TM 2016: Expanded Painting

Tate Modern (London, UK) from 11 Jan 2016 until 08 Jul 2019.

Kazuo Shiraga
(1924-2008)

Kazuo Shiraga, Tenkosei Kaosho, 1962

X67329
Tenkosei Kaosho

1962
painting
Oil on canvas
support: 1820 x 2730 mm
The George Economou Collection
Provenance:
The Artist;
From whom acquired by Private Collection, 1962;
By whom sold at Christie’s, Paris, 28 May 2008, lot 16;
From which sale acquired by Private Collection, Paris, 2008;
From whom acquired by Dominique Levy Galley, New York, 2015;
From whom acquired by The George Economou Collection, 2015, current owner.

Nationality of artist: Japanese
Identifying marks: Signed and dated bottom left
Place of Manufacture: Not Recorded

Anni Albers

Tate Modern (London, UK) from 11 Oct 2018 until 27 Jan 2019.

Hand loom, Mexico, c. 1930

X69724
Hand loom, Mexico

c. 1930
relief
Wood, cotton and wool
object: 533 x 508 mm
Yale University Art Gallery, The Harriet Engelhardt Memorial Collection, Gift of Mrs. Paul Moore
Provenance:
The artist;
From whom purchased by Anni Albers on behalf of the Harriet Engelhardt Memorial Collection for Black Mountain College c.1947 - 1950; Collection acquired by Yale University Art Gallery with funds from Mrs Paul Moore, 1957.
Nationality of artist: Unknown
Identifying marks: none or not recorded
Place of Manufacture: Mexico
Catalogue Raisonné:
Reynolds-Kaye J. and D. Coe M., Small-great Objects: Anni and Josef Albers in the Americas, GHP, Westhaven, USA, 2017, illustrated p.51
This work was produced before the operative period 1933–45 and has a complete provenance.

Rockefeller III Guest House, New York, NY: Publicity packet, 1950

X71662
Rockefeller III Guest House, New York, NY: Publicity packet

1950
supporting material
Printed paper (book)
236 x 219 (closed) 236 x 438 (open)
Getty Research Institute, Los Angeles, California
Provenance:
Philip Johnson;
Who donated to the Getty Research Institute in 2002.
Nationality of artist: Unknown
Identifying marks: none or not recorded
Place of Manufacture: New York City, NY, United States
This work was produced after the operative period 1933–45.

Serape, Queretaro, Mexico, late 19th to mid 20th century

X69723
Serape, Queretaro, Mexico

late 19th to mid 20th century
relief
Cotton
object: 2057 x 1270 mm
Yale University Art Gallery, The Harriet Engelhardt Memorial Collection, Gift of Mrs. Paul Moore
Provenance:
The artist;
From whom purchased by Anni Albers on behalf of the Harriet Engelhardt Memorial Collection for Black Mountain College c.1947 - 1950; Collection acquired by Yale University Art Gallery with funds from Mrs Paul Moore, 1957.
Nationality of artist: Unknown
Identifying marks: none or not recorded
Place of Manufacture: Queretaro, Mexico
Catalogue Raisonné:
Liesbrock H., Anni and Josef Albers: Latin American Journeys, Hatje Cantz, Stuttgart, Germany, 2007, illustrated p.59
This work was produced before the operative period 1933–45 and has a complete provenance.

Anni Albers
(1899-1994, born: Berlin, died: Orange, active: New Haven)

Anni Albers, Textile sample,

X66070
Textile sample


relief
Cotton and cellophane
unconfirmed: 200 x 190 mm
Lent by The Metropolitan Museum of Art, Gift of Anni Albers, 1970 1970.75.56
Provenance:
The artist;
By whom gifted to Metropolitan Museum of Art 1970.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: New Haven, CT, United States
Catalogue Raisonné:
Anni Albers, Selected Writings on Design, Wesleyan University Press, Connecticut, USA, illustrated, 2000, p.39
Weber N. and Ashbaghi P., Anni Albers, Guggenheim Museum, New York, 1999
This work is undated and is assumed to have been produced after the operative period 1933–45. The work has complete provenance and consultation with the relevant sources gives no evidence of wrongful taking.

Anni Albers, Textile Sample,

X66073
Textile Sample


relief
Linen
unconfirmed: 420 x 250 mm
Lent by The Metropolitan Museum of Art, Gift of Anni Albers, 1970 1970.75.22
Provenance:
The artist;
By whom gifted to Metropolitan Museum of Art 1970.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: New Haven, CT, United States
Catalogue Raisonné:
Weber N. and Ashbaghi P., Anni Albers, Guggenheim Museum, New York, 1999, illustrated p.91
This work is undated and is assumed to have been produced after the operative period 1933–45. The work has complete provenance and consultation with the relevant sources gives no evidence of wrongful taking.

Anni Albers, Textile Sample,

X66074
Textile Sample


relief
Synthetic
unconfirmed: 420 x 250 mm
Lent by The Metropolitan Museum of Art, Gift of Anni Albers, 1970 1970.75.26
Provenance:
The artist;
By whom gifted to Metropolitan Museum of Art 1970.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: New Haven, CT, United States
Catalogue Raisonné:
Weber N. and Ashbaghi P., Anni Albers, Guggenheim Museum, New York, 1999, illustrated p.85
This work is undated and is assumed to have been produced after the operative period 1933–45. The work has complete provenance and consultation with the relevant sources gives no evidence of wrongful taking.

Anni Albers, Textile Sample,

X66075
Textile Sample


relief
Cotton and linen
unconfirmed: 457 x 381 mm
Lent by The Metropolitan Museum of Art, Gift of Anni Albers, 1970 1970.75.29
Provenance:
The artist;
By whom gifted to Metropolitan Museum of Art 1970.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: New Haven, CT, United States
Catalogue Raisonné:
Weber N. and Ashbaghi P., Anni Albers, Guggenheim Museum, New York, 1999
This work is undated and is assumed to have been produced after the operative period 1933–45. The work has complete provenance and consultation with the relevant sources gives no evidence of wrongful taking.

Anni Albers, Textile Sample,

X66077
Textile Sample


relief
Cotton or synthetic, metal foil
unconfirmed: 570 x 355 mm
Lent by The Metropolitan Museum of Art, Gift of Anni Albers, 1970 1970.75.21
Provenance:
The artist;
By whom gifted to Metropolitan Museum of Art 1970.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: New Haven, CT, United States
Catalogue Raisonné:
Weber N. and Ashbaghi P., Anni Albers, Guggenheim Museum, New York, 1999
This work is undated and is assumed to have been produced after the operative period 1933–45. The work has complete provenance and consultation with the relevant sources gives no evidence of wrongful taking.

Anni Albers, Textile Sample,

X66078
Textile Sample


relief
Cotton and cellophane
unconfirmed: 225 x 185 mm
Lent by The Metropolitan Museum of Art, Gift of Anni Albers, 1970 1970.75.57
Provenance:
The artist;
By whom gifted to Metropolitan Museum of Art 1970.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: New Haven, CT, United States
Catalogue Raisonné:
Anni Albers, Selected Writings on Design, Wesleyan University Press, Connecticut, USA, illustrated, 2000, p.38
Weber N. and Ashbaghi P., Anni Albers, Guggenheim Museum, New York, 1999, illustrated p.83
This work is undated and is assumed to have been produced after the operative period 1933–45. The work has complete provenance and consultation with the relevant sources gives no evidence of wrongful taking.

Anni Albers, Textile Sample,

X66079
Textile Sample


relief
Cotton and synthetic
unconfirmed: 285 x 200 mm
Lent by The Metropolitan Museum of Art, Gift of Anni Albers, 1970 1970.75.69
Provenance:
The artist;
By whom gifted to Metropolitan Museum of Art 1970.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: New Haven, CT, United States
Catalogue Raisonné:
Weber N. and Ashbaghi P., Anni Albers, Guggenheim Museum, New York, 1999, illustrated p.76
This work is undated and is assumed to have been produced after the operative period 1933–45. The work has complete provenance and consultation with the relevant sources gives no evidence of wrongful taking.

Anni Albers, Textile Sample,

X66080
Textile Sample


relief
Cotton and synthetic
unconfirmed: 285 x 190 mm
Lent by The Metropolitan Museum of Art, Gift of Anni Albers, 1970 1970.75.70
Provenance:
The artist;
By whom gifted to Metropolitan Museum of Art 1970.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: New Haven, CT, United States
Catalogue Raisonné:
Weber N. and Ashbaghi P., Anni Albers, Guggenheim Museum, New York, 1999, illustrated p.77
This work is undated and is assumed to have been produced after the operative period 1933–45. The work has complete provenance and consultation with the relevant sources gives no evidence of wrongful taking.

Anni Albers, Textile Sample,

X66081
Textile Sample


relief
Cotton and linen
unconfirmed: 280 x 210 mm
Lent by The Metropolitan Museum of Art, Gift of Anni Albers, 1970 1970.75.71
Provenance:
The artist;
By whom gifted to Metropolitan Museum of Art 1970.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: New Haven, CT, United States
Catalogue Raisonné:
Weber N. and Ashbaghi P., Anni Albers, Guggenheim Museum, New York, 1999, illustrated p.78
This work is undated and is assumed to have been produced after the operative period 1933–45. The work has complete provenance and consultation with the relevant sources gives no evidence of wrongful taking.

Anni Albers, Textile Sample, nd

X66082
Textile Sample

nd
relief
Cotton
object: 200 x 280 mm
Lent by The Metropolitan Museum of Art, Gift of Anni Albers, 1970 1970.75.72
Provenance:
The artist;
By whom gifted to Metropolitan Museum of Art 1970.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: New Haven, CT, United States
Catalogue Raisonné:
Weber N. and Ashbaghi P., Anni Albers, Guggenheim Museum, New York, 1999, illustrated p.76
This work is undated and is assumed to have been produced after the operative period 1933–45. The work has complete provenance and consultation with the relevant sources gives no evidence of wrongful taking.

Anni Albers, Textile Sample,

X66083
Textile Sample


relief
Jute and cotton
unconfirmed: 280 x 210 mm
Lent by The Metropolitan Museum of Art, Gift of Anni Albers, 1970 1970.75.73
Provenance:
The artist;
By whom gifted to Metropolitan Museum of Art 1970.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: New Haven, CT, United States
Catalogue Raisonné:
Anni Albers, Selected Writings on Design, Wesleyan University Press, Connecticut, USA, illustrated, 2000, p.68
Weber N. and Ashbaghi P., Anni Albers, Guggenheim Museum, New York, 1999, illustrated p.78
This work is undated and is assumed to have been produced after the operative period 1933–45. The work has complete provenance and consultation with the relevant sources gives no evidence of wrongful taking.

Anni Albers, Textile Sample,

X66084
Textile Sample


relief
Jute and cotton
unconfirmed: 457 x 381 mm
Lent by The Metropolitan Museum of Art, Gift of Anni Albers, 1970 1970.75.74
Provenance:
The artist;
By whom gifted to Metropolitan Museum of Art 1970.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: New Haven, CT, United States
Catalogue Raisonné:
Weber N. and Ashbaghi P., Anni Albers, Guggenheim Museum, New York, 1999
This work is undated and is assumed to have been produced after the operative period 1933–45. The work has complete provenance and consultation with the relevant sources gives no evidence of wrongful taking.

Anni Albers, Textile Sample, nd

X66085
Textile Sample

nd
relief
Cotton and linen
object: 381 x 457 mm
Lent by The Metropolitan Museum of Art, Gift of Anni Albers, 1970 1970.75.75
Provenance:
The artist;
By whom gifted to Metropolitan Museum of Art 1970.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: New Haven, CT, United States
Catalogue Raisonné:
Weber N. and Ashbaghi P., Anni Albers, Guggenheim Museum, New York, 1999
This work is undated and is assumed to have been produced after the operative period 1933–45. The work has complete provenance and consultation with the relevant sources gives no evidence of wrongful taking.

Anni Albers, Textile Sample,

X66086
Textile Sample


relief
Cotton
unconfirmed: 180 x 80 mm
Lent by The Metropolitan Museum of Art, Gift of Anni Albers, 1970 1970.75.77
Provenance:
The artist;
By whom gifted to Metropolitan Museum of Art 1970.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: New Haven, CT, United States
Catalogue Raisonné:
Weber N. and Ashbaghi P., Anni Albers, Guggenheim Museum, New York, 1999
This work is undated and is assumed to have been produced after the operative period 1933–45. The work has complete provenance and consultation with the relevant sources gives no evidence of wrongful taking.

Anni Albers, Textile Sample,

X66087
Textile Sample


relief
Linen and cotton
unconfirmed: 457 x 381 mm
Lent by The Metropolitan Museum of Art, Gift of Anni Albers, 1970 1970.75.30
Provenance:
The artist;
By whom gifted to Metropolitan Museum of Art 1970.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: New Haven, CT, United States
Catalogue Raisonné:
Weber N. and Ashbaghi P., Anni Albers, Guggenheim Museum, New York, 1999
This work is undated and is assumed to have been produced after the operative period 1933–45. The work has complete provenance and consultation with the relevant sources gives no evidence of wrongful taking.

Anni Albers, Sample of material, nd

X69234
Sample of material

nd
relief
Silk
object: 203 x 262 mm frame: 486 x 384 x 25 mm
Harvard Art Museums/Busch-Reisinger Museum, Gift of Anni Albers
Provenance:
The artist;
By whom gifted to Busch-Reisinger Museum, 1948.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: San Francisco, CA, United States
Catalogue Raisonné:
This work is undated and is assumed to have been produced before the operative period 1933–45. The work has a complete provenance and consultation with the relevant sources gives no evidence of wrongful taking.

Anni Albers, Design for wallhanging, 1925

X64721
Design for wallhanging

1925
on paper, unique
Gouache on paper
support: 335 x 265 mm frame: 575 x 422 x 35 mm
Museum of Modern Art, New York, Gift of the designer, 1951
Provenance:
The artist;
By whom gifted to Museum of Modern Art, New York, 1951.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: Dessau, Germany
This work was produced before the operative period 1933–45 and has a complete provenance.

Anni Albers, Design for a silk tapestry, 1925

X68012
Design for a silk tapestry

1925
on paper, unique
Watercolor and gouache over graphite on off-white wove paper
support: 297 x 221 mm frame: 486 x 384 x 25 mm
Harvard Art Museums/Busch-Reisinger Museum, Gift of Anni Albers
Provenance:
The artist;
By whom gifted to Busch-Reisinger Museum, 1948.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: Dessau, Germany
Catalogue Raisonné:
Martin Filler, Nicholas Fox Weber, Josef and Anni Albers, Designs For Living, Merrell Publishers, New York, 2004, p.58
This work was produced before the operative period 1933–45 and has a complete provenance.

Anni Albers, Design for a tapestry, 1925

X68013
Design for a tapestry

1925
on paper, unique
Watercolor and gouache over graphite on heavy cream wove paper
image: 173 x 110 mm support: 320 x 259 mm frame: 486 x 384 x 25 mm
Harvard Art Museums/Busch-Reisinger Museum, Gift of Anni Albers
Provenance:
The artist;
By whom gifted to Busch-Reisinger Museum, 1948.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: Dessau, Germany
Catalogue Raisonné:
Martin Filler, Nicholas Fox Weber, Josef and Anni Albers, Designs For Living, Merrell Publishers, New York, 2004, 2004, p.59
This work was produced before the operative period 1933–45 and has a complete provenance.

Anni Albers, Design for a wallhanging, 1926

X66068
Design for a wallhanging

1926
on paper, unique
Gouache on paper
support: 308 x 222 mm frame: 568 x 416 x 26 mm
The Museum of Modern Art, New York, Gift of the designer, 1951
Provenance:
The artist;
By whom gifted to Museum of Modern Art, New York, 1951.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: Dessau, Germany
Catalogue Raisonné:
This work was produced before the operative period 1933–45 and has a complete provenance.

Anni Albers, Preliminary design for a wallhanging, 1926

X66090
Preliminary design for a wallhanging

1926
on paper, unique
Gouache and pencil on paper
support: 254 x 203 mm frame: 575 x 422 x 35 mm
The Museum of Modern Art, New York, Gift of the designer, 1951
Provenance:
The artist;
By whom gifted to Museum of Modern Art, New York, 1951.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: Dessau, Germany
Catalogue Raisonné:
Weber N. and Ashbaghi P., Anni Albers, Guggenheim Museum, New York, 1999, illustrated p.17
This work was produced before the operative period 1933–45 and has a complete provenance.

Anni Albers, Design for a wallhanging, 1926

X66091
Design for a wallhanging

1926
on paper, unique
Gouache and pencil on paper
support: 356 x 292 mm frame: 578 x 422 x 32 mm
The Museum of Modern Art, New York, Gift of the designer, 1951
Provenance:
The artist;
By whom gifted to Museum of Modern Art, New York, 1951.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: Dessau, Germany
This work was produced before the operative period 1933–45 and has a complete provenance.

Anni Albers, Sample of wall covering, c. 1928

X69237
Sample of wall covering

c. 1928
relief
Jute, twisted paper, and cellophane in basket weave
object: 158 x 120 mm frame: 486 x 384 x 25 mm
Harvard Art Museums/Busch-Reisinger Museum, Gift of Anni Albers
Provenance:
The artist;
By whom gifted to Busch-Reisinger Museum, 1948.

Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: Dessau, Germany

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

Anni Albers, Sample of Wall Covering, c.1929

X69238
Sample of Wall Covering

c.1929
relief
Cellophane and cotton
object: 115 x 168 mm frame: 384 x 486 x 25 mm
Harvard Art Museums/Busch-Reisinger Museum, Gift of Anni Albers
Provenance:
The artist;
By whom given to Gunta Stolzl;
From whom acquired by Busch-Resinger Museum 1949.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: Dessau, Germany
This work was produced before the operative period 1933–45 and has an incomplete provenance, however consultation with the relevant sources gives no evidence of wrongful taking.

Anni Albers, Free-hanging room divider, c. 1948

X64705
Free-hanging room divider

c. 1948
relief
Walnet lath, dowels, and waxed-cotton harness-maker's thread
object: 3264 x 1080 mm
Lent by The Metropolitan Museum of Art. Gift of Anni Albers, 1970
Provenance:
The artist;
By whom gifted to Metropolitan Museum of Art 1970.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: Asheville, NC, United States
Catalogue Raisonné:
Weber N. and Ashbaghi P., Anni Albers, Guggenheim Museum, New York, 1999, illustrated p.116
This work was produced after the operative period 1933–45.

Anni Albers, Free-hanging room divider, 1949

X64731
Free-hanging room divider

1949
relief
Jute
object: 1537 x 864 mm
The Museum of Modern Art, New York. Gift of the designer, 1960
Provenance:
The artist;
By whom gifted to Museum of Modern Art, New York, 1951.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: Asheville, NC, United States
Catalogue Raisonné:
Weber N. and Ashbaghi P., Anni Albers, Guggenheim Museum, New York, 1999, illustrated p.116
This work was produced after the operative period 1933–45.

Anni Albers, Textile Sample, c.1949

X66072
Textile Sample

c.1949
relief
Linen, metallic thread
unconfirmed: 455 x 370 mm
Lent by The Metropolitan Museum of Art, Gift of Anni Albers, 1970 1970.75.17
Provenance:
The artist;
By whom gifted to Metropolitan Museum of Art 1970.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: New Haven, CT, United States
Catalogue Raisonné:
Weber N. and Ashbaghi P., Anni Albers, Guggenheim Museum, New York, 1999
This work was produced after the operative period 1933–45.

Anni Albers, Free-hanging room divider, c.1949

X66104
Free-hanging room divider

c.1949
relief
Jute and Lurex
object: 1346 x 863 mm
The Museum of Modern Art, New York. Gift of the designer, 1960
Provenance:
The artist;
By whom gifted to Museum of Modern Art, New York, 1951.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: Asheville, NC, United States
Catalogue Raisonné:
Weber N. and Ashbaghi P., Anni Albers, Guggenheim Museum, New York, 1999, illustrated p.117
This work was produced after the operative period 1933–45.

Anni Albers, Untitled, 1950

X65542
Untitled

1950
relief
Cotton and bast
object: 648 x 381 mm frame: 797 x 549 x 31 mm
Courtesy Crystal Bridges Museum of American Art, Bentonville, Arkansas
Provenance:
The artist;
By whom gifted to John Cage, New York, NY;
From whom inherited by descent Merce Cunningham Dance Foundation, New York, NY, 1992;
By whose estate consigned to Christie's auction, New York, NY, November 11, 2009, lot 170;
bought by Private Collection, TX, 2009;
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: New Haven, CT, United States
Catalogue Raisonné:
Lloyd E. Herman, The Woven and Graphic Art of Anni Albers, Smithsonian Books, Washington, D.C. 1985, illustrated p.94
Weber N. and Ashbaghi P., Anni Albers, Guggenheim Museum, New York, 1999, illustrated p.49
This work was produced after the operative period 1933–45.

Anni Albers, Bedspread for Harvard Graduate Center, 1950

X68511
Bedspread for Harvard Graduate Center

1950
relief
Linen and cotton
object: 2591 x 1416 mm
Courtesy of Cranbrook Art Museum
Provenance:
The artist;
From whom purchased by Cranbrook Art Museum, 1951.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: New Haven, CT, United States
This work was produced after the operative period 1933–45.

Anni Albers, Development in Rose II, 1952

X64693
Development in Rose II

1952
relief
Linen
object: 620 x 451 mm frame: 816 x 645 x 44 mm
The Art Institute of Chicago, Restricted gift of Laurance H. Armour, Jr. and Margot B. Armour Family Foundation, 1970.345
Provenance:
The artist;
from whom purchased by Laurance H. Armour Jr and Margot B. Armour Family Foundation;
By whom gifted to Art Institute of Chicago, 1970.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: New Haven, CT, United States
Catalogue Raisonné:
Lloyd E. Herman, The Woven and Graphic Art of Anni Albers, Smithsonian Books, Washington, D.C. 1985, illustrated p.52
Anni Albers, On Weaving, Princeton University Press, reprinted 2017, plate 116
This work was produced after the operative period 1933–45.

Anni Albers, Pictographic, 1953

X64699
Pictographic

1953
relief
Cotton and chenille
object: 457 x 1035 mm frame: 1156 x 572 x 64 mm
Detroit Institute of Arts, Founders Society Purchase, Stanley and Madalyn Rosen Fund, Dr. and Mrs. George Kamperman Fund, Octavia W. Bates Fund, Emma S. Fechimer Fund, and William C. Yawkey Fund
Provenance:
The artist;
From whom purchased by Detroit Institute of Arts, 1979.
Nationality of artist: German-American
Identifying marks: Signed, embroidered, lower right corner: AA
Place of Manufacture: New Haven, CT, United States
Catalogue Raisonné:
Lloyd E. Herman, The Woven and Graphic Art of Anni Albers, Smithsonian Books, Washington, D.C. 1985, illustrated p.50
Anni Albers: On Weaving, Princeton University Press, reprinted 2017, plate 117
Anni Albers, Pictorial Weaving, The New Gallery, Charles Hayden Memorial Library, MIT, Cambridge, MA, 1959
This work was produced after the operative period 1933–45.

Anni Albers, Thickly Settled, 1957

X64735
Thickly Settled

1957
relief
Cotton and jute
object: 787 x 619 mm frame: 930 x 756 x 32 mm
Yale University Art Gallery, Director's Purchase Fund
Provenance:
The artist;
From whom purchased by the Yale University Art Gallery, 1972.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: New Haven, CT, United States
Catalogue Raisonné:
Lloyd E. Herman, The Woven and Graphic Art of Anni Albers, Smithsonian Books, Washington, D.C. 1985, illustrated p.45
Weber N. and Ashbaghi P., Anni Albers, Guggenheim Museum, New York, 1999, illustrated p.52
This work was produced after the operative period 1933–45.

Anni Albers, Northwesterly, 1957

X66069
Northwesterly

1957
relief
Cotton, rayon and acrylic
object: 388 x 590 mm frame: 613 x 819 x 43 mm
The Art Institute of Chicago, Maurice D. Galleher Endowment, 1970.346
Provenance:
The artist;
From whom purchased by Art Institute of Chicago, 1970.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: New Haven, CT, United States
Catalogue Raisonné:
Lloyd E. Herman, The Woven and Graphic Art of Anni Albers, Smithsonian Books, Washington, D.C. 1985, illustrated p.95
This work was produced after the operative period 1933–45.

Anni Albers, South of the Border, 1958

X64694
South of the Border

1958
relief
Cotton and wool
object: 105 x 387 mm frame: 298 x 572 x 44 mm
The Baltimore Museum of Art: Decorative Arts Fund, and Contemporary Crafts Fund; BMA 1959.91
Provenance:
The artist;
From whom purchased by The Baltimore Museum of Art, 1959.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: New Haven, CT, United States
Catalogue Raisonné:
Lloyd E. Herman, The Woven and Graphic Art of Anni Albers, Smithsonian Books, Washington, D.C. 1985, illustrated p.48
Liesbrock H., Anni and Josef Albers: Latin American Journeys, Hatje Cantz, Stuttgart, Germany, 2007, illustrated p.87
Weber N. and Ashbaghi P., Anni Albers, Guggenheim Museum, New York, 1999, illustrated p.54
This work was produced after the operative period 1933–45.

Anni Albers, Pasture, 1958

X64706
Pasture

1958
relief
Cotton
object: 356 x 394 mm frame: 576 x 575 x 38 mm
Lent by The Metropolitan Museum of Art, Purchase, Edward C. Moore Jr. Gift, 1969
Provenance:
The artist;
By whom gifted to Metropolitan Museum of Art 1970.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: New Haven, CT, United States
Catalogue Raisonné:
Lloyd E. Herman, The Woven and Graphic Art of Anni Albers, Smithsonian Books, Washington, USA, 1985, illustrated p.46
Anni Albers, On Weaving, Princeton University Press, reprinted 2017, plate 119
Weber N. and Ashbaghi P., Anni Albers, Guggenheim Museum, New York, 1999, illustrated p.55
This work was produced after the operative period 1933–45.

Anni Albers, Dotted, 1959

X68683
Dotted

1959
relief
Wool
object: 603 x 279 mm
Museum of Fine Arts Boston. The Daphne Farago Collection
Provenance:
The artist;
From whom acquired by Edgar Kaufmann, Jr;
By whom gifted to Ralph Bettelheim and Mildred Constantine (Mrs Ralph Bettelheim), New York in 1973 (Published in Beyond Craft: The Art of Fabric, as in the collection of Mr. and Mrs. Ralph Bettelheim. In a 1979 letter preserved in the Josef and Anni Albers Foundation, Mildred Constantine wrote to Anni Albers that she had received the weaving as a gift from Edgar Kaufmann, Jr.);
From whom sold to Donna Schneier Fine Arts, Palm Beach, FL; Bought by Daphne Farago, Little compton, RI in May 1992;
By whom gifted to Museum of Fine Arts, 2013.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: New Haven, CT, United States
Catalogue Raisonné:
Anni Albers, On Weaving, Princeton University Press, reprinted 2017, plate 122
This work was produced after the operative period 1933–45.

Anni Albers, Textile Sample, c.1960

X66071
Textile Sample

c.1960
relief
Linen
unconfirmed: 900 x 1330 mm
Lent by The Metropolitan Museum of Art, Gift of Anni Albers, 1970 1970.75.16
Provenance:
The artist;
By whom gifted to Metropolitan Museum of Art 1970.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: New Haven, CT, United States
Catalogue Raisonné:
Weber N. and Ashbaghi P., Anni Albers, Guggenheim Museum, New York, 1999
This work was produced after the operative period 1933–45.

Anni Albers, Intersecting, 1962

X64702
Intersecting

1962
relief
Cotton and rayon
object: 400 x 419 mm frame: 580 x 580 x 40 mm
Josef Albers Museum Quadrat Bottrop
Provenance:
The artist;
From whom purchased by Katherine and Nicholas Weber in 1972;
From whom purchased by Waddington Custot 2013;
From whom bought by Josef Albers Museum, Bottrop 2013
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: New Haven, CT, United States
Catalogue Raisonné:
Weber N. and Ashbaghi P., Anni Albers, Guggenheim Museum, New York, 1999, illustrated p.60
Lloyd E. Herman, The Woven and Graphic Art of Anni Albers, Smithsonian Books, Washington, USA, 1985, illustrated p.53
This work was produced after the operative period 1933–45.

Anni Albers, Under Way, 1963

X64700
Under Way

1963
relief
Cotton, linen and wool
object: 738 x 613 mm
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, The Joseph H. Hirshhorn Bequest, 1981
Provenance:
The artist;
From whom acquired by Joseph H. Hirshhorn in 1973;
By whom bequeathed to Hirshhorn Museum and Sculpture Garden, 1981.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: New Haven, CT, United States
Catalogue Raisonné:
Liesbrock H., Anni and Josef Albers: Latin American Journeys, Hatje Cantz, Stuttgart, Germany, 2007, illustrated p.82
Anni Albers, On Weaving, Princeton University Press, reprinted 2017, plate 124
Weber N. and Ashbaghi P., Anni Albers, Guggenheim Museum, New York, 1999, illustrated p.61
This work was produced after the operative period 1933–45.

Anni Albers, Sunny, 1965

X64697
Sunny

1965
relief
Cotton and linen
object: 127 x 432 mm frame: 457 x 584 mm
National Gallery of Art, Washington, Corcoran Collection (Gift of Olga Hirshhorn), 2015.19.4093
Provenance:
The artist;
From whom purchased by Olga Hirshhorn, Washington;
By whom gifted to Corcoran Gallery of Art, Washington, 2004;
From whom acquired by the National Gallery of Art, 2015.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: New Haven, CT, United States
This work was produced after the operative period 1933–45.

Anni Albers, Black White Yellow, 1926/1965

X65523
Black White Yellow

1926/1965
relief
Cotton and silk
object: 2038 x 1203 mm
Lent by The Metropolitan Museum of Art, Purchase, Everfast Fabrics Inc. and Edward C. Moore Jr. Gift, 1969 69.134
Provenance:
The artist;
By whom gifted to Metropolitan Museum of Art 1970.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: Zurich, Switzerland
Catalogue Raisonné:
Weber N. and Ashbaghi P., Anni Albers, Guggenheim Museum, New York, 1999
This work was produced before the operative period 1933–45 and has a complete provenance.

Anni Albers, Six Prayers, 1966-1967

X64701
Six Prayers

1966-1967
relief
Cotton, linen, bast and silver thread
object: 1861 x 2972 mm
The Jewish Museum, New York, Gift of the Albert A. List Family, JM 149-72.1-6
Provenance:
The artist as commission for the Albert A. List Family for the Jewish Museum in 1965-66 to commemorate the 6 million victims of the Nazi Holocaust;
Who donated to the Jewish Museum, 1972.
Nationality of artist: German-American
Identifying marks: none or not recorded
Place of Manufacture: New Haven, CT, United States
Catalogue Raisonné:
Lloyd E. Herman, The Woven and Graphic Art of Anni Albers, Smithsonian Books, Washington, D.C. 1985, illustrated black&white p.30
Anni Albers: On Weaving, Princeton University Press, reprinted 2017, illustrated p. 224
Weber N. and Ashbaghi P., Anni Albers, Guggenheim Museum, New York, 1999, illustrated p.62
This work was produced after the operative period 1933–45.

Anni Albers
(1899-1994, born: Berlin, died: Orange, active: New Haven)
Inge Brouard Brown

Anni Albers and Inge Brouard Brown, Vicara Rug I, 1959

X67321
Vicara Rug I

1959
relief
Vicara, wool and cotton
object: 1530 x 1016 mm
Neues Museum Nuremberg. On loan from the City of Nuremberg
Provenance:
The artist; From whom acquired by Stadt Nürnberg, 1971; On permanent loan to Neues Museum Nürnberg since 1998.
Nationality of artist: German-American, American
Identifying marks: none or not recorded
Place of Manufacture: Bedford, NY, United States
Catalogue Raisonné:
Lloyd E. Herman, The Woven and Graphic Art of Anni Albers, Smithsonian Books, Washington, USA, 1985, illustrated p.83
Anni Albers, On Weaving, Princeton University Press, reprinted 2017, plate 121
This work was produced after the operative period 1933–45.

Anni Albers and Inge Brouard Brown, Vicara Rug II, 1959

X67322
Vicara Rug II

1959
relief
Wool and cotton
object: 1530 x 1000 mm
Neues Museum Nuremberg. On loan from the City of Nuremberg
Provenance:
The artist;
From whom acquired by Stadt Nürnberg, 1971;
On permanent loan to Neues Museum Nürnberg since 1998.
Nationality of artist: German-American, American
Identifying marks: none or not recorded
Place of Manufacture: Bedford, NY, United States
This work was produced after the operative period 1933–45.

Anni Albers
(1899-1994, born: Berlin, died: Orange, active: New Haven)
Gloria Finn

Anni Albers and Gloria Finn, Rug, 1959

X70782
Rug

1959
relief
Nylon
object: 1219 x 1664 mm
Herbert F. Johnson Museum of Art, Cornell University,. Gift of Laurel Vlock, Class of 1948, and Jim Vlock, Class of 1947, MBA 1948
Provenance:
The artist;
From whom purchased by Jim Vlock and Laurel Vlock 1965/1966 [1992 letter from Jay Vlock to the Johnson Museum, cc: the Josef and Anni Albers Foundation];
By whom gifted to Cornell University for the Herbert F. Johnson Museum of Art, 1992.
Nationality of artist: German-American
British
Identifying marks: Labeled on verso in ink: Anni Albers / 1959 / exec. Gloria Finn
Place of Manufacture: Washington, DC, United States
Catalogue Raisonné:
Lloyd E. Herman, The Woven and Graphic Art of Anni Albers, Smithsonian Books, Washington, USA, 1985, illustrated p.83
Power K. and Creeley R., Black Mountain College, Experiment in Art, The MIT Press, Cambridge, USA, 2002, illustrated p.29
This work was produced after the operative period 1933–45.

Anni Albers
(1899-1994, born: Berlin, died: Orange, active: New Haven)
Gunta Stölz
(1897-1983)

Anni Albers and Gunta Stölz, Wallhanging, 1927/1964

X67320
Wallhanging

[Wandbehang (Schwarz-Weiß)] 1927/1964
relief
Cotton and silk
object: 1480 x 1215 mm
Neues Museum Nuremberg. On loan from the City of Nuremberg
Provenance:
The artist;
From whom acquired by Stadt Nürnberg, 1970;
On permanent loan to Neues Museum Nürnberg since 1998.
Nationality of artist: German-American, German
Identifying marks: none or not recorded
Place of Manufacture: Zurich, Switzerland
This work was produced after the operative period 1933–45.

Jean Arp (Hans Arp)
(1886-1966, born: Strasburg, died: Basel)
Sophie Taeuber-Arp
(1889-1943)

Jean Arp (Hans Arp) and Sophie Taeuber-Arp, Un mesure d'un conte de fée, 1917/1926

X70061
Un mesure d'un conte de fée

1917/1926
relief
Wool
object: 100 x 235 mm
Arp Museum Bahnhof Rolandseck
Provenance:
The artist;

Purchased by the state of Rhineland-Palatinate on 1 September 1998
Nationality of artist: French-German
Identifying marks: none or not recorded
Place of Manufacture: Zurich TBC
Catalogue Raisonné:
Anni Albers, On Weaving, Middletown CT: Wesleyan University Press, 1965, illustrated plate 108
This work was produced before the operative period 1933–45 and has an incomplete provenance, however consultation with the relevant sources gives no evidence of wrongful taking.

Ruth Asawa
(1926 - 2013)

Ruth Asawa, BMC Stamp (SF.019), c.1950

X71706
BMC Stamp (SF.019)

c.1950
on paper, unique
Ink on newsprint
support: 558 x 356 mm frame: 762 x 619 x 35 mm
The Asawa Family Collection, Courtesy David Zwirner, New York/London/Hong Kong
Provenance:
The artist;
From whom acquired by descent (artist's estate).
Nationality of artist: American
Identifying marks: none or not recorded
Place of Manufacture: Asheville, NC, United States
This work was produced after the operative period 1933–45.

Léna Meyer-Bergner

Léna Meyer-Bergner, Watercolor design for weaving, n.d.

X71648
Watercolor design for weaving

n.d.
on paper, unique
Watercolour on paper
361 x 191 (sheet) 281 x 175 (image)
Getty Research Institute, Los Angeles, CA
Provenance:
The artist;
...
Acquired by Jürgen Holstein Antiquaria, Berlin;
From whom acquired by Getty Research Institute, 1985.
Nationality of artist: German
Identifying marks: none or not recorded
Place of Manufacture: Dessau, Germany
This work in undated and is assumed to have been produced before the operative period 1933–45. The work has an incomplete provenance, however consultation with the relevant sources gives no evidence of wrongful taking.

Léna Meyer-Bergner, Watercolor design for weaving, n.d.

X71650
Watercolor design for weaving

n.d.
on paper, unique
Watercolour on paper
361 x 191 (sheet) 281 x 175 (image)
Getty Research Institute, Los Angeles, CA
Provenance:
The artist;
...
Acquired by Jürgen Holstein Antiquaria, Berlin;
From whom acquired by Getty Research Institute, 1985.
Nationality of artist: German
Identifying marks: none or not recorded
Place of Manufacture: Dessau, Germany
This work in undated and is assumed to have been produced before the operative period 1933–45. The work has an incomplete provenance, however consultation with the relevant sources gives no evidence of wrongful taking.

Unknown Photographer

Unknown Photographer, Photograph of Textile, nd

X69235
Photograph of Textile

nd
on paper, print
Photograph; gelatin silver print on paper, mounted on paper
image: 121 x 162 mm mount: 170 x 305 mm frame: 486 x 384 x 25 mm
Harvard Art Museums/Busch-Reisinger Museum, Gift of Anni Albers
Provenance:
Wootten-Moulten Photography Studio, Chapel Hill, N.C.;
Commissioned and acquired by Anni Albers (date unknown);
By whom presented to Busch-Reisinger Museum, 1948
Nationality of artist: Unknown
Identifying marks: Label on bottom edge: Anni Albers 1927, Yard Material, Silk, Double weave; Label on right side of print: For copies of this Order No. A 24756 Wootten-Moulton Chapel Hill, N.C.
Place of Manufacture: North Carolina, USA
Catalogue Raisonné:
This work is undated and is assumed to have been produced during the operative period 1933–45. The work has a complete provenance and consultation with the relevant sources gives no evidence of wrongful taking.

Unknown Photographer, Silk Curtains for "Theatercafe, Dessau" by Anni Albers, c. 1928

X69236
Silk Curtains for "Theatercafe, Dessau" by Anni Albers

c. 1928
on paper, print
Photograph; gelatin silver print on paper, mounted on paper
image: 92 x 172 mm mount: 170 x 305 mm frame: 384 x 486 x 25 mm
Harvard Art Museums/Busch-Reisinger Museum, Gift of Anni Albers
Provenance:
The artist;
Acquired by Anni Albers c.1928;
By whom presented to Busch-Reisinger Museum, 1948
Nationality of artist: Unknown
Identifying marks: Label on bottom edge: Anni Albers 1928, Curtains, "Theatercafé", Dessau, Silk
Place of Manufacture: Dessau, Germany
This work was produced before the operative period 1933–45 and has an incomplete provenance, however consultation with the relevant sources gives no evidence of wrongful taking.

Unidentified students, Bauhaus

Unidentified students, Bauhaus, Fabric/weaving swatches, page 1, n.d.

X71653
Fabric/weaving swatches, page 1

n.d.
on paper, unique
Mixed material on paper
299 x 210 (sheet)
Getty Research Institute, Los Angeles, California
Provenance:
The artist;
...
Acquired by Jürgen Holstein Antiquaria, Berlin;
From whom acquired by Getty Research Institute, 1985.
Nationality of artist: Unknown
Identifying marks: none or not recorded
Place of Manufacture: Dessau, Germany
This work in undated and is assumed to have been produced before the operative period 1933–45. The work has an incomplete provenance, however consultation with the relevant sources gives no evidence of wrongful taking.

Unidentified students, Bauhaus, Fabric/weaving swatches, page 2, n.d.

X71654
Fabric/weaving swatches, page 2

n.d.
on paper, unique
Mixed material on paper
295 x 210 (sheet)
Getty Research Institute, Los Angeles, California
Provenance:
The artist;
...
Acquired by Jürgen Holstein Antiquaria, Berlin;
From whom acquired by Getty Research Institute, 1985.
Nationality of artist: Unknown
Identifying marks: none or not recorded
Place of Manufacture: Dessau, Germany
This work in undated and is assumed to have been produced before the operative period 1933–45. The work has an incomplete provenance, however consultation with the relevant sources gives no evidence of wrongful taking.

Unidentified students, Bauhaus, Fabric/weaving swatches, page 3, n.d.

X71655
Fabric/weaving swatches, page 3

n.d.
on paper, unique
Mixed material on paper
298 x 209 (sheet)
Getty Research Institute, Los Angeles, California
Provenance:
The artist;
...
Acquired by Jürgen Holstein Antiquaria, Berlin;
From whom acquired by Getty Research Institute, 1985.
Nationality of artist: Unknown
Identifying marks: none or not recorded
Place of Manufacture: Dessau, Germany
This work in undated and is assumed to have been produced before the operative period 1933–45. The work has an incomplete provenance, however consultation with the relevant sources gives no evidence of wrongful taking.

Unidentified students, Bauhaus, Fabric/weaving swatches, page 4, n.d.

X71656
Fabric/weaving swatches, page 4

n.d.
on paper, unique
Mixed material on paper
295 x 210 (sheet)
Getty Research Institute, Los Angeles, California
Provenance:
The artist;
...
Acquired by Jürgen Holstein Antiquaria, Berlin;
From whom acquired by Getty Research Institute, 1985.
Nationality of artist: Unknown
Identifying marks: none or not recorded
Place of Manufacture: Dessau, Germany
This work in undated and is assumed to have been produced before the operative period 1933–45. The work has an incomplete provenance, however consultation with the relevant sources gives no evidence of wrongful taking.

Unidentified students, Bauhaus, Fabric/weaving swatches, page 5, n.d.

X71657
Fabric/weaving swatches, page 5

n.d.
on paper, unique
Mixed material on paper
297 x 209 (sheet)
Getty Research Institute, Los Angeles, California
Provenance:
The artist;
...
Acquired by Jürgen Holstein Antiquaria, Berlin;
From whom acquired by Getty Research Institute, 1985.
Nationality of artist: Unknown
Identifying marks: none or not recorded
Place of Manufacture: Dessau, Germany
This work in undated and is assumed to have been produced before the operative period 1933–45. The work has an incomplete provenance, however consultation with the relevant sources gives no evidence of wrongful taking.

Unidentified students, Bauhaus, Fabric/weaving swatches, page 6, n.d.

X71658
Fabric/weaving swatches, page 6

n.d.
on paper, unique
Mixed material on paper
294 x 210 (sheet)
Getty Research Institute, Los Angeles, California
Provenance:
The artist;
...
Acquired by Jürgen Holstein Antiquaria, Berlin;
From whom acquired by Getty Research Institute, 1985.
Nationality of artist: Unknown
Identifying marks: none or not recorded
Place of Manufacture: Dessau, Germany
This work in undated and is assumed to have been produced before the operative period 1933–45. The work has an incomplete provenance, however consultation with the relevant sources gives no evidence of wrongful taking.

Magic Realism

Tate Modern (London, UK) from 30 Jul 2018 until 14 Jul 2019.

Max Beckmann
(1884-1950, born: Leipzig, died: New York, active: Frankfurt, Berlin, Amsterdam, New York, Saint Louis)

Max Beckmann, Frau Ullstein (Portrait of a Woman), 1920

X68291
Frau Ullstein (Portrait of a Woman)

[Frau Ullstein (Porträt einer Frau)] 1920
on paper, unique
Graphite on paper
support: 330 x 238 mm
The George Economou Collection
Provenance:
The artist;
Hauswedell & Nolte, 27 May 1997, lot 743;
Sammlung Wolf Uecker;
Villa Grisebach, 27 May 2000, lot 172;
Private collection, New York;
Gagosian Gallery, New York;
From whom acquired by the present owner.

Nationality of the artist: German
Identifying marks: signed and dated in pencil, ‘Beckmann 27.6.20’ (lower left); inscribed (by another hand?) ‘For Frau Ullstein’ on the reverse.
Place of manufacture: ?Frankfurt/Berlin

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Max Beckmann, Anni (Girl with Fan), 1942

X68323
Anni (Girl with Fan)

[Anni (Mädchen mit Fächer)] 1942
painting
Oil paint on canvas
support: 846 x 445 mm
The George Economou Collection
Provenance:
The artist’s studio, Amsterdam;
Galerie Buccholz (according to the artist’s list 1942);
Galerie Otto Stangl, Munich;
Langen Collection, Germany (c.1954);
Villa Grisebach, 2005;
Private collection, southern Germany;
Galerie Thomas, Munich;
From whom acquired by the present owner in 2013.

Nationality of the artist: German
Identifying marks: signed and dated ‘A 42’ (upper right); with the artist’s name stamp on the reverse.
Place of manufacture: Amsterdam, the Netherlands
Max Beckmann catalogue raisonné number 597

This work has a complete provenance for the period 1933-45.

Richard Biringer
(1877 - 1947)

Richard Biringer, Krupp Works, Engers am Rhein, 1925

X68301
Krupp Works, Engers am Rhein

[Krupp-Werke Engers am Rhein] 1925
painting
Oil paint on canvas
support: 675 x 495 mm
The George Economou Collection
Provenance:
the artist;
Private collection, south Germany;
Ketterer, Munich, 3 December 2008, lot 8;
From which acquired by the present owner.

Nationality of the artist: German
Identifying marks: signed ‘R. Biringer’ (lower middle); titled and inscribed by hand ‘F. Biringer Ffm Höchst’ on the stretcher.
Place of manufacture: Engers/Frankfurt, Germany

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Albert Birkle
(1900 - 1986)

Albert Birkle, The Acrobat Schulz V, 1921

X68292
The Acrobat Schulz V

[Der Akrobat Schulz V] 1921
on paper, unique
Tempera and chalk on paper mounted on cardboard
support: 704 x 500 mm
The George Economou Collection
Provenance:
The artist;
Neue Münchner Galerie;
Private collection, USA;
Ketterer, Munich, 5 December 2006, lot 146;
From whom acquired by the present owner.

Nationality of the artist: German-Austrian
Identifying marks: signed ‘A. Birkle’ and dated ‘1921’ (upper right), signed ‘A. Birkle’ lower left; inscribed probably by the artist ‘Albert Birkle Der Akrobat Schulz 1921’ on the reverse.
Place of manufacture: Berlin, Germany

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Albert Birkle, The Hermit, 1921

X68324
The Hermit

[Die Eremit] 1921
painting
Oil paint on canvas
support: 910 x 605 mm
The George Economou Collection
Provenance:
The artist;
Private collection, Austria;
Im Kinsky, Vienna, 14 October 2008, lot 379;
From which acquired by the present owner.

Nationality of the artist: German-Austrian
Identifying marks: none
Place of manufacture: Berlin, Germany

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Albert Birkle, Crucifixion, 1921

X68325
Crucifixion

[Kreuzigung] 1921
painting
Oil paint on board
support: 920 x 607 mm frame: 1130 x 810 mm
The George Economou Collection
Provenance:
The artist until 1977;
Collection Joseph Hierling, Tutzing, Germany;
Sold Im Kinsky, Vienna, 9 November 2010, lot 63;
From whom acquired by the present owner.

Nationality of the artist: German-Austrian
Identifying marks: signed ‘A. Birkle’ and dated ‘1921’ with two stamps from the estate of Joseph Hierling, inscribed ‘JOSEPH HIERLING / 8000 MÜNCHEN 40. GEORGENSTR. 62A’ and a label inscribed ‘Albert Birkle (1900 - 1986) / Kreuzigung 1921 / Öl / Platte 90 x 59 cm / SAMMLUNG JOSEPH HIERLING TUTZING’ on the reverse.
Place of manufacture: Berlin, Germany

This work has a complete provenance for the period 1933-45.

Albert Birkle, Passau, 1925

X68300
Passau

1925
painting
Oil paint on hardboard
support: 510 x 710 mm
The George Economou Collection
Provenance:
The artist;
Kunsthaus Lempertz, 1 June 1996, lot 585;
Private collection, Upper Austria;
Sold Im Kinsky, Vienna, 20 November 2007, lot 168;
From whom acquired by the present owner.

Nationality of the artist: German-Austrian
Identifying marks: signed ‘A. Birkle’ (lower left)
Place of manufacture: Berlin, Germany

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Heinrich Campendonk
(1889 - 1957)

Heinrich Campendonk, The Rider II, 1919

X68264
The Rider II

[Der Reiter II] 1919
on paper, unique
Watercolour on paper mounted on cardboard
support: 353 x 393 mm
The George Economou Collection
Provenance:
Artist until before 1933 (when Galerie Flechtheim is dissolved);
Galerie Flechtheim, Düsseldorf, before 1933 (when the gallery closed);
Galerie Gerd Rosen, Berlin, after 1945 (when it was founded);
Private collection Nordrhein-Westfalen (since 1953);
Offered Grisebach GmbH, 3 June 2005, lot. 00044 (bought in);
Galerie Utermann, Dortmund;
From whom acquired by the present owner in 2005.

Nationality of the artist: German-Dutch
Identifying marks: monogrammed and dated ‘C. Febr. 19’; titled ‘der Reiter II’ on the reverse
Place of manufacture: Seeshaupt, Germany (based on bio)
Catalogue raisonné number: -

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Heinrich Maria Davringhausen
(1894 - 1970)

Heinrich Maria Davringhausen, The Poet Däubler, 1917

X68262
The Poet Däubler

[Der Dichter Däubler] 1917
painting
Oil paint on canvas
support: 1810 x 1603 mm
The George Economou Collection
Provenance:
The artist’s family, and thence by descent to the previous owner;
Sold Christie’s London, 6 February 2007, lot 79;
From whom acquired by the present owner.

Nationality of artist: German
Identifying marks: signed ‘H.M.D.’ and dated ‘Berlin Januar 17’ on the reverse.
Place of Manufacture: Berlin, Germany

This work has a complete provenance for the period 1933-45.

Prosper de Troyer
(1880 - 1961)

Prosper de Troyer, Erik Satie (The Prelude), 1925

X68318
Erik Satie (The Prelude)

[Erik Satie (Le prélude)] 1925
painting
Oil paint on canvas
support: 2100 x 1450 mm
The George Economou Collection
Provenance:
Private collection of the De Troyer family, Uytterhoeven;
Art trade South Germany (1999);
Private collection, Spain;
Ketterer, Munich, 19 June 2009, lot 272;
From which acquired by the present owner.

Nationality of the artist: Belgian
Identifying marks: signed ‘P. de TROYER’ and dated ‘1925’ (lower left)
Place of manufacture: Belgium

This work has a complete provenance for the period 1933-45.

Harry Heinrich Deierling
(1894-1989)

Harry Heinrich Deierling, The Gardener, 1920

X68265
The Gardener

[Der Gärtner] 1920
painting
Oil paint on canvas
support: 1870 x 1195 mm
The George Economou Collection
Provenance:
The artist;
Estate of Peter Hopf, Berlin;
Villa Grisebach, Berlin, 1 December 2006, lot 1642;
From which acquired by the present owner.

Nationality of the artist: German
Identifying marks: signed and dated ‘H. Deierling / 20’ (lower right); signed, located and titled with black pencil ‘Deierling, Berlin (Der Gärtner)’ on the reverse.
Place of manufacture: Berlin, Germany

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Rudolf Dischinger
(1904 - 1988)

Rudolf Dischinger, Backyard Balcony, 1935

X68313
Backyard Balcony

[Hinterhaus-Balkon] 1935
painting
Oil paint on canvas
support: 580 x 500 mm
The George Economou Collection
Provenance:
The artist;
New York; Ubu Gallery;
From whom acquired by the present owner on 30 March 2009;
Offered at sale ‘A Prominent 20th Century European Collection Session II’, Tajan, 9 December 2015, lot 137.

Nationality of the artist: German
Identifying marks: signed and dated on recto/ signed, titled and dated on verso
Place of manufacture: Freiburg im Bresigau, Germany

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Otto Dix
(1891-1969)

Otto Dix, Portrait of Bruno Alexander Roscher, 1915

X68261
Portrait of Bruno Alexander Roscher

[Bildnis Bruno Alexander Roscher] 1915
painting
Oil paint on board
support: 670 x 505 mm
The George Economou Collection
Provenance:
Artist until 1915 (was commissioned to produce the work);
Private collection, Dresden (collection of the sitter, Bruno Alexander Roscher?);
Neumeister, November 1992, lot 94;
Dresden, November 1994;
Sotheby's London; 9 December 1997, lot 33, ill. p. 134 (bought in);
Hampel, Munich, 4 December 2009, lot 742;
From whom acquired by the present owner.

Nationality of the artist: German
Identifying marks: signed ‘Dix’, dated ‘1915’ (lower left)
Place of manufacture: Dresden

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Otto Dix, Butcher Shop, 1920

X68268
Butcher Shop

[Fleischerladen] 1920
on paper, print
Etching, drypoint on paper
support: 495 x 338 mm plate: 295 x 258 mm
The George Economou Collection
Provenance:
The artist until 1922;
Galerie Nierendorf, Berlin, until 2010;
Galerie Ritthaler, Hamburg;
From whom acquired by the present owner.

Nationality of the artist: German
Identifying marks: signed and dated 'Dix 20' (lower right) and titled 'Fleischerladen' (lower middle)
Place of manufacture: Dresden/Berlin?


This work has a complete provenance for the period 1933-45.

Otto Dix, Billiard Players, 1920

X68273
Billiard Players

[Billardspieler] 1920
on paper, print
Etching, drypoint on paper
support: 340 x 488 mm plate: 225 x 333 mm
The George Economou Collection
Provenance:
The artist until 1922;
Galerie Nierendorf, Berlin, until 2010;
Galerie Ritthaler, Hamburg;
From whom acquired by the present owner.

Nationality of the artist: German
Identifying marks: signed 'Dix' (lower right), inscribed '10/20' (lower left) and titled 'Billiardspieler' (lower middle)
Place of manufacture: Dresden/Berlin?


This work has a complete provenance for the period 1933-45.

Otto Dix, Sailor and Girl, 1920

X68274
Sailor and Girl

[Matrose und Mädchen] 1920
on paper, print
Etching, drypoint on paper
support: 487 x 342 mm plate: 300 x 248 mm
The George Economou Collection
Provenance:
The artist until 1922;
Galerie Nierendorf, Berlin, until 2010;
Galerie Ritthaler, Hamburg;
From whom acquired by the present owner.

Nationality of the artist: German
Identifying marks: signed 'Dix' (lower right), inscribed '10/20' (lower left) and titled 'Matrose und Mädchen' (lower middle)
Place of manufacture: Dresden/Berlin?


This work has a complete provenance for the period 1933-45.

Otto Dix, Lust Murderer, 1920

X68275
Lust Murderer

[Lustmörder] 1920
on paper, print
Etching on paper
support: 490 x 341 mm plate: 300 x 257 mm
The George Economou Collection
Provenance:
The artist until 1922;
Galerie Nierendorf, Berlin, until 2010;
Galerie Ritthaler, Hamburg;
From whom acquired by the present owner.

Nationality of the artist: German
Identifying marks: signed 'Dix' (lower right), inscribed 10/10' (lower left) and titled 'Lustmörder' (lower middle)
Place of manufacture: Dresden/Berlin?


This work has a complete provenance for the period 1933-45.

Otto Dix, Sketch, 1922

X68278
Sketch

1922
on paper, print
Etching, drypoint on paper
support: 497 x 429 mm plate: 394 x 297 mm
The George Economou Collection
Provenance:
The artist until 1922;
Galerie Nierendorf, Berlin, until 2010;
Galerie Ritthaler, Hamburg;
From whom acquired by the present owner.

Nationality of the artist: German
Identifying marks: signed 'Dix' (lower right), inscribed '20/50' (lower left) and titled 'Sketch' (lower middle)
Place of manufacture: Dresden/Berlin?


This work has a complete provenance for the period 1933-45.

Otto Dix, Balancing Act, 1922

X68279
Balancing Act

[Balanceakt] 1922
on paper, print
Etching, drypoint on paper
support: 496 x 429 mm plate: 299 x 197 mm
The George Economou Collection
Provenance:
The artist until 1922;
Galerie Nierendorf, Berlin, until 2010;
Galerie Ritthaler, Hamburg;
From whom acquired by the present owner.

Nationality of the artist: German
Identifying marks: signed 'Dix' (lower right), inscribed '20/50' (lower left) and titled 'Balanceakt' (lower middle)
Place of manufacture: Dresden/Berlin?


This work has a complete provenance for the period 1933-45.

Otto Dix, Maud Arizona (Suleika, The Tattooed Wonder), 1922

X68280
Maud Arizona (Suleika, The Tattooed Wonder)

[Maud Arizona (Suleika, das tätowierte Wunder)] 1922
on paper, print
Etching, drypoint on paper
support: 498 x 428 mm plate: 299 x 198 mm
The George Economou Collection
Provenance:
The artist until 1922;
Galerie Nierendorf, Berlin, until 2010;
Galerie Ritthaler, Hamburg;
From whom acquired by the present owner.

Nationality of the artist: German
Identifying marks: title, date, edition number and signature on lower edge.
Place of manufacture: Dresden/Berlin?


This work has a complete provenance for the period 1933-45.

Otto Dix, International Riding Act, 1922

X68281
International Riding Act

[Internationaler Reitakt] 1922
on paper, print
Etching, drypoint on paper
support: 496 x 431 mm plate: 399 x 298 mm
The George Economou Collection
Provenance:
The artist until 1922;
Galerie Nierendorf, Berlin, until 2010;
Galerie Ritthaler, Hamburg;
From whom acquired by the present owner.

Nationality of the artist: German
Identifying marks: signed 'Dix 22' (lower right), inscribed '20/50' (lower left) and titled 'Internationaler Reitakt' (lower middle)
Place of manufacture: Dresden/Berlin?


This work has a complete provenance for the period 1933-45.

Otto Dix, American Riding Act, 1922

X68282
American Riding Act

[Amerikanischer Reitakt] 1922
on paper, print
Etching, drypoint on paper
support: 497 x 429 mm plate: 347 x 309 mm
The George Economou Collection
Provenance:
The artist until 1922;
Galerie Nierendorf, Berlin, until 2010;
Galerie Ritthaler, Hamburg;
From whom acquired by the present owner.

Nationality of the artist: German
Identifying marks: signed 'Dix' (lower right), inscribed '20/50' (lower left) and titled 'Amerikanischer Reitakt' (lower middle)
Place of manufacture: Dresden/Berlin?


This work has a complete provenance for the period 1933-45.

Otto Dix, Technical Personnel, 1922

X68283
Technical Personnel

[Technisches Personal] 1922
on paper, print
Etching, drypoint on paper
support: 497 x 426 mm plate: 300 x 198 mm
The George Economou Collection
Provenance:
The artist until 1922;
Galerie Nierendorf, Berlin, until 2010;
Galerie Ritthaler, Hamburg;
From whom acquired by the present owner.

Nationality of the artist: German
Identifying marks: signed 'Dix' (lower right), inscribed '20/50' (lower left) and titled 'Technisches Personnel' (lower middle)
Place of manufacture: Dresden/Berlin?


This work has a complete provenance for the period 1933-45.

Otto Dix, Lili, The Queen of the Air, 1922

X68284
Lili, The Queen of the Air

[Lili, die Königin der Luft] 1922
on paper, print
Etching, drypoint on paper
support: 497 x 428 mm plate: 299 x 198 mm
The George Economou Collection
Provenance:
The artist until 1922;
Galerie Nierendorf, Berlin, until 2010;
Galerie Ritthaler, Hamburg;
From whom acquired by the present owner.

Nationality of the artist: German
Identifying marks: signed 'Dix 22' (lower right), inscribed '20/50' (lower left) and titled 'Lili' (lower middle)
Place of manufacture: Dresden/Berlin?


This work has a complete provenance for the period 1933-45.

Otto Dix, Tamer, 1922

X68285
Tamer

[Dompteuse] 1922
on paper, print
Etching, drypoint on paper
support: 496 x 429 mm plate: 399 x 297 mm
The George Economou Collection
Provenance:
The artist until 1922;
Galerie Nierendorf, Berlin, until 2010;
Galerie Ritthaler, Hamburg;
From whom acquired by the present owner.

Nationality of the artist: German
Identifying marks: signed 'Dix 22' (lower right), inscribed '20/50' (lower left) and titled 'Dompteuse' (lower middle)
Place of manufacture: Dresden/Berlin?


This work has a complete provenance for the period 1933-45.

Otto Dix, Performers, 1922

X68286
Performers

[Artisten] 1922
on paper, print
Etching, drypoint on paper
support: 492 x 340 mm plate: 299 x 258 mm
The George Economou Collection
Provenance:
The artist until 1922;
Galerie Nierendorf, Berlin, until 2010;
Galerie Ritthaler, Hamburg;
From whom acquired by the present owner.

Nationality of the artist: German
Identifying marks: signed 'Dix' (lower right) and titled (lower middle)
Place of manufacture: Dresden/Berlin?


This work has a complete provenance for the period 1933-45.

Otto Dix, Lust Murder, 1922

X68293
Lust Murder

[Lustmord] 1922
on paper, unique
Watercolour, ink and graphite on paper
support: 485 x 365 mm
The George Economou Collection
Provenance:
The artist until 1922;
Galerie Nierendorf, Berlin, until 2010;
Galerie Ritthaler, Hamburg;
From whom acquired by the present owner.

Nationality of the artist: German
Identifying marks: signed 'Dix' (lower right), inscribed 10/10' (lower left) and titled 'Lustmörder' (lower middle)
Place of manufacture: Dresden/Berlin?


This work has a complete provenance for the period 1933-45.

Otto Dix, Scorners of Death, 1922

X71345
Scorners of Death

[Die Verächter des Todes] 1922
on paper, print
Etching, drypoint on paper
support: 497 x 428 mm plate: 347 x 277 mm
The George Economou Collection
Provenance:
The artist until 1922;
Galerie Nierendorf, Berlin, until 2010;
Galerie Ritthaler, Hamburg;
From whom acquired by the present owner.

Nationality of the artist: German
Identifying marks: signed 'Dix' (lower right), inscribed '6/50' (lower left) and titled 'Verächter des Todes' (lower middle)
Place of manufacture: Dresden/Berlin?


This work has a complete provenance for the period 1933-45.

Otto Dix, Illusion Act, 1922

X71346
Illusion Act

[Illusionsakt] 1922
on paper, print
Etching, drypoint on paper
support: 495 x 429 mm plate: 300 x 257 mm
The George Economou Collection
Provenance:
The artist until 1922;
Galerie Nierendorf, Berlin, until 2010;
Galerie Ritthaler, Hamburg;
From whom acquired by the present owner.

Nationality of the artist: German
Identifying marks: signed 'Dix' (lower right), inscribed '20/50' (lower left) and titled 'Illusionsakt' (lower middle)
Place of manufacture: Dresden/Berlin?


This work has a complete provenance for the period 1933-45.

Otto Dix, Circus Scene (Riding Act), 1923

X69464
Circus Scene (Riding Act)

[Zirkusszene (Reitakt)] 1923
on paper, unique
Watercolour, pen and ink on paper
support: 381 x 276 mm
The George Economou Collection
Provenance:
The artist;
Galerie Nierendorf, Cologne;
Frank Perls Gallery, Beverly Hills;
Parke-Bernet Galleries, Inc., New York, 3-4 June 1959, lot 31;
From which acquired by a private collection;
Sotheby’s, New York, 4 November 1993, lot 211;
Private collection, (Milan/Miami);
Sotheby’s New York, 4 May 2005, lot 295;
Neumeister, Munich, 23 May 2012;
From which acquired by the present owner.

Nationality of the artist: German
Identifying marks: signed and dated in pencil ‘Dix 23’ (lower right) and numbered below ‘244’; titled ‘Zirkusszene’ and number ‘50’ on the reverse.
Place of manufacture: Dresden

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Josef Eberz
(1880 - 1942)

Josef Eberz, Dancer (Beatrice Mariagraete), 1923

X68316
Dancer (Beatrice Mariagraete)

[Tänzerin (Beatrice Mariagraete)] 1923
painting
Oil paint on canvas
support: 1580 x 785 mm
The George Economou Collection
Provenance:
The artist;
Galerie Neue Kunst, Hans Goltz, Munich (with partly torn label on the stretcher);
Private collection, Northern Germany;
Ketterer Kunst, Munich, 12 June 2010, lot 17;
From whom acquired by the present owner.

Nationality of the artist: German
Identifying marks: signed and dated ‘J. EBERZ 23’ (lower left)
Place of manufacture: Munich

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Conrad Felixmüller
(1897 - 1977)

Conrad Felixmüller, Portrait of Ernst Buchholz, 1921

X70057
Portrait of Ernst Buchholz

[Bildnis Ernst Buchholz] 1921
painting
Oil paint on canvas
support: 900 x 750 mm
The George Economou Collection
Provenance:
The artist;
Estate of Dr Walt(h)er Ruck (died 1926), thence to his son Karlheinz Ruck (died 1997);
Fischer Kunsthandel & Edition, Berlin;
From whom acquired by the present owner in 2014.

Nationality of the artist: German
Identifying marks: signed (upper right); signed, dated and number ‘Felixmüller 1921, Nr. 254’ on the reverse.
Place of manufacture: ?Dresden, Germany

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Conrad Felixmüller, The Beggar of Prachatice, 1924

X68299
The Beggar of Prachatice

[Der Bettler von Prachatitz] 1924
on paper, unique
Watercolour, gouache and graphite on paper
support: 500 x 645 mm
The George Economou Collection
Provenance:
The artist;
Dr Heinrich Scherlag, Dresden (acquired directly from the artist);
Alice Hagängen, Sweden;
Ketterer, Munich, 4 December 2010, lot 68;
From which acquired by the present owner.

Nationality of the artist: German
Identifying marks: signed and dated (upper right); signed, dated, titled and inscribed ‘Neumann & Nierendorf’ on the reverse.
Place of manufacture: ?Prachatice/Berlin


This work has a complete provenance for the period 1933-45.

Otto Griebel
(1895 - 1972)

Otto Griebel, Two Women, 1924

X68317
Two Women

[Zwei Frauen] 1924
on paper, unique
Watercolour on cardboard
support: 638 x 450 mm
The George Economou Collection
Provenance:
The artist;
Gallery Köhl, Dresden;
Acquired from the above by a private collection, Wiesbaden, 1960s;
Ketterer, Munich, 24 April 2010, lot 434;
From which acquired by the present owner.

Nationality of the artist: German
Identifying marks: signed ‘Otto Griebl’, dated ‘1924’, titled ‘Zwei Frauen’ (lower right) and with inscription ‘1920’ (lower right corner); with another inscription ‘GLA 73006’ on the reverse.
Place of manufacture: ?Dresden

Authenticity confirmed by Matthias Griebel, letter dated 11 February 2010 (information provided by present owner)
This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Carl Grossberg
(1894 - 1940)

Carl Grossberg, Rokin (Rokin Street, Amsterdam), 1925

X68302
Rokin (Rokin Street, Amsterdam)

1925
painting
Tempera on panel
support: 505 x 603 mm
The George Economou Collection
Provenance:
The artist;
Ubu Gallery, New York;
From whom acquired by the present owner in 2009.

Nationality of the artist: German
Identifying marks: signed and dated ‘CARL GROSSBERG 1926’ (lower left); signed, titled and dates ‘Amsterdam 1925/26’ on the reverse.
Place of manufacture: Amsterdam, the Netherlands.

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

George Grosz
(1893-1959, born: Berlin, died: Berlin)

George Grosz, Self-Portrait with Model in the Studio, 1930-1937

X68296
Self-Portrait with Model in the Studio

[Selbstbildnis mit Modell im Atelier] 1930-1937
on paper, unique
Watercolour, gouache, pen and ink on paper
support: 505 x 440 mm frame: 800 x 730 mm
The George Economou Collection
Provenance:
Studio of the artist, Berlin, in 1930;
Studio of the artist, Douglaston, Long Island, in 1937;
Private collection, New York;
Galerie Thomas, Munich;
From whom acquired by the present owner in 2009.

Nationality of the artist: German-American
Identifying marks: signed twice ‘GROSZ’ and dated ‘30’ and ‘37’ (lower right).
Place of manufacture: Berlin, Germany.

To be included in the forthcoming catalogue raisonné of Grosz’s works on paper, prepared by Ralph Jentsch, administrator for the artist’s Estate.
This work has a complete provenance for the period 1933-45.

Hans Grundig
(1901 - 1958)

Hans Grundig, Girl with Pink Hat, 1925

X68303
Girl with Pink Hat

[Mädchen mit rosa Hut] 1925
painting
Oil paint on cardboard
support: 704 x 500 mm
The George Economou Collection
Provenance:
Lea Grundig, Dresden, by descent circa 1972;
Villa Grisebach, Berlin, 27 November 2009, lot 26;
From whom acquired by the present owner.

Nationality of the artist: German
Identifying marks: signed and dated 'GRUNDIG 25' (lower left)
Place of manufacture: ?Dresden
This work has a complete provenance for the period 1933-45.

Lea Grundig
(1906 - 1977)

Lea Grundig, Into the Abyss, 1943

X68328
Into the Abyss

[In den Abgrund] 1943
on paper, unique
Pen and ink on cardboard
support: 440 x 560 mm frame: 713 x 818 mm
The George Economou Collection
Provenance:
The artist;
Private Collection John Phillips, photo journalist for Life Magazine, during the 1940s, he spent a longer period of time in Palestine as a war correspondent;
Galerie St. Etienne, New York;
Ketterer, Munich, 22 October 2010, lot 15;
Acquired from the above by the present owner.

Nationality of the artist: German
Identifying marks: signed 'LEA GRUNDIG', dated '1943' (lower right) and barely legibly inscribed (middle right).
Place of manufacture: Israel

This work has a complete provenance for the period 1933-45.

Herbert Gurschner
(1901-1975, born: Innsbruck)

Herbert Gurschner, Triumph of Death, 1927

X68326
Triumph of Death

[Triumph des Todes] 1927
painting
Oil paint on canvas
support: 1090 x 895 mm
The George Economou Collection
Provenance:
The artist;
Kunsthandel Widder, Vienna;
Acquired directly from the above in 2006.

Nationality of the artist: Austrian-British
Identifying marks: none

This work has a complete provenance for the period 1933-45.

Herbert Gurschner, Bean Ingram, 1928

X68306
Bean Ingram

1928
painting
Oil paint on canvas
support: 1070 x 675 mm
The George Economou Collection
Provenance:
The artist;
Bonhams, London, 29 November 1995, lot 106;
Im Kinsky, Vienna, 16 May 2006, lot 117
Acquired directly from the above

Nationality of the artist: Austrian-British
Identifying marks: signed 'Herbert Gurschner' and inscribed 'Bean Ingram habe ich gemalt 1928 mit einer Maske weil das leben verlangt Masken' (lower right); with a label 'Herbert Gurschner Tyrol 43' on the reverse

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Herbert Gurschner, Lazarus (The Workers), 1928

X68327
Lazarus (The Workers)

[Lazarus (Die Arbeiter)] 1928
painting
Oil paint on canvas
support: 920 x 690 mm
The George Economou Collection
Provenance:
The estate of the artist
Kunsthandel Widder, Vienna
Acquired directly from the above in 2006

Nationality of the artist: Austrian-British
Identifying marks: signed 'Gurschner' (lower left corner)

This work has a complete provenance for the period 1933-45.

Herbert Gurschner, Japanese Lady, 1932

X68310
Japanese Lady

[Japanische Dame] 1932
painting
Oil paint on canvas
support: 870 x 610 mm
The George Economou Collection
Provenance:
The estate of the artist
Kunsthandel Widder, Vienna
Acquired directly from the above in 2006

Nationality of the artist: Austrian-British
Identifying marks: signed 'Gurschner' (lower left)

This work has a complete provenance for the period 1933-45.

August Heitmüller
(1873 - 1935)

August Heitmüller, Self-Portrait, 1926

X68314
Self-Portrait

[Selbstbildnis] 1926
painting
Oil paint on canvas
support: 900 x 705 mm
The George Economou Collection
Provenance:
The artist;
Villa Grisebach, Berlin, 29 November 2008, lot 224
Acquired directly from the above

Nationality of the artist:
Identifying mark: signed and dated 'HEITMÜLLER 1926' (upper right)
Place of manufacture: unknown

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Karl Otto Hy
(1904 - 1992)

Karl Otto Hy, Anna, 1932

X68311
Anna

1932
painting
Oil paint on canvas
support: 950 x 675 mm
The George Economou Collection
Provenance:
The artist;
Private Collection, Hesse;
Ketterer, Munich, 3 December 2008, lot 43;
Acquired directly from the above.

Nationality of the artist: German
Identifying marks: signed 'K.O. HY' and dated '32' (lower right); titled on the reverse; signed, inscribed and with the address on the stretcher.
Place of manufacture: Wiesbaden, Germany

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Alexander Kanoldt
(1881 - 1939)

Alexander Kanoldt, Monastery Chapel of Säben, 1920

X70056
Monastery Chapel of Säben

[Kapelle in Südtirol] 1920
painting
Oil paint on canvas
support: 350 x 290 mm
The George Economou Collection
Provenance:
The artist;
Collection Franz Friedrich Kästner, Erfurt
Private Collection, South Germany
Ketterer, Munich, 28 April 2009, lot 441
Acquired directly from the above.

Nationality of the artist: German
Identifying marks: signed 'Kanoldt', dated '1920' (lower right); signed, dated and inscribed 'XXI No. 137' on the stretcher.
Place of manufacture: ?Munich

To be included in forthcoming catalogue raisonné, compiled by Dr Michael Koch.

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Jeanne Mammen
(1890 - 1976)

Jeanne Mammen, Boring Dolls, 1929

X68320
Boring Dolls

[Langweilige Puppen] 1929
on paper, unique
Watercolour and graphite on paper mounted on cardboard
support: 384 x 286 mm
The George Economou Collection
Provenance:
The artist;
Galerie Brockstedt, Hamburg
Gallery La Boétie, New York
Hauswedell and Nolte, Hamburg
Marvin and Janet Fishman Collection, Milwaukee
Private collection, Spain
Villa Grisebach, Berlin, 27 November 2009, lot 28
Acquired directly from the above

Nationality of the artist: German
Identifying marks: signed 'J. Mammen' (upper left), titled 'Langweilige Puppen' (on the cardboard lower left); several exhibition labels on the reverse.
Place of manufacture: Berlin
This work has a complete provenance for the period 1933-45.

Jeanne Mammen, At the Shooting Gallery, 1929

X68321
At the Shooting Gallery

[An der Schießbude] 1929
on paper, unique
Watercolour and graphite on vellum
support: 445 x 360 mm
The George Economou Collection
Provenance:
The artist;
Galerie Brockstedt, Hamburg
Private Collection, Munich
Ketterer Kunst, Auktion 207, Munich 4 December 1995, Lot 89
Marvin and Janet Fishman Collection, Milwaukee
Karl & Faber, Munich, 28 October 2010, lot 101
Acquired directly from the above

Nationality of the artist: German
Identifying marks: signed 'J. Mammen' (upper left)
Place of manufacture: Berlin

This work has a complete provenance for the period 1933-45.

Jeanne Mammen, Brüderstrasse (Free Room), 1930

X68322
Brüderstrasse (Free Room)

[Brüderstrasse (Zimmer frei)] 1930
on paper, unique
Watercolour, ink and graphite on vellum
support: 475 x 345 mm frame: 835 x 635 mm
The George Economou Collection
Provenance:
The artist;
Galerie Brockstedt, Hamburg
La Boetie Inc. (Helen Serger), New York
Christie´s London, Auktion 19 October 1997, Lot 239
Marvin and Janet Fishman Collection, Milwaukee
Karl & Faber, Munich, 28 October 2010, lot 102
Acquired directly from the above

Nationality of the artist: German
Identifying marks: signed 'J. Mammen' (lower right)
Place of manufacture: Berlin

This work has a complete provenance for the period 1933-45.

Josef Mangold
(1884 - 1937)

Josef Mangold, Flower Still Life with Playing Card, N.D.

X68315
Flower Still Life with Playing Card

[Blumenstilleben mit Spielkarte] N.D.
painting
Oil paint on panel
support: 410 x 317 mm
The George Economou Collection
Provenance:
The artist;
Villa Grisebach, Berlin, 5 June 2010, lot 201
Acquired directly from the above

Nationality of the artist: German
Identifying marks: signed 'Jos. Mangold'
Place of manufacture: unknown

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Carlo Mense
(1886 - 1965)

Carlo Mense, Self-Portrait, 1918

X68263
Self-Portrait

[Selbstbildnis] 1918
painting
Oil paint on canvas
support: 457 x 343 mm frame: 660 x 545 mm
The George Economou Collection
Provenance:
The artist;
Van Ham, Cologne, Auction 31 May 2006, Lot 248
Galerie Berinson, Berlin
Acquired directly from the above in 2009

Nationality of the artist: German
Identifying marks: signed 'C. Mense' (lower right)
Place of manufacture:

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Carlo Mense, Portrait of Don Domenico, 1924

X68298
Portrait of Don Domenico

[Bildnis Don Domenico] 1924
painting
Oil paint on cardboard
support: 536 x 420 mm
The George Economou Collection
Provenance:
The artist;
Private Collection, South Germany;
Ketterer, Munich, 19 June 2009, lot 268;
Acquired directly from the above.

Nationality of the artist: German
Identifying marks: signed 'C. MENSE' (lower right); signed, dated and titled 'Don Domenicho' on the reverse.
Place of manufacture: Munich, Germany

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Richard Müller
(1874 - 1954)

Richard Müller, In the Studio, 1926

X68304
In the Studio

[Im Atelier] 1926
painting
Oil paint on canvas
support: 1070 x 755 mm frame: 1250 x 940 mm
The George Economou Collection
Provenance:
Probably the estate of the artist
Private Collection, South Germany
Fischer, Lucerne, 15 June 2009, lot 46
Acquired directly from the above

Nationality of the artist: Austrian
Identifying marks: monogrammed 'R.M.' and dated '1926' (upper middle)
Place of manufacture: Dresden

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Sergius Pauser
(1896 - 1970)

Sergius Pauser, Self-Portrait with Mask, 1926

X68319
Self-Portrait with Mask

[Selbstbildnis mit Maske] 1926
painting
Oil paint on canvas
support: 600 x 730 mm
The George Economou Collection
Provenance:
Private property, USA
Private property, Schütz
Schütz, Vienna
Acquired directly from the above in 2008

Nationality of artist: Austrian
Identifying marks: signed 'Sergius Pauser' (lower left)
Place of manufacture: ?Waidhofen/Vienna

Pauser catalogue raisonné number 116
This work has a complete provenance for the period 1933-45.

Franz Radziwill
(1895 - 1983)

Franz Radziwill, Conversation About a Paragraph, 1929/1960

X68307
Conversation About a Paragraph

[Gespräch über einen Paragraphen] 1929/1960
painting
Oil paint on canvas laid on wood
support: 793 x 1010 mm
The George Economou Collection
Provenance:
The artist;
Galleria del Levante, Milan/Munich; [which seemed to be particularly active in 1960s?]
Private collection, Modena;
Ketterer, Munich, 4 June 2011, lot 62;
From which acquired by the present owner.

Nationality of the artist: German
Identifying marks: signed and dated ‘Fr. Radziwill 29’ (lower right); numbered ‘102’ on the reverse.
Place of manufacture: ?Berlin and Dangast

This work was completed after the operative period 1933-45.

Christian Schad
(1894-1982, born: Miesbach, died: Stuttgart)

Christian Schad, Prof. Holzmeister, 1926

X68295
Prof. Holzmeister

1926
on paper, unique
Charcoal on paper
support: 542 x 400 mm
The George Economou Collection
Provenance:
The artist;
Kunstkabinett G.A. Richter, Stuttgart, by 1974;
Dorotheum Vienna, 25 May 2000;
Christie’s London, 16 June 2007, lot 175
Im Kinsky, Vienna, 23 June 2009, lot 6;
From whom acquired by the present owner.

Nationality of the artist: German
Identifying marks: signed ‘SCHAD’ and dated ‘(19)26’ (lower right); titled ‘Prof. Holzmeister’ and dated ‘Wien 1926’ with pencil by the hand of the artist on the reverse.
Place of manufacture: Vienna, Austria.

Authenticated by G.A. Richter from the Christian Schad Archive


This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Josef Scharl
(1896 - 1954)

Josef Scharl, Conference / The Group, 1927

X68305
Conference / The Group

[Konferenz / Die Gruppe] 1927
painting
Oil paint on canvas
support: 810 x 645 mm
The George Economou Collection
Provenance:
The artist;
Galerie Nierendorf, Berlin, until at least 1964;
Villa Grisebach, Berlin, 29 November 2008, lot 213;
From whom acquired by the present owner.

Nationality of the artist: German-American
Identifying marks: signed and dated ‘Jos. Scharl 1927’
Place of manufacture: Munich [based on bio]
*Exhibited in monographic exhibition in the rooms of the German Artist Association, Munich, in 1929.

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Otto Rudolf Schatz
(1900 - 1961)

Otto Rudolf Schatz, Moon Women, 1930

X68308
Moon Women

[Mondfrauen] 1930
painting
Oil paint on canvas
support: 1915 x 1110 mm frame: 1955 x 1150 mm
The George Economou Collection
Provenance:
The artist;
Private collection of Prof. Dr. Wilfried Daim;
Im Kinsky, Vienna, 20 November 2007, lot 59;
From whom acquired by the present owner.

Nationality of the artist: Austrian
Identifying marks: monogrammed ‘ORS’ and dated ‘30’ (lower right)
Place of manufacture: Vienna, Austria

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Rudolf Schlichter
(1890 - 1955)

Rudolf Schlichter, The Artist with Two Hanged Women, 1924

X68294
The Artist with Two Hanged Women

[Der Künstler mit zwei erhängten Frauen] 1924
on paper, unique
Watercolour and graphite on paper
support: 453 x 340 mm frame: 645 x 535 mm
The George Economou Collection
Provenance:
The artist;
Private collection, Karlsruhe;
Villa Grisebach Berlin, 26 November 2010, lot 42;
From whom acquired by the present owner.

Nationality of the artist: German
Identifying marks: verso: ‘Motion sketches of horses with riders’. Charcoal horizontal format.
Place of manufacture: Berlin

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Rudolf Schlichter, Lady with Red Scarf (Speedy with the Moon), 1933

X68312
Lady with Red Scarf (Speedy with the Moon)

[Frauenportrait (Speedy)] 1933
painting
Oil paint on canvas
support: 925 x 645 mm
The George Economou Collection
Provenance:
The artist;
Porro & C., Mailand, Auction 19 May 2009; lot 20
Fischer Kunsthandel, Berlin; (founded 1992)
Galerie Michael Haas, Berlin; (founded 1976)
Private collection, Germany; (Nannen collection??)
Galerie Thomas Schneider, Munich; (founded 1997)
From whom acquired by the present owner in 2012.

Nationality of the artist: German
Identifying marks: signed ‘R. Schlichter’ (lower right), dated ‘1933’ (lower left)
Place of manufacture: Rottenburg, Germany

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Werner Schramm
(1898 - 1970)

Werner Schramm, Portrait of a Lady in front of the Pont des Arts, 1930

X68309
Portrait of a Lady in front of the Pont des Arts

[Damenbildnis vor der Pont des Arts] 1930
painting
Oil paint on panel
support: 810 x 610 mm frame: 1025 x 825 mm
The George Economou Collection
Provenance:
[Estate of the artist] until at least 1980:
Remmert und Barth, Düsseldorf; [founded 1980; preceding sales must have been after this time]
Fine Art Trade, Berlin;
Private collection, Germany, before 1997;
Galerie Thomas Schneider, Munich; [founded 1997; preceding sales must have been after this time]
From whom acquired by the present owner in 2012.

Nationality of the artist: German
Identifying marks: monogrammed ‘SW’ and dated ‘1930’ (lower right)
Place of manufacture: Paris [based on artist bio; lived in Meudon between 1926-31]
This work has a complete provenance for the period 1933-45.

Nicolai Wassilieff
(1901 - 1977)

Nicolai Wassilieff, Interior, 1923

X68297
Interior

[Innere] 1923
painting
Oil paint on canvas
support: 410 x 300 mm frame: 595 x 485 mm
The George Economou Collection
Provenance:
Artist until ??;
Ubu Berinson;
From whom acquired by the present owner in 2008.

Nationality of the artist: Russian (-German?)
Identifying marks: signed ‘N. Wassiljeff / Barotinsky’ (lower right)
Verso: ‘Tree’
Place of manufacture: unknown

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Dorothea Tanning

Tate Modern (London, UK) from 27 Feb 2019 until 09 Jun 2019.

Dorothea Tanning
(1910-2012, born: Galesburg, died: New York City)

Dorothea Tanning, Self-Portrait, 1944

X69131
Self-Portrait

1944
painting
Oil paint on canvas
support: 609 x 762 mm
San Francisco Museum of Modern Art. Purchase, by exchange, through a fractional gift of Shirley Ross Davis
Provenance:
The artist;
From whom acquired by Mrs Mary Louise Johnson, Sedona, Arizona;
From whom acquired by Shirley Ross Davis;
From whom acquired by the present owner, 2014.
Nationality of artist: American
Identifying marks: None or not recorded
Place of manufacture: Not recorded
This work was produced during the operative period 1933–45. Dates of transfer are not known but consultation of appropriate sources give no indication of unlawful taking.

Edward Burne-Jones

Tate Britain (London, UK) from 24 Oct 2018 until 24 Feb 2019.

Sir Edward Coley Burne-Jones, Bt
(1833-1898, born: Birmingham, died: London)

Sir Edward Coley Burne-Jones, Bt, The Wise and Foolish Virgins, c.1859

X64495
The Wise and Foolish Virgins

c.1859
on paper, unique
Pen and ink and grey wash
image: 455 x 605 mm
Private collection
Provenance:
Acquired from the artist by T.E. Plint; his sale, Christie's, March 7, 1862, lot 46; George Rae of Birkenhead; Sotheby's, November 5, 1974, lot 25 (bought by Christopher Gibbs for Sir Paul Getty); Sir Paul Getty, K.B.E.; his estate sale, Christie's, London, November 11, 2004, lot 8, where acquired by present owner.
Nationality of artist: British
Identifying marks: none
Place of manufacture: London, England
Catalogue Raisonné: Stephen Wildman and John Christian (eds.), Edward Burne-Jones: Victorian Artist-Dreamer, Metropolitan Museum of Art, New York, 1998, no.8, p.61.

Sir Edward Coley Burne-Jones, Bt, The Love Song (Le Chant d'Amour), 1865

X64427
The Love Song (Le Chant d'Amour)

1865
on paper, unique
Transparent and opaque watercolour on paper
support: 549 x 777 mm frame: 864 x 1095 mm
Museum of Fine Arts, Boston. Bequest of Martin Brimmer
Provenance:
Sold by the artist to William Graham (b.1817 – d.1885), Glasgow; 3 April 1886, posthumous Graham sale, Christie’s, London, lot 153, to Edward Clifford (b. 1844 – d.1907), London. By 1887, Martin Brimmer (b. 1829 – d.1896), Boston; 1906, bequest of Martin Brimmer to the Museum of Fine Arts, Boston.

Nationality of artist: British
Identifying marks: Signed and dated lower left: EBJ 1865
Place of Manufacture: London, England.
Catalogue Raisonné: Stephen Wildman and John Christian (eds.), Edward Burne-Jones: Victorian Artist-Dreamer, Metropolitan Museum of Art, New York, 1998, no.30, p.98

Sir Edward Coley Burne-Jones, Bt, Baronne Madeleine Deslandes, 1895-1896

X64485
Baronne Madeleine Deslandes

1895-1896
painting
Oil paint on canvas
support: 1155 x 582 mm frame: 1375 x 812 x 52 mm
National Gallery of Victoria, Melbourne, Australia. Purchased with funds donated by Andrew Sisson, 2005
Provenance:
Commissioned by the sitter in 1894 and thence by descent; private collection, Paris, before 1983; with Agnew’s (dealer), London, 1983; collection of John Schaeffer, Sydney, 1983-2005; included in the sale of Important British and Irish Art, Christie’s, London, 23 November 2005, no.17, passed in; purchased from Christie’s, for the National Gallery of Victoria, 2005.
Nationality of artist: British
Identifying marks: Inscribed in grey paint on the lower left: E/BJ
Place of Manufacture: London, England
Catalogue Raisonné: Christie’s: Important British and Irish Art, auction catalogue, Christie’s, London, 23 November 2005

Fernand Léger: New Times, New Pleasures

Tate Liverpool (Liverpool, UK) from 23 Nov 2018 until 17 Mar 2019.

Fernand Léger
(1881-1955, born: Argentan, died: Gif-sur-Yvette)

Fernand Léger, Landscape No. 2, 1914

X71529
Landscape No. 2

[Paysage No. 2] 1914
painting
Oil paint on canvas
support: 810 x 1000 mm
Bayerische Staatsgemäldesammlungen - Sammlung Moderne Kunst in der Pinakothek der Moderne München
Provenance:
Nationality of artist: French
Signatures, Inscriptions, and Markings
Markings on verso: inscribed "Paysage/N 2/F.LÉGER
Place of manufacture: Paris, France
Catalogue raisonné
Bauquier, Georges, Fernand Léger: catalogue raisonné de l’œuvre peint 1903-1919, Paris, Maeght Éditeur, 1995, no. 78, p. 145 as Paysage No. 2 (1914)
Provenance
The artist, Paris (1913; sold to Galerie Kahnweiler, Paris, in 1914);
Galerie Daniel-Henry Kahnweiler, Paris, 1914;
Sequestered Kahnweiler stock, 12 December 1914–1923;
Fourth Kahnweiler sale, Hôtel Drouot, Paris, 8 May 1923, no. 304 sold as Paysage No. 2 81 x 100 cm to an unidentified bidder;
Collection Jacques Dubourg (d. 1981), Paris (possibly by June 1957 – 1961);
Acquired from the above in 1961 through Dr. Fritz Nathan und Dr. Peter Nathan, Zürich by Bayerische Staatsgemäldesammlungen – Munich
This work was made before the operative period 1933-45. Its provenance during these years is not fully documented, however consultation with the relevant sources gives no evidence of wrongful taking.
Lender’s address: Bayerische Staatsgemäldesammlungen Barer Straße 29 80799 München, Germany

Fernand Léger, The Disc, 1918

X71521
The Disc

[Le Disque] 1918
painting
Oil paint on canvas
support: 650 x 540 mm frame: 930 x 800 x 70 mm
Museo Nacional Thyssen-Bornemisza, Madrid
Provenance:
Nationality of artist: French
Signatures, Inscriptions, and Markings
Markings on verso: no inscription on the back; JH 68.56 in black marker at left on top stretcher bar
Markings on recto: signed and dated, bottom left ''F. LÉGER 18''
Place of manufacture: Paris, France
Catalogue raisonné
Bauquier, Georges, Fernand Léger: catalogue raisonné de l’œuvre peint 1903-1919, Paris, Maeght Éditeur, 1995, no. 145, p. 260-261.
Provenance
The artist, Paris (1918; sold on January 15, 1919 for Fr 400 to Léonce Rosenberg);
Galerie L’Effort Moderne (Léonce Rosenberg), Paris, January 1919; inv. no. 6115 (January 1919 – at least until February 1920);
Herman C. Goldsmith Collection, New York;
Perls Galleries (Klaus , New York), 1951;
Heinz Berggruen, Paris, 1955;
Joseph H. Hirshhorn, New York;
Galerie Hahn, Paris;
Thyssen-Bornemisza Collection, Lugano, 1976;
On loan at the Museo Thyssen-Bornemisza, Madrid, 1992;
Museo Thyssen-Bornemisza, Madrid, 1993
This work was made before the operative period 1933-45. Its provenance during these years is not fully documented, however consultation with the relevant sources gives no evidence of wrongful taking.
Lender’s address: Thyssen-Bornemisza Museum, Paseo del Prado, 8, 28014 Madrid, Spain

Fernand Léger, Mechanical Elements, 1919

X71808
Mechanical Elements

[Élements Mécaniques] 1919
painting
Oil paint on canvas
support: 645 x 495 mm
Private collection
Provenance:
Nationality of artist: French
Signatures, Inscriptions, and Markings
Markings on recto: signed and dated, lower right: F. LÉGER/19
Place of manufacture: France
Catalogue raisonné
Bauquier, Georges, Fernand Léger: catalogue raisonné de l’œuvre peint 1903-1919, vol. 1, Paris, Maeght Éditeur, 1995, no. 186, pp. 328-329.
Provenance
The artist, Paris (1919; sold on January 31, 1920 for Fr 400 to Léonce Rosenberg);
Galerie L’Effort Moderne (Léonce Rosenberg), Paris, January 1919; inv. no. 6690 (January 1920 – 1928);
Sale Tableaux modernes, Hôtel Drouot, Paris, 6 February 1928;
Acquired at the above sale by an unidentified bidder;
Walter Schwarzenberg [Galerie le Centaure], Brussels (at least by 1932);
His sale Galerie Georges Giroux, Brussels, 1st & 2nd February 1932, lot 318;
Probably acquired from the above sale by Philippe Dotremont, Brussels;
Acquired from the above by Galerie Beyeler, Basel (inv. n. 3283) (1963 – 1968);
Jane Wade, New York (acquired from the above in April 1968);
Private Collection (April 1968 – June 1997);
Acquired from the above by Galerie Beyeler, Basel in June 1997;
Acquired from the above by the late owner in 1997;
Sale Sotheby’s, London, 3 February 2016, lot 12;
Acquired from the current owner at the above sale
This work was made before the operative period 1933-45 and it has a full provenance.
Lender’s address: Private Collection c/o Head of Displays, Tate Modern

Fernand Léger, Homme et Femme, 1921

X72588
Homme et Femme

1921
painting
Oil paint on canvas
support: 640 x 540 mm
Private collection
Provenance:
Nationality of artist: French
Signatures, Inscriptions, and Markings
Markings on recto: signed and dated, bottom right: F. LÉGER/21
Markings on verso: inscribed 1er état
Place of manufacture: Paris, France
Catalogue raisonné
Bauquier, Georges, Fernand Léger: catalogue raisonné 1920-1924, vol.2, Paris, Maeght Éditeur, 1995, no. 289, pp. 154-155.
Provenance
Acquired from the artist by Galerie Simon (Daniel-Henry Kahnweiler), Paris (stock no. 6526);
Private Collection, Paris (at least by 1928 – d. 1956);
By descend to a private collection, Paris (1956 – 1986);
Acquired from the above by Galerie Beyeler, Basel (inv. n. 10845);
Private Collection, Neuss;
Galerie Jean Krugier, Geneva;
Acquired from the above by the present owner in 1997
This work was produced before the operative period 1933–45 and has a complete provenance.
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate


Fernand Léger, The Bridge, 1923

X69109
The Bridge

[Le Pont] 1923
painting
Oil paint on canvas
support: 922 x 610 mm frame: 1120 x 815 x 70 mm
Carmen Thyssen-Bornemisza Collection, on loan at the Museo Nacional Thyssen-Bornemisza, Madrid
Provenance:
Nationality of artist: French
Signatures, Inscriptions, and Markings:
Markings on recto & on verso: none or not recorded
Place of manufacture: France
Catalogue raisonné
Bauquier, Georges, Fernand Léger: catalogue raisonné de l’œuvre peint 1920-1924, vol. 2, Paris, Maeght Éditeur, 1995, no. 349, p. 260 (reprod. p. 261; image of the work is printed in reverse)
Provenance
The artist (d. 1955), Paris and elsewhere;
Galerie Simon (Daniel-Henry Kahnweiler) (1920 – 1941), Paris (stock no. 7498 and photo no. 6587);
Collection Gmur, Switzerland;
Curt Valentin Gallery, New York (stock no. 4078);
Gimpel Fils Gallery, London, 1965;
Galerie Louise Leiris, Paris;
Waddington Galleries Ltd., London;
Galleria Internazionale, Milan;
Thyssen-Bornemisza Collection, Lugano, 1975;
Carmen Thyssen-Bornemisza on loan at the Museo Nacional Thyssen-Bornemisza, Madrid.
This work was made before the operative period 1933-45. Its provenance during these years is not fully documented, however consultation with the relevant sources gives no evidence of wrongful taking.

Lender’s address: The Thyssen-Bornemisza Collection Foundation, Paseo del Prado, 8, 28014 Madrid, Spain

Fernand Léger, Le grand remorqueur, 1923

X72591
Le grand remorqueur

1923
painting
Oil paint on canvas
support: 730 x 920 mm frame: 900 x 1150 x 50 mm
Private collection
Provenance:
Nationality of artist: French
Signatures, Inscriptions, and Markings
Markings on recto: signed and dated, bottom right: F. LÉGER/23
Place of manufacture: Paris, France
Catalogue raisonné
Bauquier, Georges, Fernand Léger: catalogue raisonné de l’œuvre peint 1920-1924, Paris, Maeght Éditeur, 1995, no. 347, pp. 256-257.
Provenance
The artist, Paris (September 1923 – sold on December 14, 1923 for Fr 1 000, to Léonce Rosenberg);
Galerie L’Effort Moderne (Léonce Rosenberg), Paris 14 December 1923 (stock. no. 8124/photo no. 515 as Le grand Remorqueur, 1er état, 64, 5 x 92);
With Rolf de Maré, Paris and elsewhere at least by 1928;
Possibly with Edmond Rosenberg, Paris;
Perls Galleries, New York, where acquired by the owner’s late husband in the late 1970s or early 1980s;
By descend to the current owner
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.
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate

Fernand Léger, Still Life, 1925

X71693
Still Life

[Nature morte] 1925
painting
Oil paint on canvas
support: 920 x 650 mm frame: 1030 x 740 x 650 mm
Staatliche Kunsthalle Karlsruhe
Provenance:
Nationality of artist: French
Signatures, Inscriptions, and Markings
Markings on recto: signed and dated: F. LÉGER.25
Markings on verso: Nature morte / F. LÉGER.25
Place of manufacture: Paris, France
Catalogue raisonné
Bauquier, Georges, Fernand Léger: catalogue raisonné de l’œuvre peint 1925-1928, Paris, Maeght Éditeur, 1995, no. 410, pp. 32-33 as Nature Morte (Le compotier de poires)
Provenance
Probably commissioned 1925 by Paul Rosenberg Paris;
Probably acquired directly from the artist in 1925 by Max Pellequer, Paris;
Louis Carré, Paris;
Galerie Pierre (Pierre Loeb), Paris;
Dr. L. Gaussen, Paris (c. 1971);
Acquired from the above by Galerie Ernst Beyeler, Basel, on June 21, 1971 (1971 – 1978);
Acquired from the above by Staatliche Kunsthalle Karlsruhe on July 12 1978
This work was produced before the operative period 1933–45 and it is unclear if the provenance of the work is complete. The museum is currently conducting research into its provenance, but so far there has been no evidence of wrongful taking.
Lender’s address: Staatliche Kunsthalle Karlsruhe Hans-Thoma-Straße 2, 76133 Karlsruhe, Germany

Fernand Léger, Handkerchief, 1930

X70334
Handkerchief

[Mouchoir] 1930
on paper, unique
Ink on paper
support: 330 x 395 mm frame: 550 x 617 x 20 mm
Belfort, Musées d'art moderne - Donation Maurice Jardot
Provenance:
Nationality of artist: French
Signatures, Inscriptions, and Markings
Markings on verso: signed, dated lower right F.L. 30
Place of manufacture: Paris, France
Provenance
The artist;
From whom probably acquired by Galerie Louise Leiris, Paris;
Maurice Jardot (d. 2002), Paris and elsewhere (until 1990);
By whom gifted to the Musées d'art moderne the museum Belfort in 2002
This work was produced before the operative period 1933–45 and has a complete provenance.
Lender’s address: Musee d'Art Moderne Donation Maurice Jardot, 8 rue de Mulhouse
90 000 Belfort, France
 
 

Fernand Léger, Composition I, 1930

X71246
Composition I

1930
painting
Oil paint on canvas
support: 1410 x 2910 mm frame: 1433 x 2937 x 64 mm
Fondation Beyeler, Riehen/Basel, Beyeler Collection
Provenance:
Nationality of artist: French
Signatures, Inscriptions, and Markings
Markings on recto: signed and dated, bottom right: F. LEGER. 30
Place of manufacture: France
Catalogue raisonné
Bauquier, Georges, Fernand Léger: catalogue raisonné de l’œuvre peint 1929-1931, vol. 4, Paris, Maeght Éditeur, 1995, no. 693, pp. 150-151 as Composition I (Décoration pour une salle à manger)
Provenance
Gottlieb Friedrich Reber, Lugano and Lausanne (1930 – 1958) (commissioned to the artist);
Ernst Beyeler Collection, Basel (1958 – 1997);
Fondation Beyeler, Riehen
This work was produced before the operative period 1933–45 and has a complete provenance.
Lender’s address: Fondation Beyeler, Baselstrasse 101, 4125 Basel, Switzerland

Fernand Léger, Tree Trunks, 1931

X70317
Tree Trunks

[Les Troncs d'arbres (Tableau)] 1931
painting
Oil paint on canvas
support: 920 x 650 mm frame: 100 x 730 x 50 mm
Belfort, Musée d'art moderne - Donation Maurice Jardot
Provenance:
Nationality of artist: French
Signatures, Inscriptions, and Markings
Markings on recto: signed, dated, lower right F. LÉGER / 31
Markings on verso: Les troncs d’arbre 31. F. Léger
Place of manufacture: Paris, France
Catalogue raisonné
Bauquier, Georges, Fernand Léger: catalogue raisonné de l’œuvre peint 1929-1931, vol. 4, Paris, Maeght Éditeur, 1995, no. 768, pp. 274-275.
Provenance
The artist;
From whom acquired by Galerie Louise Leiris, Paris (Inv. no. 09923 / 30275);
Maurice Jardot (d. 2002), Paris and elsewhere, (until 1999);
By whom gifted to the Musées d'art moderne Belfort in 1999.
This work was produced before the operative period 1933–45 and has a complete provenance.
Lender’s address: Musee d'Art Moderne Donation Maurice Jardot, 8 rue de Mulhouse
90 000 Belfort, France

Fernand Léger, Flint, 1933

X70333
Flint

[Silex] 1933
on paper, unique
Ink on paper
support: 310 x 370 mm frame: 510 x 576 x 20 mm
Belfort, Musée d'art moderne - Donation Maurice Jardot
Provenance:
Nationality of artist: French
Signatures, Inscriptions, and Markings
Markings on recto: signed, dated lower right F.L./ on pencil: Silex
Place of manufacture: Paris, France
Provenance
The artist;
From whom probably acquired by Galerie Louise Leiris, Paris;
Maurice Jardot (d. 2002), Paris and elsewhere;
By whom gifted to the Musées d'art moderne Belfort in 1999
This work was produced during the operative period 1933–45 and has a complete provenance.
Lender’s address: Musee d'Art Moderne Donation Maurice Jardot, 8 rue de Mulhouse
90 000 Belfort, France

Fernand Léger, The Parrots (The Acrobats), 1933

X71248
The Parrots (The Acrobats)

[Les Perroquets (Les Acrobates)] 1933
painting
Oil paint on canvas
support: 1300 x 1620 mm
Fondation Beyeler, Riehen/Basel, Beyeler Collection
Provenance:
Nationality of artist: French
Signatures, Inscriptions, and Markings
Markings on recto: signed and dated, bottom right: F. LEGER. 33
Markings on verso: titled, dated and inscribed, top left: Les perroquets, étude // (100F) 1933
Place of manufacture: France
Catalogue raisonné
Bauquier, Georges, Fernand Léger: catalogue raisonné de l’œuvre peint 1932-1937, vol. 5, Paris, Maeght Éditeur, 1995, no. 834, pp. 78-79 as Les Perroquets, Étude (Les acrobates)
Provenance
The artist studio, Paris and elsewhere (1933 – d. 1955);
From whom probably inherited by descent by Nadia Léger (née Nadia Khodasevich), Paris and elsewhere at least from June 1956 (1956 – 1968);
Galerie Louise Leiris, Paris 1968;
Acquired from the above by Galerie Beyeler, Basel, 1968;
Acquired from the above by Josef Steegmann, Cologne/Vaduz, 1968 (1968 – 1969);
Sale Christie’s, London, 27 November 1989 (lot 29);
Collection Ernst Beyeler, Basel, (1989 – 1997);
Fondation Beyeler, Basel, Riehen
This work was produced during the operative period 1933–45 and its provenance during these years is not fully documented, however consultation with the relevant sources and experts gives no evidence of wrongful taking.
Lender’s address: Fondation Beyeler, Baselstrasse 101, 4125 Basel, Switzerland

Fernand Léger, The Two Cyclists, Mother and Child, 1951

X71249
The Two Cyclists, Mother and Child

[Les Deux Cyclistes, la mère et l'enfant] 1951
painting
Oil paint on canvas
support: 1620 x 1140 mm frame: 1668 x 1183 x 60 mm
Fondation Beyeler, Riehen/Basel, Beyeler Collection
Provenance:
Nationality of artist: French
Signatures, Inscriptions, and Markings
Markings on recto: signed and dated, bottom right: 51 / F. LEGER
Markings on verso: titled, signed and dated, top left: LES 2 Cyclistes // la mère et l'enfant // F. LEGER // 51
Place of manufacture: France
Catalogue raisonné
Bauquier, Georges, Fernand Léger: catalogue raisonné de l’œuvre peint 1932-1937, vol. 8, Paris, Maeght Éditeur, 1995, no. 1425, pp. 186-187 as Les Deux Cyclistes, la mère et l’enfant (La belle cycliste)
Provenance
The artist studio, Paris and elsewhere (1951 – d. 1955) (no. 368);
Collection Marguerite et Aimé Maeght, Paris (at least from 1956 – October 1982);
Sale Guy Loudmer, 27 October 1982, Paris, lot 25;
Collection Ernst Beyeler, Basel (1982 – 1987);
Private Collection, Germany (1987 – 1989);
Collection Ernst Beyeler, Basel (1989 – 1993);
Fondation Beyeler, Basel, Riehen
This work was produced after the operative period 1933–45 and has a complete provenance.
Lender’s address: Fondation Beyeler, Baselstrasse 101, 4125 Basel, Switzerland

Pierre Bonnard: The Colour of Memory

Tate Modern (London, UK) from 23 Jan 2019 until 06 May 2019.

Pierre Bonnard
(1867-1947, born: Fontenay-aux-Roses, died: Cannet, le)

Pierre Bonnard, In the Bathroom, 1907

X73260
In the Bathroom

[Dans le cabinet de toilette] 1907
painting
Oil paint on board
support: 1060 x 713 mm frame: 1304 x 951 x 100 mm
Asia Private Collection
Provenance:
Provenance:
The artist;
Acquired Bernheim-Jeune, Paris 1907 (until at least 1966) ;
Basil P. Goulandris, Paris;
Private Collection, Europe (by descent from the above) ;
Acquired by private collector from the above in 2005 ;
Sotheby’s Hong Kong (5th April 2018);
Acquired from the above by the current owner, a private collector.
-This work was produced before the operative period 1933–45 and has a complete provenance.
Nationality of the artist: French
Place of manufacture: France
Identifying marks: Signed lower right, Bonnard 07

Catalogue Raisonné: Jean and Henry Dauberville, Bonnard: Catalogue Raisonné de l’Oeuvre Peint, Vol.2, 1906–1919, Edition Bernheim-Jeune, Paris, 1968. P.93, No.473 (Illustrated, P.92)
Partial Exhibition History
New York, Wildenstein & Co., Exhibition of Paintings by Bonnard, 1934, no. 3
Paris, Galerie Bernheim-Jeune, XXXIV peintures de Pierre Bonnard, 1946, no. 5 (with inverted measurements)
Paris, Musée de l'Orangerie, Bonnard, 1947, no. 45 (titled Jeune femme à sa toilette and incorrectly dated circa 1913)
Venice, XXV Esposizione Internazionale Biennale d'Arte, 1950, no. 6
Rotterdam, Museum Boymans-van Beuningen, Bonnard, 1953, no. 39, illustrated (titled Naakt, zich aankledend)
Lyon, Musée des Beaux-Arts, Bonnard, 1954, no. 28
Paris, Galerie Bernheim-Jeune, Le Nu à travers les Ages, 1954, possibly no. 1 (titled Nu à la toilette and incorrectly dated 1909)
Milan, Palazzo della Permanente, Pierre Bonnard, 1955, no. 23, illustrated (titled Nudo alla toilette) 
Basel, Kunsthalle, Pierre Bonnard, 1955, no. 27, illustrated 
Nice, Musée des Ponchettes, Bonnard, 1955, no. 10, illustrated (titled Nu à la toilette)
Paris, Galerie Bernheim-Jeune, Hommage à Bonnard, 1956, no. 11
Amsterdam, Stedelijk Museum, Europa 1907, 1957, no. 7, illustrated 
Paris, Galerie Bernheim-Jeune, Visages et paysages de Bonnard et Vuillard, 1957, no. 10
London, Royal Academy of Arts, Pierre Bonnard, 1966, no. 71, illustrated 
Oslo, Kunstnerforbundet, Pierre Bonnard, 1966, no. 4
Paris, Galerie Bernheim-Jeune, Coup de chapeau à Bonnard, 1967
Zürich, Kunsthaus, Pierre Bonnard, 1984-1985, no. 43, illustrated in color
Lausanne, Fondation de l'Hermitage, De Cézanne à Picasso dans les collections romandes, 1985, no. 7, illustrated in color
Lausanne, Fondation de l'Hermitage, Pierre Bonnard, 1991, no. 31, illustrated in color
London, Tate Modern, 2005-2017, extended loan
Partial Publication History
Léon Werth, Bonnard, Geneva, 1919, pl. 17, illustrated 
F. J. Beer, Bonnard, 1947, p. 17, illustrated 
Raymond Cogniat, Bonnard, Paris, 1968, p. 17, illustrated (titled Nu and incorrectly dated 1914)

Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate

Pierre Bonnard, Mirror above a washstand, 1908

X69929
Mirror above a washstand

[La Glace du cabinet de toilette] 1908
painting
Oil paint on canvas
unconfirmed, each: 1200 x 970 mm frame: 1395 x 1165 x 70 mm
The Pushkin State Museum of Fine Arts, Moscow
Provenance:
Provenance:
The artist (d.1947);
Acquired by Bernheim-Jeune, 8th Sept 1908;
Sale to J.-A Morosoff, Moscow, 3rd October 1908;
1918-1948, collection of Modern Art Moscow;
From 1948 collection of Pushkin State Museum of Fine Arts.
This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.
Nationality of Artist: French
Place of Manufacture: France
Identifying Marks: Signed lower left
Catalogue Raisonné: Jean and Henry Dauberville, Bonnard: Catalogue Raisonné de l’Oeuvre Peint, Vol.2, 1906–1919, Edition Bernheim-Jeune, Paris, 1968. P.108, No.488 (Illustrated, P.109)
 
Partial Exhibition History:
Salon d’Automne, 1908, no. 184
Chefs- d’Œuvre de la peinture français dans les musées de l’Ermitage et de Moscou, Bordeaux-Paris, May 1965 – winter 1966, no. 74
Partial Publication History:
Apollon, 1912, no. 3-4;
Werth, L. Bonnard, Paris, 1923;
Catalogue Musée d’Art Occidental Moderne de Moscou, 1928, no. 21
Réau, L. Catalogue de l’Art Français dans le musées russes, Paris, 1929, p. 96, no. 705
Malitskaïa , K. -M. Le Musée de Moscou, Paris, 1963, p. 192, no. 91
Lender’s address: The Pushkin State Museum of Fine Arts, Ulitsa Volkhonka, 12, Moskva, Russia, 119019

Pierre Bonnard, Dining Room in the Country, 1913

X69301
Dining Room in the Country

[Salle à manger à la campagne] 1913
painting
Oil paint on canvas
unconfirmed: 1645 x 2057 mm frame: 1866.9 x 2324.1 x 114.3 mm
Lent by the Minneapolis Institute of Art, The John R. Van Derlip Fund.
Provenance:
Provenance:
The artist (d.1947);
Acquired by Bernheim Jeune, Paris on 7th November,1913;
Gaston Bernheim de Villers Collection, Paris;
Galerie Sam Salz Inc., New York in 1954;
Private Collection, United States;
Minneapolis Institute of Arts, Minneapolis, Minnesota (John R. Van Derlip Fund), 1954.
This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.
Nationality of the artist: French
Place of manufacture: France
Identifying marks: Signed and dated on bottom right.
Catalogue Raisonné: Jean and Henry Dauberville, Bonnard: Catalogue Raisonné de l’Oeuvre Peint, Vol.2, 1906–1919, Edition Bernheim-Jeune, Paris, 1968. P.311, No.763 (Illustrated, P.310)
Partial Exhibition History:
Salon d’Automne, Grand-Palais, Paris, 15th November 1913 – 5th January 1914, no. 217;
Panama Pacific International Exhibition, San Francisco, 1915, no. 259
Exhibition of French and Belgian art selected from the Panama-Pacific Exhibition, Allbright Gallery, Buffalo, 11th March – 19th April 1916, no. 38
Contemporary Art, San Francisco, 1939, no. 4
Paintings and Sculptures from the Minneapolis Institute of Art, New York, Knoedler Galleries, 14th Jan – 2nd Feb 1957
Society of the Four Arts, Palm Beach, 1957, The Phillips Gallery, Washington, Jan – Feb 1958
Bonnard and his environment, Museum of Modern Art, 1964-1965, p.71
Pierre Bonnard, Acquavella Galleries, New York, November 9–December 11, 1965, no. 16 (as "Nappe à carreaux, nature morte").
Summer Loan Exhibition: Paintings, Drawings, and Sculpture from Private Collections, The Metropolitan Museum of Art, New York. July 8–September 6, 1966, checklist no. 3 (as "The Checkered Tablecloth," lent by Mr. and Mrs. Douglas C. Dillon).
New York Collects, The Metropolitan Museum of Art, New York. July 3–September 2, 1968, no. 16 (as "The Checkered Tablecloth," lent anonymously).
Partial Publication History:
Fosca, Fr. Bonnard, p. 52, plate 16
Coquiot, G. Bonnard, p.53
Terrasse, Ch. Bonnard, p.134 and p.136, reproduced. Page 139
Bonnard in L’Amour de l’Art XIVe, no. 04, Germain Bazin, April 1933, p. 83 and p. 89
Besson, G. Bonnard, 1934, plate 34
Courthion, P. Bonnard, peintre du Merveilleux, , p. 36 and p. 39
Art News Annual no.23, p. 36
Pierre Bonnard’s Dining Room in the Country in Minneapolis Institute Bulletin, November 1955, p.41-51
Post-impressionist Bonnard in Art News, May 1956, p. 30, p. 31
Vaillant, A. Bonnard, Neuchâtel, Ides et Calendes, 1965, p.195
Lender’s address: Minneapolis Institute of Art, 2400 3rd Ave S, Minneapolis, MN 55404, USA

Pierre Bonnard, The Misty Bay (Mistral Sky), 1914

X69294
The Misty Bay (Mistral Sky)

[Le Golfe embrumé (Ciel de mistral)] 1914
painting
Oil paint on canvas
unconfirmed: 341 x 531 mm
Kunstmuseum Basel
Provenance:
Provenance:
The artist (d.1947);
Acquired by Bernheim-Jeune;
By sale in 1956 to Richard Doetsch-Benziger, Basel;
Kunstmuseum Basel, legacy Dr. med. h.c. Richard Doetsch-Benziger, Basel 1960. Inv. G 1960.16
This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.
Nationality of Artist: French
Place of Manufacture: France
Identifying Marks: Signed lower left: Bonnard
Catalogue Raisonné: Jean and Henry Dauberville, Bonnard: Catalogue Raisonné de l’Oeuvre Peint, Vol.2, 1906–1919, Edition Bernheim-Jeune, Paris, 1968. P.334, No.799 (Illustrated, P.335)
Partial Exhibition History:
Pierre Bonnard, Kunsthalle, Basel, 28th May – 17th June 1955, no. 52
Bonnard, Nice, Musée des Ponchettes, Aug-Sept 1955, no. 17
Pierre Bonnard, Brunsiwck, Haus Salve Hospes, 11th Nov -16th Dec 1956, Musée des Beaux-Arts, 30th Dec 1956 – 3rd Feb 1957, Kunsthaus Lempertz, Cologne, 10th Feb – 10th March 1957, no. 25
Lender Address: Kunstmuseum Basel, St. Alban-Graben 8, Postfach, CH-4010 Basel, Switzerland

Pierre Bonnard, The Checkered Tablecloth, 1916

X69297
The Checkered Tablecloth

[Nappe à carreaux] 1916
relief
Oil paint on canvas
unconfirmed: 508 x 673 mm frame: 584 x 746 x 51 mm
Lent by The Metropolitan Museum of Art, Partial and Promised Gift of Mr. and Mrs. Douglas Dillon, 1998 (1998.412.1)
Provenance:
Provenance:
The artist (d.1947);
Succession Bonnard (Dauberville 883);
Acquavella Galleries, New York;
From whom acquired by Mr. and Mrs. Douglas Dillon, New York (by 1966);
Partial and promised gift to Metropolitan Museum of Art, 1998.

This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.
Nationality of the artist: French
Place of manufacture: France
Identifying marks: Signed (lower left): Bonnard
Catalogue Raisonné: Jean and Henry Dauberville, Bonnard: Catalogue Raisonné de l’Oeuvre Peint, Vol.2, 1906–1919, Edition Bernheim-Jeune, Paris, 1968. P.395, No.883 (Illustrated, P.395)

Partial Exhibition History:
New York. Acquavella Galleries. "Pierre Bonnard," November 9–December 11, 1965, no. 16 (as "Nappe à carreaux, nature morte").

New York. The Metropolitan Museum of Art. "Summer Loan Exhibition: Paintings, Drawings, and Sculpture from Private Collections," July 8–September 6, 1966, checklist no. 3 (as "The Checkered Tablecloth," lent by Mr. and Mrs. Douglas C. Dillon).

New York. The Metropolitan Museum of Art. "New York Collects," July 3–September 2, 1968, no. 16 (as "The Checkered Tablecloth," lent anonymously).
Partial Publication History:
Jean and Henry Dauberville. Bonnard: Catalogue raisonné de l'œuvre peint. Vol. 2, 1906–1919. Paris, 1968, p. 395, no. 883, ill., as "Nappe à carreaux" or "Nature morte".

Sabine Rewald in "Recent Acquisitions: A Selection 1998–1999." Metropolitan Museum of Art Bulletin 57 (Autumn 1999), p. 49, ill. (color).
Lender’s address: The Metropolitan Museum of Art, 1000 5th Ave, New York, NY 10028, USA

Pierre Bonnard, Estérel, 1917

X69330
Estérel

[L'Estérel] 1917
painting
Oil paint on canvas
unconfirmed: 560 x 730 mm

Provenance:
Provenance:
The artist (d.1947);
from whom acquired by Bernheim-Jeune 1917;
where acquired by Paul Vallotton collection, Lausanne, Switzerland;
By sale in 1947 to Stedelijk Museum, Amsterdam.
This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.
Nationality of the artist: French
Place of manufacture: France
Identifying marks: Signed, lower right
Catalogue Raisonné: Jean and Henry Dauberville, Bonnard: Catalogue Raisonné de l’Oeuvre Peint, Vol.2, 1906–1919, Edition Bernheim-Jeune, Paris, 1968. P.407, No.901 (Illustrated, P.407)
Partial Exhibition History:
Bonnard, Œuvres récentes, Galerie Bernheim-Jeune, Paris 25th Oct – 03rd November 1917;
Pierre Bonnard, Cleveland, New York, 1948, no. 36;
Bonnard, Musée Boymans, Rotterdam, 1953
Bonnard, Nive, Musée des Ponchettes, 1955, no. 19
Paintings from the Stedelijk Museum, Amsterdam, Boston, Milwaukee, Colombus, Minneapolis, 1959
Partial Publication History:
Rewald, John, Pierre Bonnard, John Rewald, p.86
Vaillant, A. Bonnard, Neuchâtel, Ides et Calendes, 1965, p.196

Lender’s address: The Stedelijk Museum Amsterdam, Museumplein 10, 1071 DJ Amsterdam, Netherlands

Pierre Bonnard, The Open Window, Yellow Wall, c. 1919

X72674
The Open Window, Yellow Wall

[La Fenêtre ouverte, mur jaune] c. 1919
painting
Oil paint on Canvas
support: 600 x 530 mm frame: 870 x 818 mm
Private Collection
Provenance:
The artist;
Succession Bonnard;
Private collection.

This work was produced before the operative period 1933–45 and has a complete provenance.
Nationality of the artist: French
Place of manufacture: France
Identifying marks: Estate stamp, lower centre
Catalogue Raisonné: Jean and Henry Dauberville, Bonnard: Catalogue Raisonné de l’Oeuvre Peint, Vol. 4 1940–1947 et Supplément 1887–1939, Edition Bernheim-Jeune, Paris, 1974. P.407, No.02151 (Illustrated, P.407)

Lender’s address: Private Collection, c/o Matthew Gale, Head of Displays, Tate Modern

Pierre Bonnard, The Open French Window, Vernon, c.1921

X69733
The Open French Window, Vernon

[Porte-fenêtre ouvèrte, Vernon] c.1921
painting
Oil paint on canvas
unconfirmed: 1140 x 1120 mm frame: 1240 x 1220 x 270 mm
Private Collection
Provenance:
The artist;
Succession no.5121;
Private collection, United Kingdom.

This work was produced before the operative period 1933–45 and has a complete provenance.
Nationality of the artist: French
Place of manufacture: France
Identifying marks: Signed lower right
Catalogue Raisonné: Jean and Henry Dauberville, Bonnard: Catalogue Raisonné de l’Oeuvre Peint, Vol.3, 1920–1939, Edition Bernheim-Jeune, Paris, 1973. P.83, No.1065 (Illustrated, P.83)
Partial Exhibition History
Pierre Bonnard, London, 1966 no. 121, p. 103
Partial Publication History
A. Vaillant, Bonnard, 1965, p. 87

Lender’s address: Private Collection, c/o Matthew Gale, Head of Displays, Tate Modern

Pierre Bonnard, Women at a Table, 1923

X69708
Women at a Table

[Femme à table] 1923
painting
Oil paint on canvas
unconfirmed: 654 x 420 mm frame: 850.9 x 616 x 76.2 mm
Private Collection
Provenance:
Provenance:
The artist;
By sale in 1923 to Bernheim-Jeune;
By sale to Henri Canonne, Paris (Henri-Edmond Cannone 1899-1961);
By Whom sold to Acquavella Galleries, Inc., New York;
Acquired from the above in September 1983 by A. Alfred Taubman;
Sale Sotheby’s, The Collection of A. Alfred Taubman: Masterworks, 04th November 2015, New York;
To the current owner, a private collector.
-This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.
Nationality of the artist: French
Place of manufacture: France
Identifying marks: Stamped with the signature Bonnard (lower right)
Catalogue Raisonné: Jean and Henry Dauberville, Bonnard: Catalogue Raisonné de l’Oeuvre Peint, Vol.3, 1920–1939, Edition Bernheim-Jeune, Paris, 1973. P.177, No.1211 (Illustrated, P.177)
Partial Exhibition History:
XIX & XX Century Master Paintings, Acquavella Galleries, Inc., New York, 1983, no. 13, illustrated in color in the catalogue 
Pierre Bonnard Retrospective, Kunsthaus Zurich, Zurich, 1984-85, no. 100, illustrated in the catalogue
Walker's Exhibits: Works of Art from the Private Collections of Alumnae Families of The Ethel Walker School, Sotheby's, New York, 1998
Partial Publication History:
La Bulletin de la Vie Artistique, no. 10, Paris, May 5, 1924, illustrated p. 328
Verve, vol. I, no. 3, Paris, 1938, illustrated in color p. 64
Raymond Cogniat, Bonnard, New York, 1968, illustrated in color p. 41 (titled Le déjeuner and as dating from 1922)
Jean & Henry Dauberville, Bonnard, Catalogue Raisonné de l'oeuvre peint 1920-1939, vol. III, Paris, 1973, no. 1211, illustrated p. 177
Architectural Digest, New York, May-June, 1976, illustrated in color p. 66
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate

Pierre Bonnard, Door Opening onto the Garden, c.1924

X69713
Door Opening onto the Garden

[La Porte ouverte sur le jardin] c.1924
painting
Oil paint on canvas
unconfirmed: 1090 x 1040 mm
Private Collection Courtesy of Jill Newhouse Gallery, New York
Provenance:
Provenance:
The artist;
Acquired from the artist by Galerie Bernheim-Jeune, Paris in 1939;
Acquired by Paul Kavli from the above in c. 1940;
By descent, private collection, Norway;
Giraud Pissarro Segalot, New York;
Private collection, USA;
Sold to private collector via Jill Newhouse Gallery in 2014.
- This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.
Nationality of Artist: French
Place of Manufacture: France
Identifying Marks: Signed lower right

Catalogue Raisonné: Jean and Henry Dauberville, Bonnard: Catalogue Raisonné de l’Oeuvre Peint, Vol.3, 1920–1939, Edition Bernheim-Jeune, Paris, 1973. P.194, No.1232 (Illustrated, P.195)
Partial Publication History:
Pierre Bonnard, Rolf Söderberg, Stockholm, Forum, 1949, p. 58

Pierre Bonnard, Terrace in the South of France, c.1925

X69710
Terrace in the South of France

[Terrasse dans le Midi] c.1925
painting
Oil paint on canvas
unconfirmed: 680 x 730 mm frame: 960 x 1000 x 90 mm
Fonds Glénat, Grenoble, France
Provenance:
The artist (d.1947);
Succession Bonnard no.5 (Dauberville 1295)
Charles Terrasse, Paris, by descent from the above;
Phillip Schuman Foundation, San Francisco, by whom acquired in 1965;
Acquired from the above by the private collector in 1969;
Acquired from the above by present owner in 2016 (Sale 11791-Impressionist & Modern Art Day Sale, Christie’s London; 3 February 2016, Lot 322)

Nationality of Artist: French
Identifying Marks: Estate Stamp (Lugt 3886; lower right)
Place of Manufacture: France
Catalogue Raisonné: Jean and Henry Dauberville, Bonnard: Catalogue Raisonné de l’Oeuvre Peint, Vol.3, 1920–1939, Edition Bernheim-Jeune, Paris, 1973. P.243, No.1295 (Illustrated, P.243)
 
Partial Exhibition History:
Bonnard, Wildenstein Gallery, Buenos Aires, 1965, no. 21, p. 35
Buenos Aires, Galerie Wildenstein, Bonnard, July - September 1965, no. 21, p. 19 (illustrated p. 35; titled 'Les terrasses' and dated '1936').
Tokyo, Ninonbashi Takashimaya Art Galleries, Pierre Bonnard, October - November 1980, no. 53 (illustrated pl. 53; titled 'Les terrasses'); this exhibition later travelled to Kobe, Hyogo Prefectural Museum of Modern Art, November - December 1980, Nagoya, Aichi Cultural Centre, January 1981, and Fukuoka, Municipal Museum, January - February 1981.
Geneva, Musée Rath, Pierre Bonnard, April - June 1981, no. 57 (illustrated; titled 'Les terrasses').
New York, Wildenstein, The Inquiring Eye of Pierre Bonnard, November - December 1981, no. 38 (illustrated pl. XXI, p. 69; titled 'Les terrasses').
Madrid, Fundación Juan March, Bonnard, September - November 1983, no. 36 (illustrated); this exhibition later travelled to Barcelona, Sala de la Caixa, December 1983 - January 1984.
Lausanne, Fondation de l'Hermitage, Pierre Bonnard et son monde enchanté, June - October 1991, no. 55, p. 160 (illustrated pl. 55 & p. 160; titled 'Les terrasses').
New York, Pace Wildenstein, Bonnard, Rothko: Color and Light, February - March 1997, pp. 24 & 65 (illustrated p. 25; titled 'The terraces').
Paris, Fondation Dina Vierny - Musée Maillol, Pierre Bonnard, May - October 2000, no. 41, p. 101 (illustrated p. 65).
Tel Aviv, Tel Aviv Museum of Art, Bonnard, November 2000 - February 2001, no. 45, pp. 53 & 122 (illustrated p. 102).
Tokyo, Museum of Fine Arts Sompo Japan Seiji Togo, Exposition Pierre Bonnard, April - June 2004, no. 50, pp. 126, 200 & 206 (illustrated p. 127); this exhibition later travelled to Kagoshima, Municipal Museum of Fine Arts, July - September 2004, and Tokushima, Prefectural Museum of Modern Art, September - November 2004.
Partial Publication History:
A. Vaillant, Bonnard ou le bonheur de voir, Neuchâtel, 1965, no. 139, p. 226 (illustrated pl. 139, dated '1941').
M. Terrasse, Bonnard et Le Cannet, Paris, 1987, p. 122 (titled 'Les murs jaunes', and dated 'circa 1927').

Pierre Bonnard, Basket of Bananas, 1926

X69299
Basket of Bananas

[La Corbeille de bananes] 1926
painting
Oil paint on canvas
unconfirmed: 600 x 641 mm frame: 794 x 832 x 70 mm
Lent by The Metropolitan Museum of Art, Jacques and Natasha Gelman Collection, 1998 (1999.363.7)
Provenance:
Provenance:
The artist (d. 1947)
By sale, December 1928, Bernheim-Jeune, Paris;
[Galerie de l'Art Moderne, Lucerne];
Private collection, Switzerland (in 1948);
Sam Salz, New York, 1949;
By sale Mr. and Mrs. Albert D. Lasker, New York (1949–his d. 1952);
Mrs. Albert D. Lasker, New York (1952–53);
Sam Salz, New York, 1953;
By sale, April 6, 1953, for $14,000, to Jacques and Natasha Gelman, Mexico City and New York (1953–his d. 1986);
Natasha Gelman, Mexico City and New York (1986–d. 1998);
Her bequest to the current owner, The Metropolitan Museum of Art.
This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Nationality of Artist: French
Place of Manufacture: France
Identifying Marks: Signed lower left
Catalogue Raisonné: Jean and Henry Dauberville, Bonnard: Catalogue Raisonné de l’Oeuvre Peint, Vol.3, 1920–1939, Edition Bernheim-Jeune, Paris, 1973. P.256, No.1312 (Illustrated, P.1312)
Lender’s address: The Metropolitan Museum of Art, 1000 5th Ave, New York, NY 10028, USA

Pierre Bonnard, Landscape at Le Cannet, 1928

X72578
Landscape at Le Cannet

[Paysage au Cannet] 1928
painting
Oil paint on canvas
support: 1230 x 2750 mm frame: 1438.3 x 2930.5 x 76.2 mm
Kimbell Art Museum, Fort Worth, Texas. Acquired in 2018, in honour of Kay Fortson, President of the Kimbell Art Foundation, 1975-2017.
Provenance:
Provenance:
Henri Kapferer (1870-1958), Boulogne-Billancourt, France.
Aimé Maeght (1906-1981), Cannes and Paris, by early 1950s;
By descent to his son Adrien (b. 1930) and Paule Maeght, Cannes and Paris;
Acquired by (Richard L. Feigen, New York, 1997);
Private Collection, Chicago;
Private Collection;
(New York, Sotheby’s, November 2, 2005, lot 39);
Wildenstein & Co., New York;
Purchased by Kimbell Art Foundation, 2018.
This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.
Nationality of Artist: French
Place of Manufacture: France
Identifying Marks: Signed lower right
Catalogue Raisonné: Jean and Henry Dauberville, Bonnard: Catalogue Raisonné de l’Oeuvre Peint, Vol.3, 1920–1939, Edition Bernheim-Jeune, Paris, 1973. P.319, No.1396 (Illustrated, P.319)
Partial Publication History:
Bonnard, A. Lhote, Ed. du Chêne, 1948, pl. III-IV
Le Bonnard que je propose, Thadee Natanson, 1951, pl. 76
Lender’s address: Kimbell Art Museum, 3333 Camp Bowie Blvd., Fort Worth, Texas 76107.

Pierre Bonnard, Still Life with Bouquet of Flowers or Venus of Cyrene, 1930

X69295
Still Life with Bouquet of Flowers or Venus of Cyrene

[Nature morte au bouquet de fleurs or La Vénus de Cyrène] 1930
painting
Oil paint on canvas
unconfirmed: 600 x 1303 mm
Kunstmuseum Basel
Provenance:
Provenance:
The artist (d. 1947);
Acquired by Bernheim-Jeune;
Galerie Beyeler, Basel;
Fondation Esther Mengold, 1956;
Kunstmuseum Basel, purchase 1997. Inv. G 1956.3.
This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.
Nationality of Artist: French
Place of Manufacture: France
Identifying Marks: Signed and dated lower right: Bonnard / 30 (date only slightly readable)
Catalogue Raisonné: Jean and Henry Dauberville, Bonnard: Catalogue Raisonné de l’Oeuvre Peint, Vol.3, 1920–1939, Edition Bernheim-Jeune, Paris, 1973. P.347, No.1437 (Illustrated, P.347)
Partial Exhibition History:
Maîtres de l’Art Moderne, Galerie Beyeler, Basel, 1955, no. 04
Partial Publication History:
André Fermigier: Pierre Bonnard, Paris: Éditions cercle d'art, 1969, p. 37, ill. P. 26
Lender Address: Kunstmuseum Basel, St. Alban-Graben 8, Postfach, CH-4010 Basel, Switzerland

Pierre Bonnard, Grey Nude in Profile, c.1933

X69275
Grey Nude in Profile

[Nu gris de profil] c.1933
painting
Oil paint on canvas
unconfirmed: 1140 x 610 mm frame: 1365 x 842 x 65 mm
The Albertina Museum, Vienna. The Batliner Collection
Provenance:
The artist (d.1947);
Succession Bonnard no.5122;
By descent to Collection Bowers, Paris;
Private Collection, Paris;
Gallery Beyeler, Basel;
Private collection, Principality of Liechtenstein;
The Albertina Museum, Vienna. The Batliner Collection.

This work has a complete provenance for the operative period 1933-45.
Nationality of the artist: French
Place of manufacture: France
Identifying marks: Signed r. u. "Bonnard" (r.u. estate stamp)
Catalogue Raisonné: Jean and Henry Dauberville, Bonnard: Catalogue Raisonné de l’Oeuvre Peint, Vol.3, 1920–1939, Edition Bernheim-Jeune, Paris, 1973. P.427, No.1548 (Illustrated, P.428)
Partial Exhibition History:
Venice Biennale, 1950, no. 20
Pierre Bonnard, Haus der Kunst, Munich, 1966-67, no. 118
Pierre Bonnard, Musée de l'Orangerie, Paris, 1967, no. 135
Bonnard, Musée Cantini, 1967, no. 28
Partial Publication History:
VERVE: Couleur de Bonnard, Vol. V, no. 17-18, 1947
R. & H. Batliner Art Foundation (Hg.), Rudolf Koella (Konzept und Red.)/Felix Billeter (Wiss. Mitarb.), Verborgene Meisterwerke (Kat. Best. R. & H. Batliner Art Foundation, Vaduz 2005), Wien 2005, S. 52, Nr. 15, Abb. S. 53;
Klaus Albrecht Schröder (Hg.), Monet bis Picasso. Die Sammlung Batliner, Albertina, Wien 2007/2008, S. 85, Kat. 41;
Ausstellungen (laut Koella/Billeter): XXV. Biennale, Venedig 1950, Nr. 20;
Pierre Bonnard, Royal Academy of Arts, London 1966, Nr. 115;
Pierre Bonnard, Haus der Kunst, München 1966/1967, Nr. 118;
Pierre Bonnard, Orangerie des Tuileries, Paris, 1967, Nr. 135;
Pierre Bonnard, Musée Cantini, Marseille 1967, Nr. 28;
Nudes - Nus - Nackte, Galerie Beyeler, Basel 1984, Nr. 10;
Pierre Bonnard, Kunsthaus Zürich/Städel, Frankfurt am Main, 1984/1985, Nr. 141;
Bonnard. Galerie Salis, Salzburg 1991, Nr. 21;
I love Yellow, Galerie Beyeler, Basel 1996, Nr. 13;
Das Auge des Sammlers - Monet bis Picasso, Bank Austria Kunstforum Wien, 1998, S. 35, Abb. S. 37, Kat. 5;
Bonnard, Tate Gallery London /The Museum of Modern Art, New York 1998, Nr. 74;
Bonnard, Fondation Pierre Gianadda, Martigny 1999, Nr. 56;
Monet bis Picasso. Die Sammlung Batliner, Albertina, Wien 2007/2008, S. 85, Kat. 41
Lender’s address: The Albertina Museum Vienna, Albertinaplatz 1, 1010 Wien, Austria

Pierre Bonnard, Nude in an Interior, c.1935

X69579
Nude in an Interior

[Nu dans un intérieur] c.1935
painting
Oil paint on canvas
unconfirmed, each: 1340 x 692 mm unconfirmed, frame: 1397 x 762 x 38 mm
National Gallery of Art, Washington, Collection of Mr. and Mrs. Paul Mellon, 2006.128.8
Provenance:
Provenance:
The artist (d.1947);
Estate of the artist and the Bowers family (heirs of Mme Pierre Bonnard);
(Acquavlla Galleries, Inc., New York), in 1965;
Paul Mellon [1907-1999], Upperville, Virginia, by 1966;
Bequest 1999 to NGA, with life interest to Mrs. Mellon; life interest released 2006.
The work has a complete provenance for the operative period 1933-45.
Nationality of Artist: French
Place of Manufacture: France
Identifying Marks: Signed upper right: Bonnard
Catalogue Raisonné: Jean and Henry Dauberville, Bonnard: Catalogue Raisonné de l’Oeuvre Peint, Vol.2, 1906–1919, Edition Bernheim-Jeune, Paris, 1968. P.273, No.712 (Illustrated, P.273) *dated 1912-1914
 
Partial Exhibition History:
Pierre Bonnard, Acquavella Galleries, New York, 1965, no. 24, repro.
French Paintings from the Collections of Mr. and Mrs. Paul Mellon and Mrs. Mellon Bruce. Twenty-Fifth Anniversary Exhibition 1941-1966. National Gallery of Art, Washington, D.C., 1966, no. 167, repro.
Pierre Bonnard, Fondation Beyeler, Basel, 2012, unnumbered catalogue, repro.
Pierre Bonnard (1867-1947): Painting Arcadia, Musée d'Orsay, Paris; Instituto de Cultura, Fundación MAPFRE, Madrid; California Palace of the Legion of Honor, The Fine Arts Museums of San Francisco, 2015-2016, no. 58, ill. 91 (French cat.); no. 32, cover and repro. (Spanish cat.); no. 97, repro. (English cat.).
Lender’s address: The National Gallery of Art, Constitution Ave NW, Washington, DC 20565, USA

Pierre Bonnard, Large Dining Room Overlooking the Garden, 1934-5

X69702
Large Dining Room Overlooking the Garden

[Grande salle à manger sur le jardin] 1934-5
painting
Oil paint on canvas
unconfirmed: 1268 x 1353 mm
Solomon R. Guggenheim Museum, New York Solomon R. Guggenheim Founding Collection, By gift, 38.432.
Provenance:
Provenance
The artist (d.1947);
Private collection;
from whom purchased by Bernheim-Jeune in 1935;
Pierre Loeb Collection, Paris;
From whom acquired by Solomon R. Guggenheim, New York;
Gift from the above to the Solomon R. Guggenheim Museum in 1938.
The work has a complete provenance for the operative period 1933-45.
Nationality of the artist: French
Place of manufacture: France
Identifying marks: Signed on the bottom left
Catalogue Raisonné: Jean and Henry Dauberville, Bonnard: Catalogue Raisonné de l’Oeuvre Peint, Vol.3, 1920–1939, Edition Bernheim-Jeune, Paris, 1973. P.409, No.1524 (Illustrated, P.410)
Partial Exhibition History:
Salon d’Automne, 1935, no. 184
Les Maîtres de l’Art Indépendant, Paris, Petit-Palaid, Jun-Oct 1937, no. 25;
Solomon R. Guggenheim, New York, l’Ateneum Museum, Helsinki, 17th Sept-20th Oct 1957, no. 02
Bonnard and his Environment, New York, Los Angeles, Chicago, 1964-65, no. 57
Pierre Bonnard: The Work of Art, Suspending Time, Musée d’Art Moderne de la Ville de Paris 2006.
Partial Publication History:
VERVE, vol. 1 Dec 1937, p.87
Rewald, J. Bonnard, 1948, p.116
ARTS, no. 668, 30th April 1958
Terrasse, A. Pierre Bonnard, 1964, p. 80
Vaillant, A. Bonnard, 1965, p.209
Lender’s address: Solomon R Guggenheim Museum, 1071 5th Ave, New York, NY 10128, USA

Pierre Bonnard, Self-Portrait, c.1938

X69879
Self-Portrait

[Autoportrait] c.1938
painting
Oil paint on canvas
unconfirmed: 560 x 685 mm frame: 813 x 889 mm
Private Collection
Provenance:
The artist;
from whom acquired by Georges Wildenstein;
Wildenstein Collection, New York.
-This work has a complete provenance for the operative period 1933-45.

Nationality of the artist: French
Place of manufacture: France
Identifying marks: Signed lower right
Catalogue Raisonné: Jean and Henry Dauberville, Bonnard: Catalogue Raisonné de l’Oeuvre Peint, Vol.3, 1920–1939, Edition Bernheim-Jeune, Paris, 1973. P.442, No.1565 (Illustrated, P.442)
Partial Exhibition History:
Bonnard, Cleveland and New York, 1948, no. 74, p. 121
L’Œuvre du XXe Siècle, Musée d’Art modern, 1952, no. 06;
Masterpieces of French Paintings through five centuries, 1400 – 1900, Idssc Delgado Museum of Art, 17th October 1953 – 10th January 1954, no. 82
Bonnard, Society of the Four Arts, 4-27 Jan 1957, no. 25
Bonnard and His Environment, New York, Los Angeles, Chicago, 1964-65, no. 66, p. 49
Bonnard, Wildenstein Gallery, Buenos Aires, 1965, no. 1
Partial Publication History:
Bonnard, J. Rewald, 1948, p. 121
Bonnard, G. Besson, Paris ed. S.d., plate. 50
Vogue, Paris, June 1952, p. 45

Lenders address: Private Collection, c/o Matthew Gale, Head of Displays, Tate Modern.

Pierre Bonnard, The Checkered Tablecloth, 1939

X69277
The Checkered Tablecloth

[Corbeille et assiette de fruits sur la nappe à carreaux rouges] 1939
painting
Oil paint on canvas
unconfirmed: 584 x 584 mm
The Art Institute of Chicago, Gift of Mary and Leigh Block, 1988.141.4
Provenance:
Provenance:
The artist (d.1947);
Galerie O. Pétrides, Paris, by 1943;
Jacques Lindon, New York, by August 1948;
Sold to Mr. and Mrs. Leigh B. Block, Chicago, August 1948;
Given to the Art Institute, April 1988 (Gift of Mary and Leigh Block, 1988.141.4).
This work has a complete provenance for the operative period 1933-45.
Nationality of Artist: French
Place of Manufacture: France
Identifying Marks: Signed, l.r.: "Bonnard"
Catalogue Raisonné: Jean and Henry Dauberville, Bonnard: Catalogue Raisonné de l’Oeuvre Peint, Vol.3, 1920–1939, Edition Bernheim-Jeune, Paris, 1973. P.448, No.1575 (Illustrated, P.448)
Exhibition History
Paris, Galerie Pétridès June-July 1943, no.12 (repr.)
Chicago, Art Institute, Chicago Collectors, September 20–October 27, 1963, n.p., as Still Life, 1939.
Washington, D.C., National Gallery of Art, 100 European Paintings & Drawings from the Collection of Mr. & Mrs. Leigh B. Block, May 4–June 11, 1967, n.p. (ill.), cat. 28, as Still Life, c. 1939; traveled to Los Angeles, County Museum of Art, September 21–November 2, 1967.
Boston, Museum of Fine Arts, One Hundred European Paintings & Drawings from the Collection of Mr. & Mrs. Leigh B. Block, February 2–April 11, 1968, n.p. (ill.), cat. 29, as Still Life, c. 1939.
Saint Paul-de-Vence, Fondation Maeght, Bonnard dans sa lumière, July 12–September 28, 1975, pp. 88, cat. 59, opp. 88 (ill.), 118, as Sur la nappe a carreaux, c. 1939.
Tokyo, Art Life, Ltd. (organizer), Pierre Bonnard; traveled to Tokyo, Isetan Museum of Art, Shinjuku, July 4–30, 1991, n.p., cat. 54 (ill.), p. 157, as Corbeille et assiette de fruits sur la nappe à carreaux rouges, c. 1939; traveled to Nara, Sogo Museum of Art, August 7–September 1, 1991; Yokohama, Sogo Museum of Art, September 7–October 10, 1991; and Fukuoka, Art Museum, October 17–November 10, 1991.
Chicago, Arts Club, Seventy-Fifth Anniversary Exhibition, 1916-1991, May 11–June 26, 1992, pp. 83 (ill.), 101, as The Checkered Tablecloth, 1939.
Art Institute of Chicago and Asahi Shimbun (organizers), Masterworks of Modern Art from The Art Institute of Chicago, pp. 128, 129 (ill.), cat. 40, as The Checkered Tablecloth, 1939; traveled to Nagaoka, Niigata Prefectural Museum of Modern Art, April 20–May 29, 1994; Nagoya, Aichi Prefectural Museum of Art, June 10–July 24, 1994; and Yokohama Museum of Art, August 6–September 25, 1994.

Pierre Bonnard, Seashore, Red Field, c.1939

X69881
Seashore, Red Field

[Bord de la mer, champ rouge] c.1939
painting
Oil paint on canvas
unconfirmed: 345 x 500 mm
A Private Collection
Provenance:
Provenance:
The artist;
Succession the Estate of the Artist;
Salander-O'Reilly Galleries, New York;
Mitchell Innes and Nash, New York;
Steven Hahn & Co., New York (before 1993);
Sale: Sotheby's, New York, 11th November 1999, lot 293
Purchased at the above sale by a private collector;
Sale: Sotheby’s, London, 9th February 2005, lot 441
Purchased at the above sale by the present owner, a private collector.
-This work has a complete provenance for the operative period 1933-45.
Nationality of Artist: French
Place of Manufacture: France
Identifying Marks: Signed lower right, Stamped P. Bonnard (lower left)
Catalogue Raisonné: Jean and Henry Dauberville, Bonnard: Catalogue Raisonné de l’Oeuvre Peint, Vol.3, 1920–1939, Edition Bernheim-Jeune, Paris, 1973. P.439, No.1561 (Illustrated, P.439)
Partial Exhibition History:
Humblebæk, Louisiana Museum, Pierre Bonnard, 1992-3, no. 96, illustrated in the catalogue
Hamburg, Kunstsammlung Nordrhein-Westfalen, Pierre Bonnnard: Das Glück zu Malen, 1993, no. 55, illustrated in the catalogue
New York, Pace Wildenstein Gallery, Bonnard / Rothko, Color and Light, 1997
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate

Pierre Bonnard, Landscape in the South of France, 1939

X72949
Landscape in the South of France

[Paysage du Midi] 1939
painting
Oil paint on canvas
unconfirmed: 400 x 750 mm
Private collection, Germany
Provenance:
Provenance:
The artist (d.1947);
Robert de Bolli, Paris (Dauberville 1569);
Marlborough Fine Art Ltd. London;
M. Knoedler & Co., New York (in March 1953);
Acquired from the above by Fine Art Associates (Otto Gerson), New York, in June 1953;
Gwendolyn Carfitz, Washington;
By whom sold Parke-Bernet, New York, April 26, 1972 (No. 26);
Where acquired by Marlborough Galery Inc., New York;
Private collection, Japan
By whom sold Sotheby's New York, Impressionist & Modern Art Part One, 9.
November 2000, Lot No. 53.;
Where acquired by a private collection;
By whom sold Christie's London, Impressionist & Modern Art Day Sale, 5 February 2002, Lot No. 213;
Where acquired by Salis & Vertes, Salzburg;
Acquired from the above by Private Collector (2003).
This work has a complete provenance for the operative period 1933-45.
Nationality of Artist: French
Place of Manufacture: France
Identifying Marks: Signed, low centre
Catalogue Raisonné: Jean and Henry Dauberville, Bonnard: Catalogue Raisonné de l’Oeuvre Peint, Vol.3, 1920–1939, Edition Bernheim-Jeune, Paris, 1973. P.445, No.1569 (Illustrated, P.445)
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate

Pierre Bonnard, Woods in Autumn, c.1939

X73357
Woods in Autumn

[Bois en automne] c.1939
painting
Oil paint on canvas laid down on panel
image: 460 x 710 mm frame: 620 x 870 x 50 mm
Nahmad Collection
Provenance:
Provenance:
The artist [d. 1947];
Collection Bernheim-Jeune, Paris [in 1953];
By sale to Daniel Wildenstein, Paris;
Sale Galerie Charpentier, Paris, 12 December 1953, lot 5;
Galerie Beyeler, Basel (1957);
Emil Hartmann, Zurich & André Hegnauer, Geneva (by 1958);
Sale Galerie Charpentier, Paris, 6 June 1959, lot E
To Private Collection (purchased at the above sale);
Sale Hôtel Drouot, Paris, 15th November 1994, lot 18
To Private Collection (purchased at the above sale);
Sale Christie's New York: Thursday, May 7, 2009 [Lot 00259] Impressionist and Modern Day Sale
To Private Collection (purchased at the above sale);
Sale Sotheby's London: Thursday, February 4, 2016 [Lot 00203] Impressionist & Modern Art Day Sale
To Current Owner (purchased at the above sale).
This work has a complete provenance for the operative period 1933-45.
Nationality of the artist: French
Place of manufacture: France
Identifying marks: Signed lower right: Bonnard
Catalogue Raisonné: Jean and Henry Dauberville, Bonnard: Catalogue Raisonné de l’Oeuvre Peint, Vol.3, 1920–1939, Edition Bernheim-Jeune, Paris, 1973. P.444, No.1567 (Illustrated, P.444)
Partial Exhibition History:
O'Hana Gallery, French Masters of the XIXth and XXth Centuries, London, 10 June-31 July 1953, no. 4.
Paris, Maison de la Pensée Française, Bonnard, 1955, no. 38
Brunswick, Haus Salve Hospes; Kunsthalle Bremen and Cologne, Kunsthaus Lempertz, Pierre Bonnard, November 1956 – March 1957, no. 41
Partial Publication History:
Spar, Francis, Annuaire du Collectionneur, 1951 à 1955, Paris, 1956, p.112
Arts, no. 728, 24 June 1959, p. 15
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate

Pierre Bonnard, The Dessert, c.1940

X69289
The Dessert

[Le Dessert] c.1940
painting
Oil paint on canvas
unconfirmed: 463 x 653 mm frame: 536 x 726 x 48 mm
Fondation Beyeler, Riehen/Basel, Beyeler Collection
Provenance:
Provenance:
The artist (d.1947);
Collection Pétrides by 1944 (when published by Andre Lhote);
Probably acquired by Tannenbaum Gallery, New York (date unknown);
Acquired by Sonja Henie and Niels Onstad, New York/Oslo by 1957;
From 1963, Niels Onstad Foundation, Oslo;
From 1968, Henie Onstad, Kunstsenter, Hovikodden;
By whom sold at Christie’s London 7th Feb 2005 (Lot 18);
Where acquired by Fondation Beyeler Riehen/Basel, Beyeler Collection 2005.
This work has a complete provenance for the operative period 1933-45.
Nationality of Artist: French
Place of Manufacture: France
Identifying Marks: signed lower right: Bonnard
Catalogue Raisonné:
Jean and Henry Dauberville, Bonnard: Catalogue Raisonné de l’Oeuvre Peint, Vol. 4 1940–1947 et Supplément 1887–1939, Edition Bernheim-Jeune, Paris, 1974. P.31, No.1589(Illustrated, P.31)
Lender’s address: Fondation Beyeler, Baselstrasse 101, 4125 Basel, Switzerland

Pierre Bonnard, Red Roofs at Le Cannet, c.1941

X69732
Red Roofs at Le Cannet

[Toits rouges au Cannet] c.1941
painting
Oil paint on canvas
unconfirmed: 570 x 960 mm frame: 749.3 x 1124 x 63.5 mm
Private Collection
Provenance:
Provenance
The artist;
Succession Bonnard (Dauberville 1605);
Private Collector, Germany, by 1966;
Collection L.F., Great Britain;
Purchased by Private Collector from Wildenstein & Co., New York, NY 10021 in March 2003.

This work has a complete provenance for the operative period 1933-45.
Nationality of the artist: French
Place of manufacture: France
Identifying marks: Stamped lower right: Bonnard
Catalogue Raisonné: Jean and Henry Dauberville, Bonnard: Catalogue Raisonné de l’Oeuvre Peint, Vol. 4 1940–1947 et Supplément 1887–1939, Edition Bernheim-Jeune, Paris, 1974. P.43, No.1605 (Illustrated, P.43)
Partial Exhibition History:
Melbourne, National Gallery of Victoria; Adelaide, Art Gallery of South Australia; Sydney, Art Gallery of New South Wales; Perth, Western Australian Art Gallery, Pierre Bonnard, 23 June – 30 September, 1972, no. 21, illustrated
Johannesburg, Art Gallery, Pierre Bonnard, 6 December 9171 – 9 January 1972, No. 21, illustrated.
São Paulo, Museu de Arte, Pierre Bonnard, March 1972, no. 21 Illustrated, Albi, Musée Toulouse-Lautrec, Pierre Bonnard, June – September 1972, no. 21.
Saint-Paul, Fondation Maeght, Bonnard dans sa lumière, 12 July – 28 September 1975, no. 64, Illustrated, p. 95.
London, Tate Gallery, Bonnard, catalogue by S. Whitfield, 12 February -17 May, 1998, no. 82, Illustrated in color. New York, The Museum of Modern Art 17 June – 13 October 1998
Partial Publication History:
A. Vaillant. Bonnard ou le bonheur de voir. Neuchâtel, 1965, illustrated, p. 159 (in colour).
Denis Sutton, Pierre Bonnard, Royal Academy of Arts, London. 6 January- 13 March, 1966, No. 195
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate

Pierre Bonnard, Panoramic view of Le Cannet, 1941

X69873
Panoramic view of Le Cannet

[Vue panoramique du Cannet] 1941
painting
Oil paint on canvas
unconfirmed: 800 x 1040 mm frame: 1021 x 1244 x 305 mm
Private Collection
Provenance:
The artist;
Succession Bonnard (Dauberville 1606);
Private collection, U.S.A.
-This work has a complete provenance for the operative period 1933-45.
Partial Exhibition History:
Pierre Bonnard, London, 1966, bo. 192, p. 98 (titled: Paysage, vu des toits, ca. 1926-30)
Partial Publication History:
Bonnard, A. Vaillant, 1965, p. 141
Nationality of the artist: French
Place of manufacture: France
Identifying marks: Estate stamp, lower right
Catalogue Raisonné: Jean and Henry Dauberville, Bonnard: Catalogue Raisonné de l’Oeuvre Peint, Vol. 4 1940–1947 et Supplément 1887–1939, Edition Bernheim-Jeune, Paris, 1974. P.44, No.1606 (Illustrated, P.44)
Lender’s address: Private Collection, c/o Matthew Gale, Head of Displays, Tate

Pierre Bonnard, The Bath, 1942

X71663
The Bath

[La Baignoire] 1942
on paper, unique
Gouache, pastel and crayon on paper
unconfirmed: 502 x 654 mm
Art Cuéllar-Nathan, Zurich
Provenance:
Provenance:
The artist (d.1947);
Louis Carré, Paris;
JPL Fine Arts, London;
Mr. J. Dellal (until at least 1998);
Neffe-Degandt Fine Art, London;
Acquired from the above by private collector;
Sale: Sotheby’s, London, February 5, 2014, [lot 22];
Acquired from the above by private collector;
Sale: Sotheby's New York: Friday, November 6, 2015 [Lot 00199];
Acquired from the above by private collector.
Nationality of Artist: French
Place of Manufacture: France
Identifying Marks: Signed Bonnard (lower left)
Partial Exhibition History:
Pierre Bonnard, Ker-Xavier Rouseel, Edouard Vuillard, JLP Fine Art, London, March-May 1981, no.10.
London, Hayward Gallery, Bonnard at Le Bosquet, 1994, no. 41

London, Tate Gallery, Bonnard, 1998, no. 110, illustrated in color in the catalogue

Pierre Bonnard, Peaches and Grapes on a Red Tablecloth, c.1943

X69869
Peaches and Grapes on a Red Tablecloth

[Pêches et raisins sur une nappe rouge] c.1943
painting
Oil paint on canvas
unconfirmed: 470 x 320 mm frame: 648 x 501 x 45 mm
Private Collection
Provenance:
The artist;
Succession Bonnard (Dauberville 1631);
Private collection.
This work has a complete provenance for the operative period 1933-45.
Nationality of the artist: French
Place of manufacture: France
Identifying marks: Estate stamp, lower right
Catalogue Raisonné: Jean and Henry Dauberville, Bonnard: Catalogue Raisonné de l’Oeuvre Peint, Vol. 4 1940–1947 et Supplément 1887–1939, Edition Bernheim-Jeune, Paris, 1974. P.62, No.1631 (Illustrated, P.62)
Partial Exhibition History:
Bonnard and His Environment, New York, Los Angeles, Chicago, 1964-65, no. 70, p. 59
Bonnard, Wildenstein Gallery, Buenos Aires, 1965, no. 1
Bonnard, Tokyo-Kyoto, 1968, no. 71, plate. 132
Partial Publication History:
A. Vaillant, Bonnard, 1965, p. 143
R. Cogniat, Bonnard, 1968, p. 82

Lender’s address: Private Collection, c/o Matthew Gale, Head of Displays, Tate Modern

Pierre Bonnard, Steps in the Artist's Garden, 1942-4

X69580
Steps in the Artist's Garden

[L'Escalier dans le jardin de l'artiste] 1942-4
painting
Oil paint on canvas
unconfirmed, frame: 924 x 1022 x 95 mm support: 630 x 730 mm
National Gallery of Art, Washington, Alisa Mellon Bruce Collection, 1970.17.11
Provenance:
Provenance:
The artist (d.1947);
By inheritance to the Bonnard-Terrasse family, Paris;
Private collection, Los Angeles;
Wildenstein Gallery, New York;
Sold to Alice Mellon Bruce Collection [1901-1969], New York on 15 June 1965;
Gift to the National Gallery of Art, Washington, USA in 1970
The work has a complete provenance for the operative period 1933-45.
Nationality of the artist: French
Place of manufacture: France
Identifying marks: Estate Stamp on bottom left.
Catalogue Raisonné: Jean and Henry Dauberville, Bonnard: Catalogue Raisonné de l’Oeuvre Peint, Vol. 4 1940–1947 et Supplément 1887–1939, Edition Bernheim-Jeune, Paris, 1974. P.28, No.1583 (Illustrated, P.28)
Lender’s address: The National Gallery of Art, Constitution Ave NW, Washington, DC 20565, USA

Pierre Bonnard, Self-Portrait, 1945

X69288
Self-Portrait

[Autoportrait] 1945
painting
Oil paint on canvas
unconfirmed: 555 x 460 x 20 mm frame: 785 x 685 x 85 mm
Foundation Bemberg Toulouse, France
Provenance:
Provenance
The artist (d.1947);
Galerie Sam Saltz, New York;
By sale 3rd May 1949 to Mr and Mrs Donald S. Stralem collection;
Mr and Mrs Donald S. Stralem collection, Chicago and New York, 1965;
George Bemberg Collection;
Fondation Bemberg, Toulouse.

The work has a complete provenance for the operative period 1933-45.
Nationality of the artist: French
Place of manufacture: France
Identifying marks: Signed on bottom right
Catalogue Raisonné: Jean and Henry Dauberville, Bonnard: Catalogue Raisonné de l’Oeuvre Peint, Vol. 4 1940–1947 et Supplément 1887–1939, Edition Bernheim-Jeune, Paris, 1974. P.83, No.1663 (Illustrated, P.83)
Partial Exhibition History:
Portrait de Bonnard, Nice, 1945
Galerie Maeght, Paris, 1946
Impressionists and Post-Impressionists, Virginia Museum of Art, Richmond, 1950
Bonnard, Musée Boymans, Rotterdam, 1953
Fort Worth Art Center, Texas, 1954
Pierre Bonnard, Paul Rosenberg & Co. 12th March – 17th April 1956, no. 22, reproduced p. 19
Pierre Bonnard, The Society of the Four Arts, Palm Beach, Florida, 4-27 January, 1957, no. 27
Bonnard and his Environment, New York, Los Angeles, Chicago, 1964-65, no. 80
Pierre Bonnard, Musée de l'Orangerie, Paris, 1967, no. 151
Bonnard, Tate Gallery, London, 12th February – 17th May 1998
Bonnard, The Museum of Modern Art, 17th June – 13th October 1998
Partial Publication History:
France-Illustration, no. 71 (8th Feb 1947), p.145
Beer , François-Joachim Pierre Bonnard, 1947, Marseilles, reproduced in colour pl. XXIV, p.148
Natanson, Thadee, Le Bonnard que je propose, 1951, pl. 93
Bonnard, H Rumpel, Berne, Scherz Verlad, 1952, no. 53
Art News, t. 55, no. 02, April 1956
Bonnard, A. Terrase, 1964, p.84;
Les plus beaux tableaux de Bonnard à l’Orangerie, in Nouvelles Littéraires, A. Vaillant, 12th January 1967, p.9
Bonnard, A. Fermigier, 1967, p.41
Whitfield, Sarah and Elderfield, John Bonnard, The Museum of Modern Art, Harry N. Abrams, Inc., Publishers (New York), 1998, p.242
Lender’s address: Fondation Bemberg, Place d'Assezat, 31000 Toulouse, France

Pierre Bonnard, Young Women in the Garden, 1921-3/1945-6

X69726
Young Women in the Garden

[Jeunes femmes au jardin] 1921-3/1945-6
painting
Oil paint on canvas
unconfirmed: 605 x 770 mm
Private Collection
Provenance:
Provenance:
The artist (d.1947);
Succession Bonnard no.5155 (Dauberville 1103);
Collection Charles Terrasse.
This work has a complete provenance for the operative period 1933-45
Nationality of the artist: French
Place of manufacture: France
Identifying marks: Signed lower left
Catalogue Raisonné: Jean and Henry Dauberville, Bonnard: Catalogue Raisonné de l’Oeuvre Peint, Vol.3, 1920–1939, Edition Bernheim-Jeune, Paris, 1973. P.107, No.1103 (Illustrated, P.107)
Partial Exhibition History:
Pierre Bonnard, London, 1966, no. 51
Pierre Bonnard, Kunstnerforbunfet, Oslo, 24 Mar – 26 April 1966, no. 26
Bonnard, Galerie Kruhier, Geneva, June 1969, no, 17
Bonnard, Villa Médicis, 18th Nov 1971 – 23rd Jan 1972, Musée d’Art Moderne, Turin, 01st – 28th Feb 1972, no.11
Partial Publication History:
Terrasse A., Pierre Bonnard, 1967, p.129
Vaillant A. Les plus beaux tableaux de Bonnard à l’Orangerie, in Nouvelles Littéraires, 12th January 1967, p.9
Bonnard in Suites 23, ed. Galerie Krugier, Geneva, June 1969, no. 17
Bonnard-Matissem L’Art modern du Monde, 1972, p.120, plate. 22
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate

Franz West

Tate Modern (London, UK) from 19 Feb 2019 until 02 Jun 2019.

Franz West
(1947-2012, born: Vienna)

Franz West, Untitled (Serie: Das Kritische Blatt), 1975

X65909
Untitled (Serie: Das Kritische Blatt)

1975
on paper, unique
Ballpoint pen on coloured paper
image: 194 x 194 mm
Robert Lehman Endowment Fund for Acquisitions by the Department of Drawings, The Museum of Modern Art, New York
Provenance:
The artist;
Private collection, Vienna
Private dealer, Innsbruck
Galerie Eva Presenhuber, Zürich, 2003
The Museum of Modern Art, New York. Purchased from the above, 2016
Lender’s address: 11 West 53 Street, New York, NY 10019
Nationality of Artist: Austrian
Identifying marks: Signed and dated top right
Place of manufacture: Austria
This work was made after the operative period 1933-45.
Bibliography:
Franz West, Proforma. ed. Eva Badura-Triska (Vienna: Museum moderner Kunst Stiftung Ludwig, 1996)

Franz West, Untitled (Series: The Tendentiously Marxist), 1975

X65910
Untitled (Series: The Tendentiously Marxist)

1975
on paper, unique
Ballpoint pen and graphite on coloured paper
image: 197 x 279 mm
Robert Lehman Endowment Fund for Acquisitions by the Department of Drawings, The Museum of Modern Art, New York
Provenance:
The artist;
Private collection, Vienna
Private dealer, Innsbruck
Galerie Eva Presenhuber, Zürich, 2005
The Museum of Modern Art, New York. Purchased from the above, 2016
Lender’s address: 11 West 53 Street, New York, NY 10019
Nationality of Artist: Austrian
Identifying marks: Signed and dated center
Place of manufacture: Austria
This work was made after the operative period 1933-45.
Bibliography: Franz West, Proforma. ed. Eva Badura-Triska (Vienna: Museum moderner Kunst Stiftung Ludwig, 1996)

Franz West, Untitled, 1975

X65911
Untitled

1975
on paper, unique
Ballpoint pen on coloured paper
image: 225 x 318 mm
Robert Lehman Endowment Fund for Acquisitions by the Department of Drawings, The Museum of Modern Art, New York
Provenance:
The artist;
Private collection, Vienna
Private dealer, Innsbruck
Galerie Eva Presenhuber, Zürich, 2005
The Museum of Modern Art, New York. Purchased from the above, 2016
Lender’s address: 11 West 53 Street, New York, NY 10019
Nationality of Artist: Austrian
Identifying marks: Signed and dated center
Place of manufacture: Austria
This work was made after the operative period 1933-45.
Bibliography: Franz West, Proforma. ed. Eva Badura-Triska (Vienna: Museum moderner Kunst Stiftung Ludwig, 1996)

Franz West, Untitled (Serie: Experimentelle Auslotung und Durchleuchtung rein verbaler Ausdrucksmittel in der Graphik heute), 1975

X65912
Untitled (Serie: Experimentelle Auslotung und Durchleuchtung rein verbaler Ausdrucksmittel in der Graphik heute)

1975
on paper, unique
Ballpoint pen on coloured envelope
image: 229 x 375 mm
Robert Lehman Endowment Fund for Acquisitions by the Department of Drawings, The Museum of Modern Art, New York
Provenance:
The artist;
Private collection, Vienna
Private dealer, Innsbruck
Galerie Eva Presenhuber, Zürich, 2005
The Museum of Modern Art, New York. Purchased from the above, 2016
Lender’s address: 11 West 53 Street, New York, NY 10019
Nationality of Artist: Austrian
Identifying marks: Signed and dated bottom right
Place of manufacture: Austria
This work was made after the operative period 1933-45.
Bibliography: Franz West, Proforma. ed. Eva Badura-Triska (Vienna: Museum moderner Kunst Stiftung Ludwig, 1996)

Franz West, Untitled (Serie: kritisches Blatt), 1975

X65913
Untitled (Serie: kritisches Blatt)

1975
on paper, unique
Ballpoint pen on coloured paper
image: 184 x 194 mm
Robert Lehman Endowment Fund for Acquisitions by the Department of Drawings, The Museum of Modern Art, New York
Provenance:
The artist;
Private collection, Vienna
Private dealer, Innsbruck
Galerie Eva Presenhuber, Zürich, 2005
The Museum of Modern Art, New York. Purchased from the above, 2016
Lender’s address: 11 West 53 Street, New York, NY 10019
Nationality of Artist: Austrian
Identifying marks: Signed and dated top right
Place of manufacture: Austria
This work was made after the operative period 1933-45.
Bibliography: Franz West, Proforma. ed. Eva Badura-Triska (Vienna: Museum moderner Kunst Stiftung Ludwig, 1996)

Franz West, Untitled, 1975

X65914
Untitled

1975
on paper, unique
Ballpoint pen on coloured paper
image: 175 x 248 mm
Robert Lehman Endowment Fund for Acquisitions by the Department of Drawings, The Museum of Modern Art, New York
Provenance:
The artist;
Private collection, Vienna
Private dealer, Innsbruck
Galerie Eva Presenhuber, Zürich, 2005
The Museum of Modern Art, New York. Purchased from the above, 2016
Lender’s address: 11 West 53 Street, New York, NY 10019
Nationality of Artist: Austrian
Identifying marks: Signed and dated centre
Place of manufacture: Austria
This work was made after the operative period 1933-45.
Exhibitions: "Franz West, To Build a House You Start with the Roof: Work, 1972–2008," Los Angeles County Museum of Art (March 12 –June 7, 2009)
Bibliography: Franz West, To Build a House You Start with the Roof: Work, 1972–2008 ed. Darsie Alexander (Massachusetts: MIT Press, 2008)

Van Gogh and Britain

Tate Britain (London, UK) from 27 Mar 2019 until 11 Aug 2019.

Vincent van Gogh
(1853-1890, born: Zundert, died: Auvers-sur-Oise, active: Paris, Arles, France)

Vincent van Gogh, Bleachery at Scheveningen (recto), 1882

X68552
Bleachery at Scheveningen (recto)

1882
on paper, unique
Watercolour, heightened with white gouache
318 x 540 mm
The J. Paul Getty Museum, Los Angeles, 98.GC.2
Provenance:
X68552
Blanchisserie à Scheveningen" Bleachery at Scheveningen (recto); "Femme de Scheveningen" Woman from
Scheveningen (verso)
Bleaching Ground at Scheveningen
Bleachery at Scheveningen
1882
Vincent van Gogh [1853 - 1890]
Watercolor heightened with white gouache
318 × 540 mm
The J. Paul Getty Museum, Los Angeles
Dutc
Nationality of artist: Dutch
Identifying marks: None or not recorded
Place of Manufacture: Scheveningen, Netherlands
Catalogue Raisonné:
J.B. de La Faille, The Works of Vincent van Gogh. HIs Paintings and Drawings (Amsterdam, 1970), nos. 946 and 946v.
J. Hulsker, The New Complete Van Gogh, Paintings, Drawings, Sketches: Revised and Enlarged Edition of the Catalogue Raisonné. (Amsterdam, 1996), nos. 158 (recto) and 95 (verso).
Provenance:
1884 Miss Margot Begemann (Neunen, Netherlands), gift from the artist
Miss C.M.C. Begemann (Amstelveen, Netherlands), by gift from her aunt, the previous owner.
1956 Stedelijk Museum, on loan
A. Buysman (Noordwijk, Netherlands)
W. Brinkman (Schipluiden, Netherlands)
Private Collection (France) [Sotheby's, New York, May 16, 1984, lot 103]
Source: sale catalogue, Sotheby's, New York, May 16, 1984, lot 103
Didier Imbert Fine Art S.A., sold to the J. Paul Getty Museum, 1998.
The J. Paul Getty Museum
 
EXHIBITION HISTORY:
Vincent van Gogh [Vlaardingen] (March 27 to April 19, 1953)
De Visbank, Vlaardingen (recto)
Vincent van Gogh: Leben und Schaf Dokumentation, Gemälde, Zeichnungen (October 16 to December 15,
1957)
Villa Hügel (Essen) (138, recto)
Vincent van Gogh [1960] (February to March 1960)
Musée Jacquemart-André (Paris) (84, recto)
Landscape Drawings 1500 - 1900 (June 9 to August 23, 1998)
The J. Paul Getty Museum at the Getty Center (Los Angeles) (recto)
To Create a Living Art: 19th Century Drawings (May 1 to July 15, 2001)
The J. Paul Getty Museum at the Getty Center (Los Angeles) (recto)
The Prismatic Palette: Four Centuries of Watercolors (October 5, 2004 to January 2, 2005)
The J. Paul Getty Museum at the Getty Center (Los Angeles) (recto)
Capturing Nature's Beauty: Three Centuries of French Landscapes (July 28 to November 1, 2009)
The J. Paul Getty Museum at the Getty Center (Los Angeles) (recto)
The Real Van Gogh: The Artist and His Letters (January 23 to April 18, 2010)
Royal Academy of Arts (London) (15, recto)
Becoming Van Gogh: His Years in Paris, 1886-1888 (October 20, 2012 to January 20, 2013)
Denver Art Museum (Denver) (Cat. 23, recto)

Vincent van Gogh, Still Life, Basket of Apples, 1887

X68473
Still Life, Basket of Apples

1887
painting
Oil paint on canvas
unframed: 467 x 553 mm framed: 724 x 813 x 95 mm
Saint Louis Art Museum, Gift of Sydney M. Shoenberg Sr.
Provenance:
Vincent van Gogh, Dutch, 1853-1890
Still Life, Basket of Apples, 1887
oil on canvas
Saint Louis Art Museum, Gift of Sydney M. Shoenberg Sr.
43:1972
Provenance
1887 -
Alexander Reid (1854-1932), Paris, France; Glasgow, Scotland, gift of the artist; James Gardner Reid, Glasgow, Scotland [1]
c.1889 -
Jos Hessel Art Gallery, Paris, France [2]
c.1905 - 1925
Félix Vallotton (1865-1925), Paris, France, acquired from Jos Hessel, by exchange [3]
1925 - still in 1928
Paul Vallotton Art Gallery (Paul Vallotton), Lausanne, Switzerland, acquired from Félix
Vallotton [4]
by 1935 - still in 1943
Wildenstein Art Gallery, New York, NY, USA [5]
c.1943 - c.1950
Millicent Rogers, Taos, NM; New York, NY [6]
by 1954 -
Joan Whitney Payson (Mrs. Charles S. Payson), New York, NY
M. Knoedler & Co., New York, NY
- 1972
Mr. and Mrs. Sydney M. Shoenberg Sr., St. Louis, MO
1972 -
Saint Louis Art Museum, given by Sydney M. Shoenberg Sr. [7]
Notes:
The main source for this provenance is de la Faille's catalogue raisonné, the 1970 revised edition, cat. no. 379 [Faille, J.-B. de la. "The Works of Vincent van Gogh: His Paintings and Drawings."Amsterdam, Meulenhoff International, 1970]. Exceptions and other supporting documents are noted.
[1] The artist gave the painting shortly after it was completed in 1887 to Alexander Reid, with whom he was living in Paris [Pickvance, Ronald. "Van Gogh in Arles." New York: Harry N. Abrams, 1984; Cooper, Douglas. "Alex Reid, van Gogh, and the Lefevre Gallery," in "Yearbook and Directory of Members of the Society of London Art Dealers," 1994]. When Reid moved to Glasgow in 1888, he took the painting with him. He later left the painting in the care of his father, James Reid, who sold it along with van Gogh's "Portrait of Alexander Reid" to a French dealer for £10 [Cooper 1994]. This transfer occurred around 1889, according to research supplied by the organizers of the exhibition "Van Gogh and Britain: Pioneer Collectors" [letter from Michael Clarke and Richard Gray dated April 4, 2003, SLAM document files].
[2] Alexander Reid's son, A. J. McNeill Reid, reports that Jos Hessel most likely purchased the painting from James Reid on a visit to Glasgow [letter from Martin Bailey, dated December 31, 2002, referencing McNeill Reid's notes in the National Library, Scotland, SLAM document files]. As confirmation of the transfer of the painting from Hessel to Vallotton, Bailey cites a footnote in a publication by Sasha Newman, which references a letter from Jos Hessel to Vallotton, dated November 19, 1920. It indicates that Hessel bought a painting from Vallotton in exchange for a still life by van Gogh. Vallotton notes at the foot of the letter that the exchange was made in 1897 [Newman, Sasha M. "Félix Vallotton." New Haven: Yale University Art Gallery, 1991, p. 287; SLAM document files].
[3] See note [2].
[4] Upon Felix Vallotton's death in 1925, the painting was acquired by the Paul Vallotton Art
Gallery. It was recorded as being in the collection of Paul Vallotton (Felix Vallotton's brother) at the time of de la Faille's 1928 first edition of his catalogue raisonne [Faille, J.-B. de la. "L'oeuvre de Vincent van Gogh: Catalogue Raisonne." Paris; Bruxelle: Les Editions G. van Oest, 1928].
[5] The painting is documented in the collection of Wildenstein, New York, in exhibition catalogues from 1935, 1941, and 1943 ["One Hundred Years of French Painting, 1820-1920."
Kansas City, MO: The William Rockhill Nelson Gallery of Art, 1935; "Aspects of French Painting from Cezanne to Picasso." Los Angeles: Los Angeles County Museum, 1941; "The Art and Life of Vincent Van Gogh: A Loan Exhibition in Aid of American and Dutch War Relief." New York: Wildenstein, 1943].
[6] According to staff members at the Millicent Rogers Museum in Taos, NM, Millicent Rogers might have purchased the painting from Wildenstein around 1943. She exhibited it in the 1940's in her Taos home where it hung in the dining room, and sold it in the late 1940s or early 1950s [SLAM document files].
[7] Minutes of the Acquisitions Committee of the Board of Trustees, Saint Louis Art Museum, April 17, 1972.
Nationality of artist: Dutch
Identifying marks: None
Place of Manufacture: Paris, France
Catalogue raisonne:
Feilchenfeldt, W. ‘Vincent van Gogh: The Years in France, Complete Paintings 1886-1890’, F379, p. 65

Vincent van Gogh, Augustine Roulin (Rocking a Cradle), 1889

X68376
Augustine Roulin (Rocking a Cradle)

1889
painting
Oil paint on canvas
920 x 725 mm
Stedelijk Museum Amsterdam, gift of ir. V.W. van Gogh, Laren (NL)
Provenance:
X68376
Vincent van Gogh
Augustine Roulin (Rocking a Cradle) 1889
Oil paint on canvas
92 x 72,5 cm
Provenance:
The artist;
sent to Theo van Gogh 2 May 1889,
passed to Johanna van Gogh-Bonger;
V. W. van Gogh
Acquired from Vincent Willem van Gogh in 1945, Laren

Nationality of artist: Dutch
Identifying marks: None or not recorded
Place of Manufacture: Arles, France
Catalogue Raisonné: Feilchenfeldt, W. ‘Vincent van Gogh: The Years in France, Complete Paintings 1886-1890’, F507, p. 118.

Vincent van Gogh, The Stone Bench in the Asylum at Saint-Remy, 1889

X68487
The Stone Bench in the Asylum at Saint-Remy

1889
painting
Oil paint on canvas
405 x 485 mm
Collection: Museu de Arte de São Paulo Assis Chateaubriand. Purchased 1954
Provenance:
X68487
The Stone Bench in the Asylum at Saint-Rémy, 1889
(F732) 
Provenance;
The artist
Sent to Theo van Gogh 29 April 1890
Passed to Johanna van Gogh-Bonger (died 02/19/1925)
Passed to V.W. van Gogh (died 28/01/1978)
C.M van Gogh, Amsterdam (KB Feb 1910)
Hoeij Smith-van Stolk, Rotterdam (1910)
Wildenstein, New York
São Paulo Museu de Arte. Purchased 19/04/1954
 
Nationality of artist: Dutch
Identifying marks: None or not recorded
Place of Manufacture: Saint-Rémy de Provence, France
Catalogue Raisonné: Feilchenfeldt, W. ‘Vincent van Gogh: The Years in France, Complete Paintings 1886-1890’, F732, p. 227.
Recent exhibition history (outside of Brazil):
21/06/2000 to 26/11/2000 Fondation Pierre Gianadda. Martigny, Switzerland. Van Gogh.
07/09/2002 to 04/11/2002 Hyogo Prefectural Museum of Modern Art. Vincent & Theo Van Gogh
05/07/2002 to 25/08/2002 The Hokkaido Museum of Modern Art. Vincent & Theo Van Gogh.
19/10/2002 to 26/01/2003 Kunsthalle Bremen. Van Gogh: Fields. The Poppy Field and the Artist's Debate.
10/10/2003 to 07/03/2004. Fondazione Cassamarca. L'oro e l'azzurro. I colori del Sud da Cézanne a Bonnard.
26.04/2017 to 12/07/2017 National Gallery of Victoria. Van Gogh and the Seasons: Images of Nature and Humanity.

Vincent van Gogh, Self-Portrait, 1889

X73132
Self-Portrait

1889
painting
Oil paint on canvas
578 x 445 mm Framed: 829 x 692 x 67 mm
National Gallery of Art, Washington Collection of Mr and Mrs John Hay Whitney, 1998.74.5
Provenance:
X73132
National Gallery of Art, Washington
Vincent van Gogh
Self-Portrait
J.J. Isaacson [1859-1942], The Hague. (H.P. Bremmer, The Hague); Hugo Tutein Nolthenius [1863-1944], Delft, by 1904;[1] by inheritance to his brother, Jacques Tutein Nolthenius; on consignment with (Katz Gallery, Switzerland), probably by 1945;[2] on consignment with (M. Knoedler and Co., New York, no. 2845); sold 9 June 1947 to Mr. and Mrs. John Hay Whitney, New York;[3] gift 1998 to NGA.
[1] According to J.-B. de la Faille, The Works of Vincent van Gogh: His Paintings and Drawings, rev. ed., Amsterdam, 1970: F626, the painting was lent by Nolthenius to a 1904 exhibition in Rotterdam. Thea Sternheim, wife of the German playwright Carl Sternheim, writes in her diary that they saw the portrait on exhibition in Rotterdam in 1910, lent by Tutein Nolthenius. Nolthenius' collection was dispersed by his heirs following his death in 1944. An appraisal of the collection dated February 1944 included the Self Portrait with the annotation "sold" (copy, documentation center, van Gogh Museum, Amsterdam)
[2] Knoedler had the painting on consignment from the Katz Gallery when it was sold to Whitney in April 1947 (see Commission Book no. 4, M. Knoedler and Co Records, Getty Research Institute, copy National Gallery of Art curatorial files). Katz is probably the "private collection" which lent the painting to a 1945 exhibition at the Galerie Schulthess, Basel and a 1946 exhibition at the Kunsthalle Bern.
[3] Acquisition date and source according to Whitney records in National Gallery of Art curatorial files.
Nationality of artist: Dutch
Identifying marks: None
Place of Manufacture: Saint-Remy de Provence, France
Catalogue raisonne:
Feilchenfeldt, W. ‘Vincent van Gogh: The Years in France, Complete Paintings 1886-1890’, F626, p. 183

Vincent van Gogh, The Prison Courtyard, February 1890

X68468
The Prison Courtyard

February 1890
painting
Oil paint on canvas
800 x 640 mm
The Pushkin State Museum of Fine Arts, Moscow
Provenance:
X68468
Pushkin State Museum of Fine Arts
Vincent van Gogh
The Prison Courtyard, February 1890
Oil paint on canvas
80 x 64 cm
Provenance:
The artist;
Sent to Theo van Gogh probably on 29 April 1890;
Passed to Johanna van Gogh-Bonger;
Maria Slavona Collection, Paris
Galerie Druet, Paris (no. 542), 1906
Alexandre Berthier, Prince de Wagram collection, Beziers
Galerie Druet, Paris, 1909
Acquired from Druet by I.A. Morozov, 1909 until 1919
Then part of the 2nd MMWP
SMMWA (inv. 303), 1923
Pushkin Museum acquired 1948
 
Nationality of artist: Dutch
Identifying marks: None
Place of Manufacture: Saint-Remy de Provence, France
Catalogue raisonne:
Feilchenfeldt, W. ‘Vincent van Gogh: The Years in France, Complete Paintings 1886-1890’, F669, p. 202

Vincent van Gogh, The Arlesienne, 1890

X68486
The Arlesienne

1890
painting
Oil paint on canvas
unconfirmed: 650 x 540 mm Framed: 900 x 785 x 120
Collection: Museu de Arte de São Paulo Assis Chateaubriand. Gift, Evaristo Fernandes, Alfredo Ferreira, Walther Moreira Salles, Fúlvio Morganti, Ricardo Jafet, Carlos Rochas Faria, J. Silvério de Souza Guise, Assis Chateaubriand, Angelina Boeris Audrá, Louis La Saigne, Rui de Almeida, Henryk Spitzman Jordan, Mário Audra, Centro do Comércio do Café do Rio de Janeiro, Um espanhol, Moinho Fluminense S.A., Moinho Inglês S.A., Companhia América Fabril S.A., 1952
Provenance:
X68486
L’Arlésienne, 1890 (F542)
Provenance;
Theo van Gogh; Presented to Paul Gauguin
Georges Chaudet, Pont-Aven (died 1899)
Ambroise Vollard, Paris (I/3909 Tête d’Arlésienne, fond rouge 64:54)
Bernheim-Jeune, Paris (21.2.1900)
Paul Cassirer, Berlin (Oct 1909)
Tilla Durieux-Cassirer, Berlin (Tilla Durieux died Feb 1971)
Paul Cassirer, Berlin (died 1926)
Neue Galerie, Vienna
Oskar Federer, Mahrisch-Ostrau*
Galerie St Etienne, Paris (1939)**
Transferred to Galerie St Etienne, New York
Returned to Oskar Federer, Mahrisch-Ostrau (1943)
Knoedler and Co. New York
São Paulo Museu de Arte. Purchased 1952.
* according to Sotheby’s he fled Czechoslovakia in 1939 and settled in Montreal, Canada, in August 1940, taking ten paintings with him, including most of his collection of Van Goghs. The Nazis confiscated the remaining 100 works, 22 of which ended up in the Gallery of Fine Art of the Municipal Museum of Ostrava by November 1943. In 2007 after a ten-year litigation, a group of 22 works were restituted to Oskar Federer’s heirs.
** according to the archives of Galerie St Etienne, the painting was sent from the Stedelijk Museum, Amsterdam, to Otto Kallir at the Galerie St Etienne in Paris in 1939, on behalf of Oskar Federer. After Kallir emigrated to the US, the painting was shipped to the Galerie St Etienne in New York. The consignment between Federer and Kallir lasted for a number of years, during which period Federer emigrated to Canada. Kallir was unsuccessful in selling the work and it was returned to Federer in 1943.
Recent exhibition history (outside Brazil):
21/06/2000 to 26/11/2000 Fondation Pierre Gianadda. Martigny, Switzerland. Van Gogh.
07/09/2002 to 04/11/2002 Hyogo Prefectural Museum of Modern Art. Vincent & Theo Van Gogh
05/07/2002 to 25/08/2002 The Hokkaido Museum of Modern Art. Vincent & Theo Van Gogh.
7/11/2002 to 30/3/2003 Casa dei Carraresi, Treviso, Italy. L'Impressionismo e l'età di Van Gogh. La rivoluzione di un'arte nuova.
Nationality of artist: Dutch
Identifying marks: None or not recorded
Place of Manufacture: Saint-Rémy de Provence, France
Catalogue Raisonné: Feilchenfeldt, W. ‘Vincent van Gogh: The Years in France, Complete Paintings 1886-1890’, F542, p. 201