos Stangos (ed.), David Hockney by David Hockney, New York, 1976, p. 243.

David Hockney, Contre-Jour in the French Style - Against the Day dans le Style Français, 1974

X58991
Contre-Jour in the French Style - Against the Day dans le Style Français

1974
painting
Oil paint on canvas
support: 1830 x 1830 mm frame: 1880 x 1880 x 55 mm
Ludwig Museum - Museum of Contemporary Art, Budapest
Provenance:
Acquired 1989, donated by Peter and Irene Ludwig; Kasmin Ltd. London; the artist.
Nationality of the artist: British
Identifying marks: none
Place of manufacture: Paris, France
Catalogue Raisonne: David Hockney: Paintings and Drawings, exh. cat., Musee des Arts Decoratifs, Paris, 1974, p. 46.

David Hockney, Kerby (After Hogarth) Useful Knowledge, 1975

X58949
Kerby (After Hogarth) Useful Knowledge

1975
painting
Oil paint on canvas
support: 1829 x 1527 mm
The Museum of Modern Art, New York. Gift of the artist, J. Kasmin and the Advisory Committee Fund, 1977 Accession Number: 139.1977
Provenance:
Acquired 1977, gift of the artist, J. Kasmin and the Advisory Committee Fund; Kasmin Ltd. London; the artist.
Nationality of the artist: British
Identifying marks: none
Place of manufacture: Paris, France
Catalogue Raisonne: David Hockney: A Retorpsective, exh. cat., Los Angeles County Museum of Art, Los Angeles, 1988, pp. 20-21.

David Hockney, Looking at Pictures on a Screen, 1977

X58992
Looking at Pictures on a Screen

1977
painting
Oil paint on canvas
support: 1830 x 1830 mm
The Miles and Shirley Fiterman Foundation
Provenance:
Acquired Andre Emmerich Gallery, New York
Nationality of the artist: British
Identifying marks: none
Place of manufacture: London, UK
Catalogue Raisonne: David Hockney: A Retrospective, exh. cat., Los Angeles County Museum of Art, Los Angeles, 1988, p. 25.

David Hockney, Outpost Drive, Hollywood, 1980

X60497
Outpost Drive, Hollywood

1980
painting
Acrylic paint on canvas
support: 1524 x 1524 mm
Leslee & David Rogath
Provenance:
Acquired 2001 via David Tunkl Fine Arts; Gagosian Gallery, Sold Sotheby's, New York, 31 October 1984, Lot 59; Private Collection; LA Louver Gallery, California; the artist.
Nationailty of the artist: British
Identifying marks: none
Place of manufacture: Los Angeles, United States

David Hockney, Nichols Canyon, 1980

X61519
Nichols Canyon

1980
painting
Acrylic on canvas
support: 2133 x 1524 mm
Private collection
Provenance:
Acquired 1982, Andre Emmerich Gallery, New York; the artist
Nationality of the artist: British
Identifying marks: none
Place of manufacture: Los Angeles, United States
Catalogue Raisonne: David Hockney: A Retrospective, exh. cat. Los Angeles County Museum of Art, Los Angeles, 1988, p. 205.

David Hockney, Pearblossom Hwy. 11-18th April 1986, #1, 1986

X58952
Pearblossom Hwy. 11-18th April 1986, #1

1986
on paper, unique
Photographic collage
support: 1191 x 1629 mm frame: 1280 x 1718 mm
The J. Paul Getty Museum, Los Angeles
Provenance:
Acquired 1997, direct from the artist
Nationaility of the artist: British
Identifying marks: none
Place of manufacture: Los Angeles, United States
Catalogue Raisonne: Capturing Time: A Celebration of Photography, exh. brochure, The J. Paul Getty Museum, Los Angeles, fig. 4.

David Hockney, Large Interior, Los Angeles, 1988

X59004
Large Interior, Los Angeles

1988
painting
Oil paint, ink on cut-and-pasted paper, on canvas
support: 1835 x 3054 mm frame: 1924 x 3143 x 51 mm
Lent by the Metropolitan Museum of Art, Purchase, Natasha Gelman Gift, in honor of William S. lieberman, 1989 (1989.279)
Provenance:
Acquired 1989 through Andre Emmerich Gallery, New York; the artist.
Nationality of artist: British
Identifying marks: none
Place of manufacture: Los Angeles, United States
Catalogue Raisonne: Didier Ottinger in David Hockney: Espace/Paysage, exh. cat., Centres George Pompidou, Paris, 1999, pp. 126-27, ill. (colour).

David Hockney, Breakfast at Malibu, Sunday, 1989, 1989

X60494
Breakfast at Malibu, Sunday, 1989

1989
painting
Oil paint on canvas
support: 610 x 914 mm
Collection Michael L. Gordon
Provenance:
Acquired April 2004, LA Louver Gallery, California; Private collection; LA Louver Gallery, California; Private collection, Los Angeles; the artist.
Nationality of the artist: British
Identifying marks: none
Place of manufacture: Malibu, California

David Hockney, Pacific Coast Highway and Santa Monica, 1990

X59009
Pacific Coast Highway and Santa Monica

1990
painting
Oil paint on canvas
support: 1980 x 3048 mm frame: 2107 x 3175 mm (approx)
Private Collection, USA
Provenance:
Acquired 2016, private collection USA; Andre Emmerich Gallery, New York; private collection, New York; Andre Emmerich Gallery, New York; the artist
Nationality of the artist: British
Identifying marks: none
Place of manufacture: Los Angeles, United States
Catalogue Raisonne: P. Melia and U. Luckhardt, David Hockney: Paintings, Prestel-Verlag, Munich, 1994, pp. 184-195.

David Hockney, The Twenty Sixth V. N. Painting, 1992

X59006
The Twenty Sixth V. N. Painting

1992
painting
Oil paint on canvas
support: 610 x 914 mm
Collection of David C. Bohnett
Provenance:
Acquired 26 March, 1999, via LA Louver, California; Mr Alfred Como.
Nationality of the artist: British
Identifying marks: none
Place of manufacture: Los Angeles, United States

David Hockney, Colorado River, 1998

X63983
Colorado River

1998
painting
Oil paint on 15 canvases
overall: 2070 x 1842 mm frame: 2514.6 x 2336.8 x 381 mm
Private Collection, USA, Courtesy Richard Gray Gallery
Provenance:
Acquired May 2013 through Richard Gray Gallery, Chicago/New York; private collection, Chicago (through Richard Gray Gallery, New York/Chicago); the artist.
Nationality of the artist: British
Identifying marks: none
Place of manufacture: Los Angeles, United States

David Hockney, Going Up Garrowby Hill, 2000

X59008
Going Up Garrowby Hill

2000
painting
Oil paint on canvas
support: 2133.6 x 1524 mm frame: 2165.4 x 1555.8 mm
Private collection, Topanga, California
Provenance:
Acquired 2002, directly from the artist
Nationality of the artist: British
Identifying marks: none
Place of manufacture: Yorkshire, UK
Catalogue raisonne: David Hockney, Hockney's Pictures, London, 2004, p. 348.

David Hockney, Red Pots in the Garden, 2000

X60500
Red Pots in the Garden

2000
painting
Oil paint on canvas
support: 1524 x 1930 mm frame: 1790.7 x 2197.1 x 76.2 mm
Private collection, courtesy Guggenheim Asher Associates
Provenance:
Acquired through Guggenheim Asher Associates, New York; private collection; LA Louver Gallery, Venice, California; the artist.
Nationality of the artist: British
Identifying marks: none
Place of manufacture: Los Angeles, California
Catalogue Raisonne: David Hockney, Hockney's Pictures, London, 2004, p. 348.

David Hockney, Elderflower Blossom, Kilham, July 2006, 2006

X60504
Elderflower Blossom, Kilham, July 2006

2006
painting
Oil paint on two canvases
support: 1219 x 1828 mm
Private collection courtesy of LA Louver
Provenance:
Acquired February 2007, LA Louver Gallery, California; the artist
Nationality of the artist: British
Identifying marks: none
Place of manufacture: Yorkshire, UK

David Hockney, A Closer Winter Tunnel, February - March, 2006

X62278
A Closer Winter Tunnel, February - March

2006
painting
Oil paint on six canvases
support, each: 915 x 1220 mm overall: 1905 x 3810 mm
Collection: Art Gallery of New South Wales Purchased with funds provided by Geoff and Vicki Ainsworth, the Florence and William Crosby Bequest and the Art Gallery of New South Wales Foundation 2007
Provenance:
Acquired 2007 from LA Louver Gallery, Venice, California; the artist.
Nationality of the artist: British
Identifying marks: signed and dated verso panel 6, black fibre tipped pen ".../David Hockney/ 25 Feb - 24 March/ 06"
Place of manufacture: Yorkshire, UK
Catalogue Raisonne: Royal Academy of Arts, David Hockney: A Bigger Picture, London, 2012, pp. 138-39 (colour illus.). cat no. 59.

Otto Dix: The Evil Eye

Tate Liverpool (Liverpool, UK) from 23 Jun 2017 until 15 Oct 2017.

Otto Dix
(1891-1969)

Otto Dix, Four in the morning in London, 1922

X65595
Four in the morning in London

[früh 4 Uhr in London] 1922
on paper, unique
Ink, graphite and watercolour on paper
support: 495 x 399 mm
Ulmer Museum - Dauerleihgabe des Landes Baden-Württemberg
Provenance:
Ulmer Museum, transferred from the below;
Landes Baden-Württemberg, Ministry of Education and Cultural Affairs, purchased from the below 1975;
Thilo Liemersdorf, Essen, from c.1960;
Arnold Blome, Hamburg, purchased at auction, Max Perl, Bücher, Handzeichnungen, Graphik, Gemälde, sale no. 174, 30 June 1932;
(on consignment with Galerie Nierendorf, Cologne, 8 January 1922) [1];
The artist.

[1] According to the Otto Dix Archiv, Nierendorf includes the work on a list dated 8 January 1922.

Nationality of artist: German
Identifying marks: Signed bottom left ‘DIX 22/162’
Place of manufacture: Germany

Catalogue raisonné:
S. Pfäffle, Otto Dix Werkverzeichnis der Aquarelle und Gouachen, Stuttgart 1991, no. A 1922/76, ill. p. 161

Exhibition history:
Stuttgart, Staatsgalerie, 1985, 250 Meisterwerke, 25 Jahre Toto-Lotto-Erwerbungen für die Kunstmuseen in Baden-Württemberg, ill, no. 249;
Augsburg, Städische Kunstsammlungen, 1986, Internationale Graphik der klassischen Moderne aus dem Ulmer Museum;
Tokushima, Modern Art Museum, Oita, Prefectural Art Hall, Takasaki, Museum of Art, Navio, Museum of Art, Onomichi, Municipal Museum of Art, 1996–7, Meisterwerke aus der Graphischen Sammlung des Ulmer Museums;
Hamburg, Bucerius Kunst Forum,2007, Otto Dix - Aquarelle und Gouachen;
Würzburg, Museum im Kulturspeicher, 2007–8, Liebe. Love - Bilder von Paaren;
Düsseldorf, Kunstsammlung Nordrhein-Westfalen, 2017, Otto Dix – Der böse Blick, p. 136.

This work was produced before the operative period 1933–45. Its provenance during these years is not fully documented, however consultation with the relevant sources and experts gives no evidence of wrongful taking. An Art Loss Register search for this work is currently in progress.
 

Otto Dix, The Widow, 1922

X65615
The Widow

[Die Witwe] 1922
on paper, unique
Watercolour and graphite on paper
support: 495 x 450 mm frame: 794 x 655 x 45 mm
Zeppelin Museum Friedrichshafen - Technik und Kunst
Provenance:
Zeppelin-Museum, Friedrichshafen, transferred from the below;
Stadt Friedrichshafen, acquired from the below 28 August 1989;
Galerie Pels-Leusden, Berlin, acquired from the below;
Galerie Remmert und Barth, Düsseldorf, by 1986;
Galerie Valentien, Stuttgart;
Galerie Remmert und Barth, Düsseldorf, 1983;
Otto Dix Foundation, Vaduz, transferred from the below by 1983;
(on commission with Galerie Klihm, Munich, by 1978);
Martha Dix (d. 1983), gift of the artist, until at least 1975;
The artist.

Nationality of artist: German
Identifying marks: Signed and dated bottom right, ‘DIX 22’; inscribed and dated top left, ‘Für Mutzlein /am 23. Juli 1922’; reverse side, ‘Witwe unverkäuflich’;
Place of manufacture: Düsseldorf, Germany

Catalogue raisonné:
S. Pfäffle, Otto Dix Werkverzeichnis der Aquarelle und Gouachen, Stuttgart 1991, no. A 1922/18, ill. p. 151

Exhibition history:
Kunstverein Freiburg im Breisgau, and tour to Karlsruhe, Nuremberg, Cologne, Stuttgart and Heidelberg, 1950–51, Otto Dix: Gemälde, Aquarelle, Zeichnungen, Graphik aus den Jahren 1915 bis 1950, no. 65, not for sale;
Paris, Goethe-Institut, 1970, Otto Dix, Aquarelles, Dessins, no. 6;
Essen, Museum Folkwang, 1971–2, Otto Dix, Aquarelle, Zeichnungen, Radierfolge, Der Krieg, no. 69, ill;
Rome, Galleria Giulia, Goethe Institut, Biblioteca Germanica, 1972, Otto Dix, acquerelli, disegni, incisoini, no. 69;
Saint-Etienne, Musée d’art et d’industrie, 1974, Réalismes en Allemagne 1919–1933, no. 17;
Konstanz, Kunstverein Konstanz, Wessenberghaus, 1975, Otto Dix, Ölbilder, Aquarelle, Grafik, no. 52;
Bergen, Kunstforening, 1976, Kunst, Kamp, Kritikk, Tyvearenes Sosialkritiske Tyske Kunst (Anschlieβend Hovikodden und Stavanger), no. 42, ill. p. 19;
Berlin, Haus am Waldsee, 1977, Otto Dix-Zwischen den Kriegen, Zeichnungen, Aquarelle, Kartons und Druckgraphik 1912–1939, no. 93, ill;
Hamburg, Kunstverein, 1977, Otto Dix, Zeichnungen, Aquarelle, Grafiken, Kartons, no. 36, ill. p. 79;
Bregenz, Künstlerhaus Palais Thurn und Taxis, Otto Dix, 1981, no. unknown;
Düsseldorf, Galerie Remmert und Barth, 1983, Otto Dix und die Düsseldorfer Künstlerszene 1920–1925, no. 2, ill. p. 37;
Montrouge, Salon Art Contemporain de Montrouge, 1984, Otto Dix, no. 54;
Düsseldorf, Galerie Michael Neumann, 1986, Otto Dix, Werke der 20er Jahre, Aquarelle, Zeichnungen, Graphik, no. 9;
Villingen-Schwenningen, Städtische Galerie, 1990, Otto Dix zum 99, no. 141, ill. p. 181;
New York, The Metropolitan Museum of Art, 2006, Glitter and Doom, ill. p. 221, cat. 77.
New York, Neue Galerie and Montreal, Montreal Museum of Fine Arts, 2010–11, Otto Dix, cat. 79, ill. p. 128;
Düsseldorf, Kunstsammlung Nordrhein-Westfalen, 2017, Otto Dix – Der böse Blick, p. 158.

Selected literature:
Otto Conzelmann, Otto Dix, Hannover 1959, ill.;
London, Hayward Gallery, 1978, Neue Sachlichkeit and German Realism of the Twenties, no. 69, ill. p. 54 (NB the work is listed in the catalogue but an addenda notes that it was not actually included in the exhibition);
B.S. Barton, Otto Dix and the New Objectivity 1918-1925, Michigan 1981, p. 141.

This work was produced before the operative period 1933–45 and has a complete provenance.

Otto Dix, Belgian Brothel, 1923

X65558
Belgian Brothel

[Belgisches Bordell] 1923
on paper, unique
Watercolour on paper
support: 397 x 568 mm
Museum am Ostwall im Dortmunder U, Dortmund
Provenance:
Museum am Ostwall, Dortmund, acquired from the below 1985;
Galerie Gunzenhauser, Munich, by 1985;
Galerie Klihm, Munich by 1985 [1];
Private collection, by 1966 [2];
(on consignment with Galerie Neue Kunst Fides, Dresden, 19 September 1927 [3] and until at least 21 January 1929) [4];
The artist.

[1] According to the Otto Dix Archiv, the work was with Galerie Klihm by 1985.
[2] The work is credited as on loan from a private collection in the exhibition at Kunstverein in Hamburg, Otto Dix, Gemälde, Aquarelle, Zeichnungen, Graphik, 1966, no. 95 in catalogue.
[3] ‘Belgisches Bordell’ (No. 365) mentioned in a receipt for Dix from Neue Kunst Fides, Dresden dated 19 September 1927 (Deutsche Kunstarchiv des Germanischen Nationalmuseums, NL Dix, I,C-524).
[4] No. 365 listed in a catalogue of Dix's watercolour works at Neue Kunst Fides, Dresden, 21 January 1929 (Deutsche Kunstarchiv des Germanischen Nationalmuseums, NL Dix, I,B-5).

Nationality of artist: German
Identifying marks: signed top right ‘DIX’; signed and dated bottom right ‘DIX23’; inscribed on the reverse side ‘Belgisches Bordell’
Place of manufacture: Germany

Catalogue raisonné:
S. Pfäffle, Otto Dix Werkverzeichnis der Aquarelle und Gouachen, Stuttgart 1991, no. A 1923/88, ill. p. 189

Exhibition history:
Dresden, Neues Kunst Fides, 1929;
Hamburg, Kunstverein in Hamburg, 1966, Otto Dix, Gemälde, Aquarelle, Zeichnungen, Graphik, no. 95;
Frankfurt, Frankfurter Kunstverein, 1967, Otto Dix, Gemälde, Aquarelle, Zeichnungen, Graphik, no.95;
Düsseldorf, Kunstsammlung Nordrhein-Westfalen, 2017, Otto Dix – Der böse Blick, p. 139

Selected literature:
B.S. Barton, Otto Dix and the New Objectivity 1918-1925, Michigan 1981, p. 141

This work was produced before the operative period 1933–45. Its provenance during these years is not fully documented, however consultation with the relevant sources and experts gives no evidence of wrongful taking. An Art Loss Register search for this work is currently in progress.

Otto Dix, Portrait of the Art Dealer Johanna Ey, 1924

X65514
Portrait of the Art Dealer Johanna Ey

[Bildnis der Kunsthändlerin Johanna Ey] 1924
painting
Oil paint on canvas
support: 1400 x 900 mm frame: 1560 x 1060 x 80 mm
Kunstsammlung Nordheim-Westfalen, Düsseldorf
Provenance:
Kunstsammlung Nordrhein-Westfalen, Düsseldorf, acquired from private collection 2015;
Kunstsammlung Nordrhein-Westfalen, Düsseldorf, on permanent loan from a private collection since 1999;
Lilo Krech (b.1939), Krefeld, by inheritance, by 1960 [1];
Hermann Lange (1874–1942), Krefeld/ Berlin, acquired from the below;
Johanna Ey (1864–1947), Düsseldorf, commissioned and acquired from the artist 1924, until at least 1932 [2];
The artist.

[1] The work is listed as on loan from Lilo Krech in Kunstmuseum Düsseldorf exhibition 1960, cat. 19.
[2] See Sammlung Ey exhibition, Köln, Königsberg, Mannheim, Wiesbaden, 1931–2.

Nationality of artist: German
Identifying marks: Monogram and date lower left
Place of manufacture: Düsseldorf, Germany

Catalogue raisonné:
Fritz Löffler, Otto Dix 1891–1969, Oeuvre der Gemälde, Recklinghausen 1981, no. 1924/8

Exhibition history:
Berlin, Galerie Neumann-Nierendorf, 1924;
Mannheim, Städtische Kunsthalle, Neue Sachlichkeit. Deutsche Malerei seit dem Expressionismus, 1925, cat. 21;
Zurich, Kunstsalon Wolfsberg, Sonderausstellung: Otto Dix, 1929, cat. 22;
Köln, Königsberg, Mannheim, Wiesbaden, 1931–2, Sammlung Ey;
Düsseldorf, Kunstmuseum Düsseldorf, 1960, Otto Dix. Gemälde, Aquarelle, Zeichnungen, Druckgraphik, cat. 19;
Hamburg, Kunstverein, Frankfurt, Kunstverein, 1966–7, Otto Dix. Gemälde, Aquarelle, Zeichnungen, Graphik, Kunstverein, cat. 31, ill. 32;
Düsseldorf, Städtische Kunsthalle, 1970, Avantgarde gestern. Das Junge Rheinland und seine Freunde 1919–1929, cat. 32;
Stuttgart, Galerie der Stadt, 1971, Otto Dix zum 80. Geburtstag. Gemälde, Aquarelle, Gouachen, Zeichnungen, cat. 62, ill. p. 112;
Paris, Musée d'Art Moderne de la Ville de Paris, 1971, Otto Dix. Peintures, aquarelles, gouaches, dessins et gravures du cycle de "la guerre", cat. 41;
Zurich, Kunstgewerbemuseum Zürich, 1973, Die zwanziger jahre. Kontraste eines jahrzehnts, cat. 303;
Berlin, 1977, Europäische Kunstausstellung, Tendernzen der Zwanziger jahre, cat. 4;
London, Hayward Gallery, 1978, Neue Sachlichkeit and German Realism of the Twenties, cat. 40;
Paris, Musée National d'Art Moderne, Centre Georges Pompidou, 1978, Paris-Berlin 1900–1933, ill. p. 196;
Paris, Musée National d'Art Moderne, Centre Georges Pompidou, 1980–1, Les Réalismes, p. 520;
Berlin, Staatliche Kunsthalle, 1981, Realismus zwischen Revolution und Reaktion 1919–1939, cat. 216;
Stuttgart, Galerie der Stadt, 1982, Otto Dix - Menschenbilder. Gemälde, Aquarelle, Gouachen und Zeichnungen, cat. 19;
Düsseldorf, Galerie Remmert und Barth, 1984, Johanna Ey und ihr Künstlerkreis. Zum 120. Geburtstag der Düsseldorfer Kunsthändlerin, cat. 27;
Düsseldorf, Kunstsammlung Nordrhein-Westfalen, 2000, Unser 20. Jahrhundert - Meisterwerke von Picasso bis Beuys;
New York, The Metropolitan Museum of Art, 2006–7, Glitter and Doom: German Portraits from the 1920s, cat. 28;
Wien, Leopold Museum, 2008–9, Christian Schad 1894–1982. Retrospektive, cat. 75;
Düsseldorf, Kunstsammlung Nordrhein-Westfalen, 2010, Silent Revolution - Eine Neue Sammlungspräsentation;
Düsseldorf, Kunstsammlung Nordrhein-Westfalen, 2017, Otto Dix - Der böse Blick, p. 99.

Selected literature:
Alfred Salmony, Dix als Porträtist, in: Der Cicerone, 17. Jg., 1925, p. 1045, ill. p. 1050;
Die Kunst, 53. Jg., 1926, ill. p. 109;
Max Osborn, Sammlung Ey Düsseldorf 1931, Düsseldorf, ill. p. 8;
Anna Klapheck, Mutter Ey, Düsseldorf 1958, p. 60;
Fritz Löffler, Otto Dix: Leben und Werk, first edition, Dresden 1960, p. 51, ill. 46;
Fritz Löffler, Otto Dix: Leben und Werk, second edition, Dresden and Vienna 1967, p. 56, plate 70;
Wolfgang Hütt, Deutsche Malerei und Graphik im 20. Jahrhundert, Berlin 1969, p. 234;
Wieland Schmied, Neue Sachlichkeit und Magischer Realismus in Deutschland 1918–1933, Hannover 1969, p. 43;
Otto Dix 1891–1969. Maler, Graphiker, Materialien und Dokumente zu Leben und Werk, Germanisches Nationalmuseum, Nürnberg 1977, p. 16;
Otto Dix zwischen den Kriegen. Zeichnungen, Aquarelle, Kartons und Druckgraphik 1912–1939, Haus am Waldsee, Berlin/Kunstverein Hannover, 1977/78, p. 8;
Dietrich Schubert, Otto Dix in Selbstzeugnissen und Bilddokumenten, Reinbek bei Hamburg 1980, p. 61, 87;
Brigid S. Barton, Otto Dix and Die neue Sachlichkeit, Michigan 1981, p. 192, ill. 22, p. 214;
Otto Conzelmann, Vom Porträt zum Menschenbild – Otto Dix, der Menschenbilder, in: Otto Dix – Menschenbilder, Galerie der Stadt Stuttgart 1981, p. 20, ill. p. 50;
Otto Conzelmann, Porträt, in: Otto Dix 1891–1969, Museum Villa Stuck, München 1985, ill. p. 102;
Andreas Strobl, Otto Dix. Eine Malerkarriere der zwanziger Jahre, Berlin 1996, ill. 51;
Annette Baumeister, Treffpunkt "Neue Kunst". Erinnerungen an Johanna Ey, Düsseldorf 1999, p.21;
Gertrude Cepl-Kaufmann, Otto Dix im Rheinland, in: Otto Dix: Der Krieg. Radierwerk 1924,
Verein August Macke Haus, Bonn 1999, p. 135, ill. 27;
Eduard Beaucamp, ‘Ein Bilderschatz: Die Kunstsammlung Nordrhein-Westfalen’, Die Kunstsammlung Nordrhein-Westfalen zu Gast in Gottorf. Picasso, Klee, Beckmann, Matisse und weitere Künstler in Schloß Gottorf, Landesmuseum für Kunst und Kulturgeschichte, Stiftung Schleswig-Holsteinische Landesmuseen, Schloß Gottorf, Schleswig 2009, p. 12;
Peter Barth, ‘Johanna Ey und das Junge Rheinland’, Dix in Düsseldorf. Otto Dix und
die Düsseldorfer Künstlerszene 1920 bis 1925, Galerie Remmert und Barth, Düsseldorf 2011, p. 78ff, ill. p. 82;
Kunstsammlung Nordrhein-Westfalen, Düsseldorf, eye watching. Erwerbungen und Schenkungen/Acquisitions and Gifts. Kunstsammlung Nordrhein-Westfalen 2009–2016, Bielefeld 2016, cat. 106, ill. p. 117.

This work was produced before the operative period 1933–45 and has a complete provenance.

Otto Dix, Portrait of the Photographer Hugo Erfurth with Dog, 1926

X65616
Portrait of the Photographer Hugo Erfurth with Dog

[Bildnis des Fotografen Hugo Erfurth mit Hund] 1926
painting
Tempera and oil paint on panel
support: 800 x 1000 mm frame: 970 x 1175 x 40 mm
Museo Thyssen-Bornemisza, Madrid
Provenance:
Thyssen Bornemisza Collection, acquired from the below 1978;
Fischer Fine Art, London;
Galerie Nierendorf, Berlin, acquired at auction, Kunsthaus Lempertz, sale no. 482, May 1965, lot no. 241, ill. p. 15;
Galerie Probst, Mannheim, acquired from the below;
Erfurth family, by inheritance 1948, until at least 1951 [1];
Hugo Erfurth (1874–1948), Dresden, commissioned and acquired from the artist 1926;
The artist.

[1] The work is listed as on loan from ‘Erfurth’ in Kunstverein Freiburg exhibition 1950–1, cat. no. 8.

Nationality of artist: German
Identifying marks: ‘D 1926’ upper left; inscribed verso: ‘Mischtechnik letzte Schicht Oelf[arbe] Leinöl. Darf vor Sept 27 nicht gefirnist warden. Dix.’
Place of manufacture: Dresden, Germany

Catalogue raisonné:
Fritz Löffler, Otto Dix 1891–1969, Oeuvre der Gemälde, Recklinghausen 1981, no. 1926/14

Exhibition history:
Kunstverein Freiburg im Breisgau, and tour to Karlsruhe, Nuremberg, Cologne, Stuttgart and Heidelberg, 1950–51, Otto Dix: Gemälde, Aquarelle, Zeichnungen, Graphik aus den Jahren 1915 bis 1950, no. 8, p. 7;
Wuppertal, Städtisches Museum, 1957, Otto Dix, no. 15a;
Berlin, Galerie Nierendorf, 1966, Otto Dix. Bilder – Aquarelle – Zeichnungen, no. 17;
Hamburg, Kunstverein, 1966–7, Otto Dix – Gemälde, Aquarelle, Zeichnungen, Graphik, no. 39;
Berlin, Deutsche Gesellschaft für bildende Künste and Lausanne, Musée Cantonal des Beaux-Arts, 1968–9, Berlin XX. Jahrhundert / Berlin XX Siècle: de l’expressionisme à l’art contemporain, no. 121;
Berlin, Galerie Nierendorf, 1971, 1920–1970 50 Jahre Galerie Nierendorf, no. 5;
Berlin, Galerie Nierendorf, 1971, Die 20er Jahre II, no. 59;
Bonn, Rheinisches Landesmuseum, 1976, Die Zwanziger Jahre im Porträt, Porträts in Deutschland 1918– 1933, Malerei, Graphik, Photographie, Plastik, no. 22;
West-Berlin, 1977, Europäische Kunstausstellung, Tendenzen der Zwanziger Jahre, no. 4;
Paris, Centre Pompidou, 1978, Berlin–Paris 1900–1933 rapports et contrastes, no. 74;
London, Hayward Gallery, 1978, Neue Sachlichkeit and German Realism of the Twenties, no. 45;
London, Royal Academy of Arts, 1984, Modern Masters from the Thyssen-Bornemisza Collection, no.22;
Leningrad/ Moscow, 1988, no. 9;
Madrid, Centro de Arte Reina Sofia, 1989, Berlin Punto de Encuentro, no. 5/8;
Lugano, 1989, no. 49;
Washington, National Gallery of Art, Fort Worth, Kimbell Art Museum and San Francisco,
Fine Arts Museums, 1989–90, Expressionism and Modern German Painting from the Thyssen-Bornemisza Collection, no. 3;
Rome, 1990–1, no. 6;
Saint-Paul-de-Vence, Fondation Maeght, 1998, Otto Dix, Metropolis, no. 65, ill. p. 155;
New York, The Metropolitan Museum of Art, 2006, Glitter and Doom, German Portraits from the 1920s, no. 30, ill. p. 121;
Düsseldorf, Kunstsammlung Nordrhein-Westfalen, 2017, Otto Dix – Der böse Blick, p. 105.

Selected literature:
Fritz Löffler, Otto Dix: Leben und Werk, first edition, Dresden 1960, p. 69;
Fritz Löffler, Otto Dix: Leben und Werk, second edition, Dresden and Vienna 1967, p. 76, plate 87;
Fritz Löffler, Otto Dix: Leben und Werk, third edition, Dresden 1972, p. 78;
Wieland Schmied, Neue Sachlichkeit und Magischer Realismus in Deutschland, Hannover 1969, p.42, plate 9.

This work was produced before the operative period 1933–45 and has a complete provenance.

Otto Dix, Self-Portrait with Easel, 1926

X65630
Self-Portrait with Easel

[Selbstbildnis mit Staffelei] 1926
painting
Oil paint on wood
support: 805 x 555 mm frame: 970 x 720 x 45 mm
Leopold-Hoesch-Museum & Papiermuseum, Düren
Provenance:
Leopold-Hoesch-Museum, Düren, 1950, acquired from the below;
Gemälde-Galerie Hermann and Günther Abels, Cologne, purchased at auction, Hauswedell, Hamburg, sale 41, Buch und Graphik Auktion, no. 1230, 1950;
Possibly unknown private collection, Hamburg, 1927 [1];
(exhibited at Moderne Galerie Thannhauser, Munich, 1926);
(on consignment to Galerie Neumann-Nierendorf, Berlin, 1926);
The artist, Berlin and Dresden, until 1927.

[1] Karl Nierendorf wrote in a letter to Dix on 4 September 1926 that there was a potential buyer in Hamburg who was interested in the painting. Since the work then appeared at auction in Hamburg in 1950 it is possible that the work remained with a collector in Hamburg during the period 1927 to 1950.

Nationality of artist: German
Identifying marks: Monogram bottom right, 1926
Place of manufacture: Berlin, Germany

Catalogue raisonné:
Fritz Löffler, Otto Dix 1891–1969, Oeuvre der Gemälde, Recklinghausen 1981, no. 1926/4

Exhibition history:
Berlin, Galerie Neumann-Nierendorf, 1926, ill. p. 41;
Munich, Moderne Galerie Thannhauser, 1926, ill. no. 25;
Berlin, Deutsche Akademie der Künste Berlin, Koch-Platz und Staatliche Kunstsammlungen, 1957, ill;
Düsseldorf, Kunstmuseum Düsseldorf, 1960, Otto Dix. Gemälde, Aquarelle, Zeichnungen, Druckgraphik, ill. no. 30;
Darmstadt, Hessisches Landesmuseum, 1962, Otto Dix. Gemälde, Handzeichnungen und Aquarelle;
Hamburg, Kunstverein in Hamburg, 1966, Otto Dix, Gemälde, Aquarelle, Zeichnungen, Graphik, ill. no. 38;
Köln, Baukunst, Otto Dix. Retrospektive anläßlich des 75. Geburtstags. Öl, Aquarelle, Handzeichnungen, Radierungen, Lithographien, 1966;
Frankfurt, Frankfurter Kunstverein, 1967, Otto Dix, Gemälde, Aquarelle, Zeichnungen, Graphik, ill. no. 38;
Stuttgart, Galerie der Stadt Stuttgart, 1971, Retrospektive, Wichtigste Ausstellung mit Bemerkungen zu einzelnen Gemälden, no. 75;
Stuttgart, Galerie der Stadt, 1982, Otto Dix zum 90. Geburtstag. Menschenbilder;
Stuttgart, Galerie Valentien, 1983, Otto Dix . Gemälde, Aquarelle, Zeichnungen;
Munich, Museum Villa Stuck, 1985, Otto Dix 1891–1969, cat. 155, ill. p. 84;
Karlsruhe, Staatliche Kunsthalle, 1986, Werke von Otto Dix;
Kaiserslautern, Städtische Galerie, 1987, Otto Dix. Zeichnungen und Druckgrafik aus der Stiftung W. Grosz,;
Stuttgart/Berlin, Galerie der Stadt Stuttgart/Nationalgalerie Berlin, 1991;
London, Tate Gallery, 1992, Otto Dix 1891–1969, ill. p. 160, no. 83;
Hennenhofen, Otto Dix Haus, 1992, Otto Dix. Arbeiten auf Papier;
New York, The Metropolitan Museum of Art, 2006, Glitter and Doom, German Portraits From the 1920s, ill. p. 141, no. 37;
Mannheim, Kunsthalle, 2013, Dix, Beckmann, Mythos Welt, cat. 166, ill. p. 113;
Düsseldorf, Kunstsammlung Nordrhein-Westfalen, 2017, Otto Dix – Der böse Blick, p. 110.

Selected literature:
Curt Glaser, Otto Dix, Kunst und Künstler, XXV. Jahrgang, Berlin 1927, vol. 105, p. 130, ill;
Alfred H. Barr Jr., Otto Dix, The Arts, Vol. XVII, vol.235-51, Detroit 1931, p. 249;
Diether Schmidt, Otto Dix, Selbstbildnisse, Berlin 1979, no. 68, ill.;
Diether Schmidt, Otto Dix im Selbstbildnis. Berlin, 1981;
Lutz Tittel, Otto Dix. Die Friedrichshafener Sammlung. Bestandskatalog. Friedrichshafen, 1992.

This work was produced before the operative period 1933–45. Its provenance during these years is not fully documented, however consultation with the relevant sources and experts gives no evidence of wrongful taking. An Art Loss Register search for this work is currently in progress.

Otto Dix, Street Scene, 1927

X65613
Street Scene

[Straßenbild] 1927
on paper, unique
Watercolour and graphite on paper
support: 598 x 497 mm frame: 860 x 760 x 20 mm
Zeppelin Museum Friedrichshafen - Technik und Kunst
Provenance:
Zeppelin-Museum, Friedrichshafen.
Stadt Friedrichschafen, acquired from the below July 2001;
Fischer Kunsthandel and Editon, Berlin, 2001;
Frau Gerling, Düsseldorf, acquired from the below;
(on commission with Galerie Baukunst, Cologne by 1966) [1];
The artist.

[1] According to the Otto Dix Archiv, Dix put the work on commission with Galerie Baukunst, who sold it to Frau Gerling.

Nationality of artist: German
Identifying marks: none recorded
Place of manufacture: Germany

Catalogue raisonné:
S. Pfäffle, 'Nachtrag zum Werkverzeichnis der Aquarelle und Gouachen von Otto Dix' in Karsten Müller, ed., Geisterbahn und Glanzrevue Otto Dix: Aquarelle und Gouachen, exh. cat., Bucerius Kunst Forums, 2007, no. A 1927/48, ill.

Exhibition history:
Berlin, Fischer Kunsthandel and Edition, Meister auf Papier, 2001;
Düsseldorf, Kunstsammlung Nordrhein-Westfalen, 2017, Otto Dix – Der böse Blick, p. 168.

This work was produced before the operative period 1933–45 and has a complete provenance.

Otto Dix, Reclining Woman on a Leopard Skin, 1927

X65623
Reclining Woman on a Leopard Skin

[Liegende auf Leopardenfell] 1927
painting
Oil paint on panel
support: 680 x 980 mm frame: 892 x 1191 x 64 mm
Collection of the Herbert F. Johnson Museum of Art, Gift of Samuel A. Berger, 55.031
Provenance:
Herbert F. Johnson Museum of Art, since 1973 [1];
Cornell University, Ithaca, gift of the below, 1955;
Col. Samuel A. Berger (1882–1972), New York, by at least 1955;
(with Galerie Commeter, Hamburg 1949, with inventory number 2032 written on paper label) [2];
(exhibited at the Biennale di Venezia XVII, German National Pavilion, 1930);
(on commission with Galerie Neue Kunst Fides, Dresden, by 1929);
The artist, Dresden, 1927 and until 1949 [2].

[1] The Cornell University art collection was displayed at the Andrew Dickson White Museum of Art from 1953 until the opening of the Herbert F. Johnson Museum of Art in 1973.
[2] Dix had an exhibition at Galerie Commeter in 1949 so it is likely that the work was included in that exhibition.
[3] The work is recorded as ‘Liegende 1925’ in a typewritten inventory of works held in artist's studio in 1949.

Nationality of artist: German
Identifying marks: inscribed and dated ‘1927’ lower right
Place of manufacture: Germany

Catalogue raisonné:
Fritz Löffler, Otto Dix 1891–1969, Oeuvre der Gemälde, Recklinghausen 1981, no. 1927/2

Exhibition history:
Zurich, Kunstsalon Wolfsberg, Sonderausstellung: Otto Dix, 1929, ill, no. 4;
Biennale di Venezia XVII, German National Pavilion 1930 (under the title "Ragazza giacente");
New York, Neue Galerie and Montreal, Montreal Museum of Fine Arts, 2010–11, Otto Dix, cat. 155, ill. p. 222;
Düsseldorf, Kunstsammlung Nordrhein-Westfalen, 2017, Otto Dix – Der böse Blick, p. 154.

Selected literature:
Otto Conzelmann, Otto Dix, Hannover 1959, ill.;
Fritz Löffler, Otto Dix: Leben und Werk, first edition, Dresden 1960, p. 68, ill. 72;
Fritz Löffler, Otto Dix: Leben und Werk, second edition, Dresden and Vienna 1967, p. 74, ill. 102;
Fritz Löffler, Otto Dix: Leben und Werk, third edition, Dresden 1972, p. 76, ill. 102;
Fritz Löffler, Otto Dix: Leben und Werk, fourth edition, Dresden/Wiesbaden 1982, ill. 102;
Eva Karcher, Otto Dix 1891–1969, Cologne 1992, p. 144.

This work was produced before the operative period 1933–45 and has a complete provenance.

Otto Dix, Portrait of Johann Edwin Wolfensberger, 1929

X65622
Portrait of Johann Edwin Wolfensberger

[Bildnis des Johann Edwin Wolfensberger] 1929
painting
Oil paint on wood
support: 932 x 723 mm
Neue Galerie, New York
Provenance:
Neue Galerie New York, purchased at auction, Sotheby's, London, German and Austrian Art, 18 October 2000, lot 2510;
Kunstsalon Wolfsberg, Zurich, transferred from the below;
Johann Edwin Wolfensberger (1873–1944), Zurich, commissioned and acquired from the artist;
The artist.

Nationality of artist: German
Identifying marks: monogram and date upper right ‘1929’
Place of manufacture: Dresden, Germany

Catalogue raisonné:
Fritz Löffler, Otto Dix 1891–1969, Oeuvre der Gemälde, Recklinghausen 1981, no. 1929/5

Exhibition history:
Düsseldorf, Kunstsammlung Nordrhein-Westfalen, 2017; Otto Dix - Der böse Blick, p. 114

Selected literature:
Felix Graf, ‘Otto Dix im Kunstsalon Wolfsberg’, Zeitschrift für schweizerische Archäologie und Kunstgeschichte, issue 70, volume 4, 2013, ill.

This work was produced before the operative period 1933–45 and has a complete provenance.

Otto Dix, Vanitas (Youth and Old Age), 1932

X65600
Vanitas (Youth and Old Age)

[Vanitas (Jugend und Alter)] 1932
painting
Tempera and oil paint on wood
support: 1004 x 703 mm frame: 1116 x 815 x 65 mm
Zeppelin-Museum Friedrichshafen - Technik und Kunst. Leihgabe der Kulturstiftung der ZF Passau GmbH
Provenance:
Zeppelin Museum Friedrichshafen, on long term loan from the below by 1992;
Kulturstiftung of the ZF Passau GmbH, acquired from the below 22 May 1987;
Galerie Im Erker, St Gallen, by 1971 [1] and until 1987, acquired directly from the artist [2];
The artist, until at least 1934 [3] and presumably until at least 1945.

[1] The work is listed as on loan from Galerie Im Erker in the Stuttgart 1971 exhibition, no. 105 in catalogue.
[2] According to the Otto Dix Archiv, the Galerie Im Erker acquired the work directly from Dix.
[3] A note from Josef Nierendorf to Dix of 16 July 1934 confirms that the artist is in possession of ‘Jugend und Alter’ (Deutsche Kunstarchiv des Germanischen Nationalmuseums, NL Dix, I-C 524 l).

Nationality of artist: German
Identifying marks: Monogram and date top right ‘1932’; titled on reverse
Place of manufacture: Dresden, Germany

Catalogue raisonné:
Fritz Löffler, Otto Dix 1891–1969, Oeuvre der Gemälde, Recklinghausen 1981, no. 1932/7, ill. p. 126.

Exhibition history:
Zurich, Kunstsalon Wolfsberg, Otto Dix, 1938, no. 8;
Tübingen-Reutlingen, Kunstwochen, 1946, no. 45a;
Grosse Kunstausstellung, Munich 1962;
Stuttgart, Galerie der Stadt Stuttgart, Retrospektive, wichtigste Ausstellung mit Bemerkungen zu einzelnen Gemälden, 1971, no. 105;
Munich, Museum Villa Stuck, 1985, Otto Dix 1891–1969, cat. 285, ill. p. 195;
London, Tate Gallery, 1992, Otto Dix 1891–1969, ill. p. 185, no. 102;
Colmar, Musée d'Unterlinden, 1996, Otto Dix et les maîtres anciens, ill. p. 38;
New York, Neue Galerie and Montreal, Montreal Museum of Fine Arts, 2010– 11, Otto Dix, cat. 167, ill. p. 231;
Mannheim, Kunsthalle, 2013, Dix, Beckmann, Mythos Welt, cat. 174, ill. p. 173;
Düsseldorf, Kunstsammlung Nordrhein-Westfalen, 2017, Otto Dix – Der böse Blick, p. 119.

Selected literature:
Otto Conzelmann, Otto Dix, Hannover 1959, p. 45-6, ill;
Fritz Löffler, Otto Dix: Leben und Werk, first edition, Dresden 1960, p. 79, 92, 94, ill. no.100;
Fritz Löffler, Otto Dix: Leben und Werk, second edition, Dresden and Vienna 1967, p. 89, 102, 104, ill. no. 133;
Fritz Löffler, Otto Dix: Leben und Werk, third edition, Dresden 1972, p. 91, 105, 107, ill. no. 134;
Heinz-Egon Kleine-Natrop und Fritz Löffler, Die Medizin im Werke von Otto Dix: Personal und Vorlesungsverzeichnis der Medizinischen Akademie Carl Gustav Carus, p. 3-34, mit 27 Abbildungen, Dresden 1968, no. 32;
H. Meray, Insel im Strom der Zeit, der Maler Otto Dix, mit 11 farbigen und 1 schwarzen Abbildung. In: Die Waage, Zeitschrift der Chemie Grünenthal, bd. 9, p. 23-30, Stolberg/ Rheinland 1970, ill. p. 29;
Fritz Löffler, Otto Dix, Leben und Werk, Dresden and Wiesbaden 1982, ill. 134;
Fritz Löffler, Otto Dix Bilder zur Bibel und zu Legenden, zu Vergänglichkeit und Tod, Stuttgart/ Zurich 1987, p. 34;
Eva Karcher, Otto Dix 1891–1969, Cologne 1992, ill. p. 123;
Lutz Tittel, Otto Dix. Die Friedrichshafener Sammlung. Bestandskatalog. Friedrichshafen, 1992, cat. 192, p. 282;
Rainer Beck, Otto Dix 1891–1969. Zeit. Leben, Werk, Schriftenreihe der Akademie der Bildenden Künste in Nuremberg, Vol. 6, Constance 1993, p. 128;
Janina Nentwig, Aktdarstellung in der Neuen Sachlichkeit, Münster 2008, p. 316-20, ill. 159.

This work was produced before the operative period 1933–45 and has a complete provenance.

Otto Dix, Venus with Gloves, 1932

X66615
Venus with Gloves

[Venus mit den Handschuhen] 1932
painting
Oil paint on canvas
support: 259 x 202 mm
Private collection, courtesy Richard Nagy Ltd., London
Provenance:
Benedict Silverman, New York, acquired from the below;
Richard Nagy, London, acquired from the below 1996;
Private Collection, Lugano, acquired from the below;
Private Collection, Paris, acquired from the below;
Loredana Balboni, Venice, acquired from the below by 1992;
Private Collection, Rome, acquired from the below by 1981;
Galerie F. A C. Prestel, Frankfurt am Main, probably acquired from the artist [1] by 1960 [2];
The artist.

[1] According to the Otto Dix Archiv, the work was probably acquired by Galerie F. A C. Prestel directly from the artist.
[2] The work’s owner is listed as Galerie F. A C. Prestel in the 1960 Kunstmuseum Düsseldorf catalogue; ill. no. 54.

Nationality of artist: German
Identifying marks: Monogram and date upper right ‘1932’
Place of manufacture: Dresden, Germany

Catalogue raisonné:
Fritz Löffler, Otto Dix 1891–1969, Oeuvre der Gemälde, Recklinghausen 1981, no. 1932/11, p.124

Exhibition history:
Düsseldorf, Kunstmuseum Düsseldorf, 1960, Otto Dix. Gemälde, Aquarelle, Zeichnungen, Druckgraphik, no. 54;
Milan, Comune di Milano, Ripartizione Iniziative Culturali, 1971–72, 'Il Realismo in Germania';
Paris, Centre Georges Pompidou and Berlin, Staatliche Kunsthalle, 1981, Realismus. Zwischen Revolution und Reaktion 1919–1939, p. 164;
Stuttgart, Galerie der Stadt Stuttgart and Nationalgalerie, Berlin, Staatliche Museen, Preuβischer Kulturbesitz, 1991–1992, Otto Dix, Zum 100. Geburtstag 1891–1991, p. 250;
London, Tate Gallery, 1992, Otto Dix 1891–1969, ill. p. 187, no. 104;
Milan, Fondazione Antonio Mazzotta, 1997, Otto Dix, ill. p. 157;
Frankfurt am Main, Das Städel, 2003–2004, 'Nackt! Frauenansichten. Malerabsichten. Aufbruch zur Moderne', no. 64, p. 219;
New York, Neue Galerie and Montreal, Montreal Museum of Fine Arts, 2010–2011, Otto Dix, cat. 165, ill. p. 230;
London, Richard Nagy Ltd., 2012, 'The Silverman Collection', no. 18, p. 121;
Mannheim, Kunsthalle Mannheim, and Munich, Kunsthalle der Hypo-Kulturstiftung, 2013–14, Dix/Beckmann: Mythos Welt, cat no. 173, p. 175;
Monterrey, Marco, and Mexico City, Munal, 2016–17, Otto Dix. Violencia & Pasión, p. 257.

Selected literature:
Eva Karcher, Otto Dix 1891–1969, Cologne 1992, p. 178.

This work was produced before the operative period 1933–45. Its provenance during these years is not fully documented, however consultation with the relevant sources and experts gives no evidence of wrongful taking. An Art Loss Register search for this work is currently in progress.

Queer British Art

Tate Britain (London, UK) from 05 Apr 2017 until 01 Oct 2017.

Robert Goodloe Harper Pennington
(1854-1920)
Oscar Wilde
(1854-1900)

Robert Goodloe Harper Pennington and Oscar Wilde, Oscar Wilde, 1881

X63132
Oscar Wilde

1881
painting
Oil on canvas
unconfirmed, frame: 1800 x 1100 mm support: 1778 x 914 mm
William Andrews Clark Memorial Library, Los Angeles, California.
Provenance:
Gift from the artist to the sitter (Oscar Wilde d.1900) upon his marriage, 1884; bt., 1885 by Ada and Ernest Leverson; by 1912 collection of Robert Ross (d.1918); by 1934 collection of Harrison Post; by whom bequeathed to the William Andrews Clark Memorial Library, Los Angeles, California.

Nationality of artist: American
Identifying marks: None
Place of Manufacture: London, UK

Catalogue Raisonné: Arthur Ransome, Oscar Wilde: a critical study, New York: Mitchell Kennerley, 1912. Illustrated as frontispiece.

David Hockney
(born 1937, born: Bradford)

David Hockney, Life Painting for a Diploma, 1962

X63337
Life Painting for a Diploma

1962
painting
Oil, charcoal, and paper on canvas
support: 1800 x 1800 mm
Yageo Foundation Collection, Taiwan
Provenance:
Collection of the artist; Ossie Clark, London (d.1996); private collection; sale, Sotheby’s Contemporary Art Evening Auction, 12 October 2007 (lot 29); Yageo Foundation Collection, Taiwan

Nationality of artist: British
Identifying marks: Signed twice with initials and titled
Place of Manufacture: London, UK

Catalogue Raisonné: David Hockney Paintings, Prints and Drawings: 1960-1970, exh. cat., The Whitechapel Art Gallery, London, 1970, p.26, illustrated (photograph of the artist with the present work).

Alberto Giacometti

Tate Modern (London, UK) from 10 May 2017 until 10 Sep 2017.

Alberto Giacometti
(1901-1966, born: Borgonovo Val Tidone, died: Geneva, active: Switzerland, Paris)

Alberto Giacometti, Head of Ottilia, c.1925

X62898
Head of Ottilia

[Tête d'Ottilia] c.1925
sculpture
Bronze
unconfirmed: 380 x 215 x 166 mm
Private Collection
Provenance:
Nationality of artist: Swiss
Place of Manufacture: Switzerland
Inherited by Silvio Berthoud, 1966;
The artist.
This work was produced before the operative period 1933–45.

Alberto Giacometti, Head (Self-Portrait), 1927

X62901
Head (Self-Portrait)

[Tête (Autoportrait)] 1927
sculpture
Plaster
unconfirmed: 493 x 180 x 152 mm
Courtesy Galerie Jeanne Bucher Jaeger, Paris
Provenance:
Nationality of artist: Swiss
Place of Manufacture: Paris, France.
Acquired by Jeanne Bucher directly from the artist in the 1930's;
The artist.
Exhibitions:
Houston, TX, 1963;
Strasbourg 1994;
Milan 1995;
Medriosio 2000;
Valencia 2000;
Paris 2001;
London 2016;
Zürich 2016.
This work was produced before the operative period 1933–45.

Alberto Giacometti, Gazing Head, 1929

X62903
Gazing Head

[Tête qui regarde] 1929
sculpture
Terracotta
unconfirmed: 370 x 330 x 60 mm
Courtesy Galerie Jeanne Bucher Jaeger, Paris
Provenance:
Nationality of artist: Swiss
Place of Manufacture: Paris, France.
Acquired by Jeanne Bucher directly from the artist in the 1930's;
The aritst.
This work was produced before the operative period 1933–45.

Alberto Giacometti, Man and Woman, 1928-1929

X62908
Man and Woman

[Homme et Femme] 1928-1929
sculpture
Bronze
unconfirmed: 400 x 400 x 165 mm
Centre Pompidou, Paris
Provenance:
Nationality of artist: Swiss
Place of Manufacture: Paris, France.
Donated from private collection to Centre Pompidou in lieu of inheritance tax, 1984;
Private Collection;
Henriette Gomès, Paris;
Pierre Loeb, Paris;
The artist.
This work was produced before the operative period 1933–45.

Alberto Giacometti, Reclining Woman who Dreams, 1929

X62909
Reclining Woman who Dreams

[Femme couchée qui rêve] 1929
sculpture
Bronze (cast 1959)
unconfirmed: 230 x 420 x 140 mm
Kunstmuseum Basel
Provenance:
Nationality of artist: Swiss
Place of Manufacture: Paris, France.
Gifted to Kunstmuseum Basel in 1966 in memory of Hans Arp;
Collection Marguerite Arp-Hagenbach;
Hans Arp;
Sidney Janis Gallery, New York, nr. 8898;
William Rubin;
1959 Cast (four bronzes in total) by Lawrence (Larry) Rubin, brother of William Rubin, in agreement with Alberto Giacometti.
This work was produced before the operative period 1933–45.

Alberto Giacometti, Circuit, 1931

X62923
Circuit

1931
sculpture
Wood
unconfirmed: 45 x 485 x 470 mm
Centre Pompidou, Paris
Provenance:
Nationality of artist: Swiss
Place of Manufacture: Paris, France.
Purchased from private collection by Centre Pompidou,1987;
Private Collection;
Henriette Gomès, Paris;
The artist.
This work was produced before the operative period 1933–45.

Alberto Giacometti, Man, Woman, Child, 1931

X62924
Man, Woman, Child

[Homme, femme, enfant] 1931
sculpture
Wood and metal
unconfirmed: 160 x 415 x 370 mm
Kunstmuseum Basel
Provenance:
Nationality of artist: Swiss
Place of Manufacture: Paris, France.
Gifted to Kunstmuseum Basel in 1968;
Collection of Marguerite Hagenbach, gift from Hans Arp, 1947;
Hans Arp, Paris;
The artist.
This work was produced before the operative period 1933–45.

Alberto Giacometti, Disagreeable Object, 1931

X63097
Disagreeable Object

[Objet désagréable] 1931
sculpture
Wood
unconfirmed: 151 x 479 x 118 mm
Private Collection
Provenance:
Nationality of artist: Swiss
Place of Manufacture: Paris, France
Acquired from the below by the present owner, 2002;
Mitchell-Innes & Nash, New York.;
Thence by descent;
James Johnson Sweeney, New York;
The artist.
Catalogue Raisonné:
Paris, Galerie Pierre Lob, Peintures et Sculptures Abstraits: Harrung, Arp, Ferren, Giacometti, Helion, Kandinsky, Nelson, Paalen, Tauber-Arp, 1936 no.85;
New York, The Museum of Modern Art, Fantastic Art: Dada and Surrealism, 1936, no. 377;
New York, Art of This Century, Alberto Giacometti, 1945, no.9;
New York, Pierre Matisse Gallery, Alberto Giacometti, 1948, no.6 (dated 1932);
New York, The Solomon R. Guggenheim Museum, Alberto Giacometti, 1955 (as "Uncomfortable Object");
Paris, Galerie Charpentier, Le Surréalisme: Sources, Histoire, Affinities, 1964, no.149;
New York, The Museum of Modern Art, Alberto Giacometti, 1965, no.9;
New York, The Solomon R. Guggenheim Museum, Alberto Giacometti: A retrospective Exhibition, 1974, no.24;
Vienna, Kunsthalle, Alberto Giacometti: 1901-1996, February 24 - May 5, 1996; Edinburgh, Scottish National Gallery of Modern Art, June 1 - September 22, 1996; and London, Royal Academy of Arts, October 9,1996 - January 1, 1997, no.69;
New York, The Museum of Modern Art, Alberto Giacometti, October 11, 2001 - January 8, 2002;
New York, The Museum of Modern Art, 75th Anniversary Reinstallation, November 20, 2004 - February 7, 2007;
New York, The Museum of Modern Art, The Erotic Object: Surrealist Sculpture from the Collection, June 24, 2009 - January 4, 2010;
New York, The Museum of Modern Art, Permanent Collection Display, March 1, 2011 - January 17, 2012;
London, Luxembourg & Dayan, Alberto Giacometti: In His Own Words; Sculptures 1925 - 34, February 2 - April 9, 2016, cat. no. 17, pp.78, 106, reproduction in black-and-white, pp. 5, 11, 106, back cover, reproduction in colour, p.79.

Alberto Giacometti, Paysage tête couchée, 1932

X62925
Paysage tête couchée

1932
sculpture
Plaster
unconfirmed: 225 x 680 x 370 mm
Centre Pompidou, Paris
Provenance:
Nationality of artist: Swiss
Place of Manufacture: Paris, France.
Donated to Centre Pompidou in lieu of inheritance tax from private collection,1987;
Private Collection;
Diego Giacometti, Paris (France)
The artist.
This work was produced before the operative period 1933–45.

Alberto Giacometti, Lunar, 1933

X62930
Lunar

1933
on paper, unique
Ink on paper
unconfirmed: 275 x 200 mm
Collection Adrien Maeght, Saint-Paul de Vence
Provenance:
Nationality of artist: Swiss
Place of Manufacture: Paris, France.
Gifted by the artist to Adrien Maeght;
The artist.
This work was produced during the operative period 1933–45.

Fahrelnissa Zeid

Tate Modern (London, UK) from 13 Jun 2017 until 08 Oct 2017.

Fahrelnissa Zeid
(1901-1991, born: Istanbul, died: Amman)

Fahrelnissa Zeid, Self-Portrait, 1944

X63154
Self-Portrait

1944
painting
Oil paint on canvas
unconfirmed: 600 x 500 x 20 mm unconfirmed, frame: 740 x 640 mm
Sema and Barbaros Çaga Collection
Provenance:
The artist;
By descent to private collection
Acquired by current ownder from private collection, 1990
Nationality of Artist: Turkish
Identifying marks: Signed and dated, lower right
Place of manufacture: Not recorded
Catalogue raisonne:
Fahrelnissa & Nejad: Two Generations of the Rainbow, Istanbul Modern, 2006, p. 128
Exhibition history:
Fahrelnissa & Nejad: Two Generations of the Rainbow, Istanbul Modern, 2006

Fahrelnissa Zeid, Basel Carnival, 1953

X63183
Basel Carnival

[Carnaval de Bâle] 1953
painting
Oil paint on canvas
unconfirmed: 2000 x 2800 mm
Sammlung Ludwig, Ludwig Forum für Internationale Kunst, Aachen
Provenance:
The artist;
The artist’s family by descent;
Presented to current collection by the artist’s family
Nationality of Artist: Turkish
Identifying marks: None
Place of manufacture: Not recorded
Catalogue raisonne:
Fahr el Nissa Zeid: Presented by Andre Perinaud, Published by the Royal National Jordanian Institute Fahrelnissa Zeid of Fine Arts, 1984, plate 5
This work was made after the operative period 1933-45

Fahrelnissa Zeid, Break of the Atom and Vegetal Life, 1962

X63166
Break of the Atom and Vegetal Life

[Rupture de l'atome et vie végétale] 1962
painting
Oil paint on canvas
unconfirmed: 2100 x 5400 mm unconfirmed, frame: 2180 x 5445 x 55 mm
Z. Yildirim Family Collection
Provenance:
The artist;
Private collection by descent;
Acquired by its current owner in 2013
Nationality of Artist: Turkish
Identifying marks: Signed in lower right (Arabic)
Place of manufacture: Not recorded
Catalogue raisonne:
Fahr el Nissa Zeid: Presented by Andre Perinaud, Published by the Royal National Jordanian Institute Fahrelnissa Zeid of Fine Arts, 1984, plate 3
This work was made after the operative period 1933-45

Fahrelnissa Zeid, Charles Estienne, c.1964

X63338
Charles Estienne

c.1964
painting
Oil paint on canvas
unconfirmed: 1380 x 850 mm
Musée d'Art Moderne de la Ville de Paris
Provenance:
The artist;
Presented to current collection by the artist 1985
Nationality of Artist: Turkish
Identifying marks: Signed "Fahrelnissa Z." lower right
Place of manufacture: France
Catalogue raisonne:
Fahr el Nissa Zeid: Presented by Andre Perinaud, Published by the Royal National Jordanian Institute Fahrelnissa Zeid of Fine Arts, 1984, plate 91; Fahrelnissa & Nejad: Two Generations of the Rainbow, Istanbul Modern, 2006, p. 268
This work was made after the operative period 1933-45

Soul of a Nation: Art in the Age of Black Power

Tate Modern (London, UK) from 12 Jul 2017 until 22 Oct 2017.

Emma Amos (New York, USA)
(born 1938)

Emma Amos (New York, USA), Eva the Babysitter, 1973

X63041
Eva the Babysitter

1973
painting
Oil paint on canvas
unconfirmed: 1270 x 863.6 mm
Courtesy of Emma Amos, the Amos family, and RYAN LEE Gallery.
Provenance:
Collection of the artist.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: New York, NY, United States
This work was made after the operative period 1933-45.

Benny Andrews
(1930-2006)

Benny Andrews, Did the Bear Sit Under the Tree?, 1969

X61547
Did the Bear Sit Under the Tree?

1969
painting
Oil paint, fabric and zip on canvas
unconfirmed: 1270 x 1568 x 57 mm
Emanuel Collection
Provenance:
The artist;
Nene Humphrey, Brooklyn, NY, USA;
Michael Rosenfeld Gallery LLC, New York, NY, USA;
Emanuel Collection 2012.
Nationality of the artist: American
Identifying marks: Signed and dated lower right: BENNY ANDREWS-'69
Place of manufacture: New York, NY, United States
Catalogue raisonne: Since the Harlem Renaissance: 50 Years of Afro-American Art, Center Gallery of Bucknell University, Lewisburg, PA, 1984, p.104, cat. no. 80; Shooting Star Review: Justice, Injustice, Summer 1989, p. 6; Benny Andrews: There Must Be a Heaven, exh. cat. Michael Rosenfeld Gallery LLC, New York, 2013, p. 37-39; Lisa Farrington, African-American Art: A Visual and Cultural History (New York, NY: Oxford University Press, 2016) p. 253, fig. 10.4.
This work was made after the operative period 1933-45.

Romare Bearden
(1911-1988, born: Charlotte, died: New York City)

Romare Bearden, The Prevalence of Ritual: Baptism, 1964

X29993
The Prevalence of Ritual: Baptism

1964
on paper, unique
Printed paper, acrylic paint, ink and graphite on cardboard
support: 232 x 305 mm
Hirshhorn Museum and Sculpture Garden Smithsonian Institution. Gift of Joseph H. Hirshhorn, 1966
Provenance:
The artist;
Cordier and Ekstrom Gallery, New York, 1964
Joseph H. Hirshhorn, New York, 1966,
Hirshhorn Museum and Sculpture Garden Smithsonian Institution, 1966
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: New York, NY, United States
This work was made after the operative period 1933-45.

Romare Bearden, Mysteries, 1964

X61455
Mysteries

1964
painting
Printed papers and acrylic paint on cardboard
unconfirmed: 286 x 362 mm
Museum of Fine Arts, Boston, Ellen Kelleran Gardner Fund
Provenance:
The artist;
Cordier and Eckstrom, Inc., New York;
Museum of Fine Arts Boston, Ellen Kelleran Gardner Fund 1971.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: New York, NY, United States
This work was made after the operative period 1933-45.

Romare Bearden, The Dove, 1964

X61598
The Dove

1964
on paper, print
Photostat on fibreboard
unconfirmed: 977.9 x 1384.3 mm
The Romare Bearden Foundation, courtesy of DC Moore Gallery, New York
Provenance:
The artist;
The Romare Bearden Foundation, represented by DC Moore Gallery, New York, NY, USA.
Nationality of the artist: American
Identifying marks: none
Place of manufacture: United States
Catalogue raisonne: Projections, exh. cat. New York: Cordier & Ekstrom, 1964; Projections, exh. cat. Washington, DC: Corcoran Gallery of Art, 1965; M. Bunch Washington, The Art of Romare Bearden: The Prevalence of Ritual, New York: Harry Abrams, 1972, p. 90, pl. 29; Jeffreen M. Hayes, Etched in Collective History. exh. cat. Birmingham, AL: Birmingham Museum of Art, 2013, p. 50; Romare Bearden: Insight & Inspiration. exh. cat. New York: DC Moore Gallery, 2014, p. 13.
This work was made after the operative period 1933-45.

Romare Bearden, The Conjur Woman, 1964

X61862
The Conjur Woman

1964
on paper, unique
Printed papers and goauche on cardboard
unconfirmed: 306 x 237 mm
The Museum of Modern Art, New York. Blanchette Hooker Rockefeller Fund, 1971.
Provenance:
The artist;
Cordier and Ekstrom Gallery, New York, 1964;
Jeanne Siegel, New York;
The Museum of Modern Art, New York, 1971.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: New York, NY, United States
This work was made after the operative period 1933-45.

Dawoud Bey

Dawoud Bey, A Man in a Bowler Hat, 1976, printed by 1979

X65244
A Man in a Bowler Hat

1976, printed by 1979
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 155 x 230 mm
The Art Institute of Chicago, Restricted gift of Kevin and Jeanne Poorman. 2011.134
Provenance:
The artist;
Stephen Daiter Gallery;
The Art Institute of Chicago, restricted gift of Kevin and Jeanne Poorman, 2011.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: New York, NY, United States
This work was made after the operative period 1933-45.

Dawoud Bey, Deas McNeil, the Barber, 1976, printed by 1979

X65246
Deas McNeil, the Barber

1976, printed by 1979
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 155 x 230 mm
The Art Institute of Chicago, Restricted gift of Anita Blanchard M.D. and Martin Nesbitt. 2011.138
Provenance:
The artist;
Stephen Daiter Gallery;
The Art Institute of Chicago, restricted gift of Anita Blanchard M.D. and Martin Nesbitt, 2011.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: New York, NY, United States
This work was made after the operative period 1933-45.

Dawoud Bey, A Boy in front of the Loew's 125th Street Movie Theater, 1976, printed by 1979

X65252
A Boy in front of the Loew's 125th Street Movie Theater

1976, printed by 1979
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 155 x 230 mm
TBC
Provenance:
The artist;
Stephen Daiter Gallery;
The Art Institute of Chicago, promised gift of Bruce and Vicki Adams 2011.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: New York, NY, United States
This work was made after the operative period 1933-45.

Dawoud Bey, A Woman at 7th Avenue & 138th Street, 1976/77, printed by 1979

X65251
A Woman at 7th Avenue & 138th Street

1976/77, printed by 1979
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 230 x 155 mm
The Art Institute of Chicago, Restricted gift of Mary and James Bell. 2011.145
Provenance:
The artist;
Stephen Daiter Gallery;
The Art Institute of Chicago, IL restricted gift of Mary and James Bell, 2011.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: New York, NY, United States
This work was made after the operative period 1933-45.

Frank Bowling
(born 1936, born: Guyana)

Frank Bowling, Middle Passage, 1970

X61520
Middle Passage

1970
painting
Oil paint on canvas
unconfirmed: 3098.8 x 3098.8 mm
The Menil Collection, Houston
Provenance:
The artist;
Menil Foundation, Inc. 1970.
Nationality of the artist: British
Identifying marks: none or not recorded
Place of manufacture: New York, NY, United States
This work was made after the operative period 1933-45.

Frank Bowling, Texas Louise, 1971

X61522
Texas Louise

1971
painting
Acrylic paint on canvas
unconfirmed: 2820 x 6650 mm
Rennie Collection, Vancouver.
Provenance:
The artist;
Hales Gallery, New York;
Roboson Holdings Ltd., 2013.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: New York, NY, United States
This work was made after the operative period 1933-45.

Elizabeth Catlett
(1915-2012)

Elizabeth Catlett, Black Unity, 1968

X62244
Black Unity

1968
sculpture
Mahogany wood
unconfirmed: 514.4 x 571.5 x 317.5 mm
Crystal Bridges Museum of American Art, Bentonville, Arkansas, 2014.11
Provenance:
The artist;
Michael Rosenfeld Gallery, New York, NY;
Alonzo Davis, Los Angeles, CA and Mount Rainier, MD;
Crystal Bridges Museum of American Art, Bentonville, AR, USA, 2014.
Nationality of the artist: American/Mexican
Identifying marks: none or not recorded
Place of manufacture: Mexico City, Mexico

Jeff Donaldson
(1932-2004)

Jeff Donaldson, Study for the Wall of Respect (Miles Davis), 1967

X65951
Study for the Wall of Respect (Miles Davis)

1967
painting
Oil paint and goauche on paper
unconfirmed: 610 x 460 mm
Mary and Leigh Block Museum of Art, Northwestern University, purchase funds provided by Block Friends of Art 2017.2
Provenance:
The artist;
Jameela Donaldson, 2004;
David Lusenhop, 2012;
BLOCK Museum of Art, 2017.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: Chicago, IL, United States
This work was made after the operative period 1933-45.

Jeff Donaldson, Victory in the Valley of Eshu, 1971

X61864
Victory in the Valley of Eshu

1971
on paper, print
Screenprint on paper
unconfirmed: 1016 x 762 mm
The David and Alfred Smart Museum of Art, The University of Chicago; Gift of Melissa Azzi in honor of the artist
Provenance:
The artist;
Melissa Azzi, 2009;
Smart Museum of Art, University of Chicago, Chicago, IL 2009.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: Chicago, IL, United States
This work was made after the operative period 1933-45.

Jeff Donaldson, Wives of Sango, 1971

X67709
Wives of Sango

1971
painting
Acrylic paint, gold foil and silver foil on cardboard Acrylic paint, gold and silver foil on cardboard
unconfirmed: 914 x 610 mm
Collection of the Smithsonian National Museum of African American History & Culture
Provenance:
The artist;
Jameela Donaldson, 2004;
Kravets Wehby Gallery;
Pending purchase by Smithsonian National Museum of African American History and Culture 2017.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: Chicago, IL, United States
This work was made after the operative period 1933-45.

Reginald Gammon
(1921-2005)

Reginald Gammon, Freedom Now, 1963

X61543
Freedom Now

1963
painting
Acrylic paint on board
unconfirmed: 1016 x 791 x 57 mm
On loan from the National Afro-American Museum and Cultural Center in Wilberforce, Ohio
Provenance:
The artist;
National Afro-American Museum and Cultural Center, 1991.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: New York, NY, United States
This work was made after the operative period 1933-45.

Sam Gilliam (Washington, USA)
(born 1933, born: Tupelo)

Sam Gilliam (Washington, USA), April 4, 1969

X61529
April 4

1969
painting
Acrylic paint on canvas
unconfirmed: 2794 x 4566 mm
Smithsonian American Art Museum, Museum purchase
Provenance:
The artist;
Jefferson Place Gallery, Washington, DC;
Smithsonian American Art Museum, 1973.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: Los Angeles, CA, United States
This work was made after the operative period 1933-45.

Sam Gilliam (Washington, USA), Carousel Change, 1970

X47202
Carousel Change

1970
relief
Acrylic paint on canvas and leather string
unconfirmed: 3000 x 23370 mm
Promised gift of Pamela J. Joyner and Alfred J. Giuffrida (Tate Americas Foundation)
Provenance:
The artist;
Collection Darthea Speyer, Paris, France;
Christies New York 22 September 2010;
Collection of Pamela J. Joyner and Alfred J. Giuffrida, San Francisco, USA
Nationality of the artist: American
Identifying marks: Signed, titled, dated and inscribed 'Sam Gilliam Carrousel Change 1970' (on the reverse)
Place of manufacture: Los Angeles, CA, United States
This work was made after the operative period 1933-45.

David Hammons
(born 1943, born: Springfield, active: New York)

David Hammons, Injustice Case, 1970

X61532
Injustice Case

1970
on paper, print
Body print and screenprint on paper on American Flag
unconfirmed: 1600.2 x 1028.7 mm frame: 1752.6 x 1200.2 x 57.2 mm
Los Angeles County Museum of Art. Museum Acquisition Fund (M.71.7)
Provenance:
The artist;
Brockman Muse Gallery, Los Angeles, CA;
Los Angeles County Museum of Art, 1971.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: Los Angeles, CA, United States
This work was made after the operative period 1933-45.

David Hammons, Bag Lady in Flight, 1975, reconstructed 1990

X61533
Bag Lady in Flight

1975, reconstructed 1990
sculpture
Shopping bags, grease and hair
unconfirmed: 1080 x 2959 x 89 mm
The Eileen Harris Norton Collection, Santa Monica, CA
Provenance:
The artist;
Jack Tilton Gallery, New York, NY, USA;
Eileen Harris Norton Collection, Santa Monica, CA, USA, 1991.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: Los Angeles, CA, United States
Catalogue raisonne: Mark Godfrey et al., David Hammons - Give Me A Moment, The George Economou Collection, 2016.
This work was made after the operative period 1933-45.

Barkley L. Hendricks
(1945-2017, born: Philadelphia, active: United States)

Barkley L. Hendricks, Brilliantly Endowed (Self-Portrait), 1977

X61857
Brilliantly Endowed (Self-Portrait)

1977
painting
Oil paint and acrylic paint on canvas
unconfirmed: 1676.4 x 1225.6 mm
Rennie Collection, Vancouver
Provenance:
The artist;
Jack Shaiman Gallery;
Rennie Collection, 2013.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: New London, CT, United States
This work was made after the operative period 1933-45.

Jae Jarrell (Cleveland, USA)
(born 1935)

Jae Jarrell (Cleveland, USA), Brothers Surrounding Sis, 1970

X62254
Brothers Surrounding Sis

1970
sculpture
Acrylic paint on suede
unconfirmed: 889 x 685.8 x 355.6 mm, 0.9 kg
Courtesy of Jae Jarrell
Provenance:
Collection of the artist.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: Chicago, IL, United States

Wadsworth Jarrell (Cleveland, USA)
(born 1929)

Wadsworth Jarrell (Cleveland, USA), Black Prince, 1971

X61648
Black Prince

1971
painting
Acrylic paint on canvas
unconfirmed: 1626 x 1118 mm
Private collection
Provenance:
The artist;
Mr and Mrs Munson Steed.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: Chicago, IL, United States
This work was made after the operative period 1933-45.

Wadsworth Jarrell (Cleveland, USA), Liberation Soldiers, 1972

X61866
Liberation Soldiers

1972
painting
Acrylic paint and foil on canvas
unconfirmed: 1270 x 1219.2 mm
The John and Susan Horseman Collection of American Art
Provenance:
The artist;
John and Susan Horseman, 2017.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: Chicago, IL, United States
This work was made after the operative period 1933-45.

Carolyn Lawrence (Chicago, USA)
(born 1940)

Carolyn Lawrence (Chicago, USA), Black Children Keep Your Spirits Free, 1970s

X61649
Black Children Keep Your Spirits Free

1970s
painting
Acrylic paint on canvas
unconfirmed, frame: 1245 x 1295 x 51 mm
Carolyn Mims Lawrence
Provenance:
Collection of the artist.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: Chicago, IL, United States
This work was made after the operative period 1933-45.

Archibald Motley
(1891-1981)

Archibald Motley, The First One Hundred Years: He Amongst You Who is Without Sin Shall Cast the First Stone; Forgive Them Father For They Know Not What They Do, c.1963–72

X61711
The First One Hundred Years: He Amongst You Who is Without Sin Shall Cast the First Stone; Forgive Them Father For They Know Not What They Do

c.1963–72
painting
Oil paint on canvas
unconfirmed: 1242 x 1035 mm
Mara Motley, M.D., and Valerie Gerrard Browne
Provenance:
The artist;
Archibald Motley and Mara Motley, 1986;
Collection of Mara Motley, MD and Valerie Gerrard Browne, Charleston, USA, 2002.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: Chicago, IL, United States
Catalogue raisonne: Gary Miles Chassman, In the Spirit of Martin: The Living Legacy of Dr Martin Luther King, Jr., Smithsonian Institution, Traveling Exhibition Service, 2002-2004; Jontyle Theresa Robinson and Wendy Greenhouse, The Art of Archibald J. Motley, Jr., 1991-1993; Richard J. Powell, Archibald Motley: Jazz Age Modernist, exh. cat., Nasher Museum of Art, Duke University, NC 2015-2016.
This work was made after the operative period 1933-45.

Alice Neel
(1900-1984, born: Montgomery, died: New York City)

Alice Neel, Faith Ringgold, 1977

X63130
Faith Ringgold

1977
painting
Oil paint on canvas
unconfirmed: 1219 x 914 mm
Private collection
Provenance:
The artist;
Robert Miller Gallery, NY, USA;
Private Collection, Dallas, USA, 1984.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: New York, NY, United States
Catalogue raisonne: Carolyn Carr, Alice Neel's Women, Rizzoli International Publications, 2002.
This work was made after the operative period 1933-45.

Senga Nengudi
(born 1943)

Senga Nengudi, Untitled, 1976

X61535
Untitled

1976
sculpture
Nylon, tights, sand, and cardboard roll
unconfirmed: 1829 x 1346 x 432 mm
The Museum of Modern Art, New York. Gift of the Hudgins Family in memory of Brienin Bryant, 2013.
Provenance:
The artist;
AC and Thelma Hudgins, New York;
The Museum of Modern Art, New York, 2013.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: New York, NY, United States
This work was made after the operative period 1933-45.

Senga Nengudi, R.S.V.P. XI, 1977/2004

X64197
R.S.V.P. XI

1977/2004
sculpture
Nylon tights, rubber and sand
unconfirmed: 2286 x 610 mm
Carnegie Museum of Art, Pittsburgh; Nancy and Milton Washington Fund. 2005.15
Provenance:
The artist;
Thomas Erben Gallery, New York, NY;
Carnegie Museum of Art, Pittsburgh, PA, 2005
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: New York, NY, United States
This work was made after the operative period 1933-45.

John Outterbridge
(born 1933)

John Outterbridge, Time for a New Direction (Containment Series), c.1969

X61843
Time for a New Direction (Containment Series)

c.1969
sculpture
Welded metal
unconfirmed: 279.4 x 279.4 x 109.2 mm
Collection of Mitzi and Warren Eisenberg
Provenance:
The artist;
Los Angeles Modern Auctions 17 October 2010;
Dr Leon Banks, 2010;
Jack Tilton Gallery, New York, NY, United States;
Mitzi and Warren Eisenberg, 2012.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: Los Angeles, CA, United States
This work was made after the operative period 1933-45.

Joe Overstreet (New York, USA)
(born 1933)

Joe Overstreet (New York, USA), We Came from There to Get Here, 1970

X62250
We Came from There to Get Here

1970
painting
Acrylic paint on canvas and rope
unconfirmed: 1460 x 1480 mm
Courtesy of Kenkeleba Gallery
Provenance:
Collection of the artist.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: New York, NY, United States
This work was made after the operative period 1933-45.

Noah Purifoy
(1917-2004)

Noah Purifoy, Untitled, 1966

X61694
Untitled

1966
sculpture
Mixed media
unconfirmed: 381 x 152 x 152 mm
Private Collection
Provenance:
The artist;
Israel Liebowitz;
Private Collection;
Beth Rudin DeWoody, New York, NY 2017
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: Los Angeles, CA, United States
This work was made after the operative period 1933-45.

Martin Puryear
(born 1941)

Martin Puryear, Self, 1978

X61650
Self

1978
sculpture
Stain on red cedar and mahogany wood
unconfirmed: 1753 x 1219 x 635 mm
Joslyn Art Museum. Museum purchase in memory of Elinor Ashton 1980.63
Provenance:
The artist;
Young Hoffman Gallery, Chicago, IL;
Purchased by Joslyn Art Museum, 1980.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: Chicago, IL, United States
Catalogue raisonne: I-80 Series: Martin Puryear, exhibition catalogue (Joslyn Art Museum, Omaha, Nebraska, August 2 - September 14, 1980), illustrated in catalogue
Martin Puryear: Public and Personal, Exhibition catalogue (Chicago Public Library Cultural Center, February 7 - April 4, 1987), color illustration on page 24 of catalogue
Martin Puryear, exhibition catalogue (The Art Institute of Chicago, November 2, 1991 - January 5, 1992), black-and-white image on frontis, illustrated in color on page 66, information on page 25.
This work was made after the operative period 1933-45.

Faith Ringgold (New York, USA)
(born 1930)

Faith Ringgold (New York, USA), American People Series #20: Die, 1967

X61849
American People Series #20: Die

1967
painting
Oil paint on canvas
unconfirmed: 1828.8 x 3657.6 mm
The Museum of Modern Art, New York. Purchase; and gift of the Modern Women's Fund, 2016
Provenance:
The artist;
ACA Galleries, New York;
The Museum of Modern Art, New York, 2016.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: New York, NY, United States
This work was made after the operative period 1933-45.

Betye Saar (Los Angeles, USA)
(born 1926)

Betye Saar (Los Angeles, USA), Gelede, 1971

X61842
Gelede

1971
sculpture
Acrylic paint on wooden seat, assorted yarn, sheep’s wool, fur, feathers and wooden beads
unconfirmed: 1371.6 x 381 mm
Crystal Bridges Museum of American Art, Bentonville, Arkansas
Provenance:
The artist;
Roberts and Tilton, Culver City, CA;
Crystal Bridges Museum of American Art, Bentonville, AR, USA, 2017.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: Los Angeles, CA, United States
This work was made after the operative period 1933-45.

Betye Saar (Los Angeles, USA), Giza, 1972

X66490
Giza

1972
sculpture
Leather, fur, feathers, wood, metal, yarn, string and acrylic paint
unconfirmed: 1676 x 635 mm
Drs Harrold & Matti Dobbs Mavritte
Provenance:
The artist;
Drs Harrold and Matti Mavritte, Carlsbad, USA, 1973
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: Los Angeles, CA, United States
This work was made after the operative period 1933-45.

Betye Saar (Los Angeles, USA), Spirit Catcher, 1977

X61596
Spirit Catcher

1977
sculpture
Rattan, wood, leather, acrylic paint, mirror, bones, feathers, rope and shells
unconfirmed: 1143 x 457 x 457 mm
Kyle Leeser
Provenance:
The artist;
Kyle Leeser, 1989.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: Los Angeles, CA, United States
This work was made after the operative period 1933-45.

Raymond Saunders
(born 1934)

Raymond Saunders, Jack Johnson, 1971

X61597
Jack Johnson

1971
painting
Oil paint on canvas
unconfirmed: 2092 x 1616 mm
Courtesy of the Pennsylvania Academy of Fine Arts, Philadelphia. Funds provided by the National Endowment for the Arts, Pennsylvania Academy Women's Committee, and an Anonymous Donor
Provenance:
The artist;
Terry Ditenfass Inc, New York;
Pennsylvania Academy of the Fine Arts, 1974.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: Oakland, CA, United States
This work was made after the operative period 1933-45.

Bob Thompson
(1937-1966)

Bob Thompson, LeRoi Jones and his Family, 1964

X61546
LeRoi Jones and his Family

1964
painting
Oil paint on canvas
unconfirmed: 924 x 1232 mm
Hirshhorn Museum and Sculpture Garden Smithsonian Institution. Gift of Joseph H. Hirshhorn, 1966
Provenance:
The artist;
Joseph H. Hirshhorn, 1964;
Hirshhorn Museum and Sculpture Garden Smithsonian Institution, 1966.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: New York, NY, United States
This work was made after the operative period 1933-45.

Timothy Washington
(born 1946)

Timothy Washington, One Nation Under God, 1970

X62205
One Nation Under God

1970
sculpture
Paint on engraved aluminium
unconfirmed: 889 x 1219.2 mm
Los Angeles County Museum of Art. Museum Purchase with Museum Associates Funds (M.71.8)
Provenance:
The artist;
Brockman Muse Gallery, Los Angeles, CA;
Los Angeles County Museum of Art, 1971.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: Los Angeles, CA, United States
This work was made after the operative period 1933-45.

Charles White
(1918-1979)

Charles White, Wanted Poster No.5, 1969

X64954
Wanted Poster No.5

1969
painting
Oil paint on board
unconfirmed: 609.6 x 1212.9 mm
Collection of Arthur Primas
Provenance:
The artist;
Mr Ivanhoe Donaldson, 1970;
Arthur Primas Collection, Colleyville, TX, 1973.
Nationality of the artist: American
Identifying marks: none or not recorded
Place of manufacture: Los Angeles, CA, United States
This work was made after the operative period 1933-45.

All Too Human: Bacon, Freud and a Century of Painting

Tate Britain (London, UK) from 28 Feb 2018 until 27 Aug 2018.

Francis Bacon
(1909-1992, born: Dublin, died: Madrid)

Francis Bacon, Study of a Baboon, 1953

X18668
Study of a Baboon

1953
painting
Oil paint on canvas
unconfirmed: 1983 x 1373 mm
The Museum of Modern Art, New York. James Thrall Soby Bequest, 1979
Provenance:
Hanover Gallery, London, 1953;
Durlacher Brothers, NY, 1953;
James Thrall Soby, NY, 1953-1979;
The Museum of Modern Art, New York. James Thrall Soby Bequest, 1979.

Nationality of Artist: British
Identifying marks: none or not recorded
Place of Manufacture: not recorded