WSJ: "German Museums Under Pressure to Put Collections Online"

Mary M. Lane and Harriet Torry write in the Wall Street Journal Nov. 22 in "German Museums Under Pressure to Put Collections Online":

BERLIN—German museums are coming under growing international pressure to provide digital access to their full collections, in the wake of the discovery of a suspected plundered art trove in Munich that authorities kept secret for nearly two years. Under international norms adopted in Washington in 1998, German museums are obligated to go through their collections for works that may have been looted by the Nazis. But the museums have balked at going a step further and digitizing their collections to allow independent searches, citing budget restrictions and a lack of staff. That reluctance has for years been a source of tension within the art world, with critics alleging other motives. "They don't want to let people see what they have because they know if they put it online they'll get claims and possibly lose major paintings," Ronald Lauder, a billionaire art collector and president of the World Jewish Congress, said in an interview.

Ronald Lauder is the founder of New York City's Neue Gallerie, home to Gustav Klimt's "Portrait of Adele Bloch-Bauer", a work recovered after it was stolen by the Nazis.

Mary M. Lane and Harriet Torry write in the Wall Street Journal Nov. 22 in "German Museums Under Pressure to Put Collections Online":

BERLIN—German museums are coming under growing international pressure to provide digital access to their full collections, in the wake of the discovery of a suspected plundered art trove in Munich that authorities kept secret for nearly two years. Under international norms adopted in Washington in 1998, German museums are obligated to go through their collections for works that may have been looted by the Nazis. But the museums have balked at going a step further and digitizing their collections to allow independent searches, citing budget restrictions and a lack of staff. That reluctance has for years been a source of tension within the art world, with critics alleging other motives. "They don't want to let people see what they have because they know if they put it online they'll get claims and possibly lose major paintings," Ronald Lauder, a billionaire art collector and president of the World Jewish Congress, said in an interview.

Ronald Lauder is the founder of New York City's Neue Gallerie, home to Gustav Klimt's "Portrait of Adele Bloch-Bauer", a work recovered after it was stolen by the Nazis.

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Gurlitt Art Collection: Germany listed 25 pieces of art online and will establish task force of provenance researchers to examine 970 works

by Catherine Sezgin, ARCA Blog Editor-in-Chief

Coverage in the last week about the Gurlitt Art Collection has been published in print and online in primary sources in French and German. I have asked readers of the ARCA blog to help with identifying and summarizing into English the articles. One of our readers, Alex Kurys in Vienna, contacted us and recommended an article in ORF.at, the online news he describes as the 'Austrian BBC equivalent' with primary sources of news from Associated Press or Reuters. The article, Fall Gurlitt: Behörden veröffentlichen verdächtige Werke, reports that German authorities have published today a list of 25 works on the page www.lostart.de (The Lost Art Internet Database) from the Gurlitt case with "appropriate urgent suspicion of Nazi persecution conditional withdrawal background" will be posted. The article reports that a task force of six provenance researchers will be assembled to examine 970 works. According to the findings of the Augsburg prosecution, ORF reports, 380 works can be assigned to what the Nazis called "degenerate art" and 590 works will be checked to see if they were taken from their rightful owners during the era of National Socialism persecution. 

The Lost Art Internet Database is operated by:

Koordinierungsstelle Magdeburg, Germany’s central office for the documentation of lost cultural property. It was set up jointly by the Government and the Länder of the Federal Republic of Germany and registers cultural objects which as a result of persecution under the Nazi dictatorship and the Second World War were relocated, moved or seized, especially from Jewish owners.

A search of "Gurlitt" on this Lost Art Internet Database includes a description of Wolfgang Gurlitt as a Berlin dealer and cousin of Hildebrand Gurlitt (father of Cornelius Gurlitt who's art collection was seized by Bavarian custom authorities in February 2012 for suspicion of tax evasion). Wolfgang and Hildebrand Gurlitt are both described by the Lost Art Internet Database as dealers involved in the Nazi cultural robbery. A special report "Spoils of War" from the international conference in Magdeburg in November 2001, highlights the Gurlitt art collection, but it is the collection of Wolfgang, who along with Hildebrand had close contact with Hermann Voss, the art historian who in 1942 was appointed to assemble art for the Führermuseum in Linz. The "Spoils of War" 2001 report highlights the 76 oil paintings and 33 prints Wolfgang Gurlitt sold to the City of LInz in 1953:

Wolfgang Gurlitt was not a National Socialist. There is not a single piece of evidence
among his many surviving letters from that time that he tried to ingratiate himself with
various public offices by using expressively National Socialist language. His lack of
concern in political matters was so marked that in his letters to the office responsible
for the "Linz Special Command" ("Sonderauftrag Linz") he all too often left out the
obligatory closing phrase "Heil Hitler!". His employment of a non-National Socialist,
Walter Kasten, in 1938, matches this image.

On the other hand Wolfgang Gurlitt understood well how to remain in business
between 1933 and 1945. Besides his regular activities as an art dealer he was
successful in getting involved in special projects (although on a modest scale
compared to his cousin, Hildebrand Gurlitt): these included the sale abroad of artwork
confiscated and labeled "degenerate art" ("Entartete Kunst") by the Reich's Ministry
for Propaganda, as well as making purchases for Linz’s "Führer Museum".

The "Spoils of War" 2001 report notes under "results of the research into provenance":

It is demonstrable that Gurlitt acquired artwork of previous Jewish ownership on
several occasions: through direct purchase from the Jewish owner, through auctions,
and probably also through other art dealers. The total scope and the method of
acquisition in respective cases are unclear; the number probably extends beyond those
examples proven unequivocally. Like practically all art dealers who were active
during the rule of the National Socialists, Gurlitt had no qualms about this form of
acquisition. 

Documentation of Results:

The Mayor of the City of Linz initiated the process of examining the Gurlitt
Collection of the New Gallery of the City of Linz as far back as September 17, 1998.
The archive of the City of Linz examined – primarily through existing municipal files
– the provenance and acquisition of the pictures in stock. A comprehensive report
with the results of the research (which have been briefly summarised here), together
with a catalogue including all works in the "Gurlitt Collection" was published in
January 1999.13 The complete report has been accessible since then on the Internet at
http://www.linz.at/archiv, the first public body in Austria to decide to act in this way.
1,800 hits a month (as of February 2002) to the contents of this documentation bears
witness to the active interest of the public in this matter.

by Catherine Sezgin, ARCA Blog Editor-in-Chief

Coverage in the last week about the Gurlitt Art Collection has been published in print and online in primary sources in French and German. I have asked readers of the ARCA blog to help with identifying and summarizing into English the articles. One of our readers, Alex Kurys in Vienna, contacted us and recommended an article in ORF.at, the online news he describes as the 'Austrian BBC equivalent' with primary sources of news from Associated Press or Reuters. The article, Fall Gurlitt: Behörden veröffentlichen verdächtige Werke, reports that German authorities have published today a list of 25 works on the page www.lostart.de (The Lost Art Internet Database) from the Gurlitt case with "appropriate urgent suspicion of Nazi persecution conditional withdrawal background" will be posted. The article reports that a task force of six provenance researchers will be assembled to examine 970 works. According to the findings of the Augsburg prosecution, ORF reports, 380 works can be assigned to what the Nazis called "degenerate art" and 590 works will be checked to see if they were taken from their rightful owners during the era of National Socialism persecution. 

The Lost Art Internet Database is operated by:

Koordinierungsstelle Magdeburg, Germany’s central office for the documentation of lost cultural property. It was set up jointly by the Government and the Länder of the Federal Republic of Germany and registers cultural objects which as a result of persecution under the Nazi dictatorship and the Second World War were relocated, moved or seized, especially from Jewish owners.

A search of "Gurlitt" on this Lost Art Internet Database includes a description of Wolfgang Gurlitt as a Berlin dealer and cousin of Hildebrand Gurlitt (father of Cornelius Gurlitt who's art collection was seized by Bavarian custom authorities in February 2012 for suspicion of tax evasion). Wolfgang and Hildebrand Gurlitt are both described by the Lost Art Internet Database as dealers involved in the Nazi cultural robbery. A special report "Spoils of War" from the international conference in Magdeburg in November 2001, highlights the Gurlitt art collection, but it is the collection of Wolfgang, who along with Hildebrand had close contact with Hermann Voss, the art historian who in 1942 was appointed to assemble art for the Führermuseum in Linz. The "Spoils of War" 2001 report highlights the 76 oil paintings and 33 prints Wolfgang Gurlitt sold to the City of LInz in 1953:

Wolfgang Gurlitt was not a National Socialist. There is not a single piece of evidence
among his many surviving letters from that time that he tried to ingratiate himself with
various public offices by using expressively National Socialist language. His lack of
concern in political matters was so marked that in his letters to the office responsible
for the "Linz Special Command" ("Sonderauftrag Linz") he all too often left out the
obligatory closing phrase "Heil Hitler!". His employment of a non-National Socialist,
Walter Kasten, in 1938, matches this image.

On the other hand Wolfgang Gurlitt understood well how to remain in business
between 1933 and 1945. Besides his regular activities as an art dealer he was
successful in getting involved in special projects (although on a modest scale
compared to his cousin, Hildebrand Gurlitt): these included the sale abroad of artwork
confiscated and labeled "degenerate art" ("Entartete Kunst") by the Reich's Ministry
for Propaganda, as well as making purchases for Linz’s "Führer Museum".

The "Spoils of War" 2001 report notes under "results of the research into provenance":

It is demonstrable that Gurlitt acquired artwork of previous Jewish ownership on
several occasions: through direct purchase from the Jewish owner, through auctions,
and probably also through other art dealers. The total scope and the method of
acquisition in respective cases are unclear; the number probably extends beyond those
examples proven unequivocally. Like practically all art dealers who were active
during the rule of the National Socialists, Gurlitt had no qualms about this form of
acquisition. 

Documentation of Results:

The Mayor of the City of Linz initiated the process of examining the Gurlitt
Collection of the New Gallery of the City of Linz as far back as September 17, 1998.
The archive of the City of Linz examined – primarily through existing municipal files
– the provenance and acquisition of the pictures in stock. A comprehensive report
with the results of the research (which have been briefly summarised here), together
with a catalogue including all works in the "Gurlitt Collection" was published in
January 1999.13 The complete report has been accessible since then on the Internet at
http://www.linz.at/archiv, the first public body in Austria to decide to act in this way.
1,800 hits a month (as of February 2002) to the contents of this documentation bears
witness to the active interest of the public in this matter.

reade more... Résuméabuiyad

Girl with the Pearl Earring and other Mauritshuis Paintings End San Francisco Visit -- Next Stop Atlanta

Vermeer's Girl with a Pearl Earring, Mauritshuis

By Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

Johannes Vermeer’s Girl with a Pearl Earring ended its visit to San Francisco’s DeYoung Museum today.

This work was part of an exhibition of thirty-five 17^th century Dutch paintings on loan from the Royal Picture Gallery Maurithuis in The Hague. Girl with a Pearl Earring is considered not a portrait but a “tronie”, the study of an anonymous face meant to portray certain characters or types rather than recognizable persons, but this has not stopped viewers from speculating on the sitter’s identity.

In Tracy Chevalier’s 2001 novel titled after the painting, the author speculates that the girl in the painting is a peasant maid employed in the Vermeer household. Art historian Benjamin Binstock proposes in his book Vermeer’s Family Secrets that the model is Johannes Vermeer’s daughter Maria, who helped the family of 11 surviving children (four died young) produce paintings as her father’s unofficial apprentice until her marriage. Vermeer, the artist of The View of Delft and The Astronomer, died at the age of 43. His work went unrecognized for almost two centuries until rehabilitated by the French writer Théophile Thoré in 1866. The Mauritshuis purchased Diana and Her Nymphsin 1876 as a painting by Nicholaes Maes (1634-1693). At an auction in 1881 in The Hague, The Girl with a Pearl Earring sold for “two guilders, plus the buyer’s premium of thirty cents”, according to Quentin Buvelot and Ariane van Suchtelen in the chapter “Girl with a Pearl Earringby Johannes Vermeer: The Dutch Mona Lisa” in the exhibit’s catalogue, Girl with a Pearl Earring: Dutch Paintings from the Mauritshuis:

Over the years Vermeer’s technique became increasingly refined. His talent for using small dots of paint to create an illusion of light playing on the surface of an object is indeed masterly. This “pointillism” was applied to great effect in The Milkmaid, for example, in which countless tiny highlights make the bread rolls and earthenware seen almost palpable. It has often been surmised that this technique indicates the use of optical devices, such as the camera obscura, but there is no proof of this theory.

As for the history of Vermeer’s paintings, Buvelot and Suchtelen wrote:

The inventory of Vermeer’s possessions – drawn up in 1676, three months after his death – records “Two tronies painted in Turkish fashion.” One of these works may well have been Girl with a Pearl Earring, since her striking turban is characteristic of the traditional attire of the Ottoman Empire, to which Turkey once belonged. If so, it means that Vermeer never parted with the painting. 

Twenty years later, on May 16, 1696, twenty-one paintings by Vermeer were sold at auction in Amsterdam from the estate of the Delft printer Jacob Dissius (1653-1976), who owned more than half of what is now Vermeer’s known oeuvre. This impressive collection of Vermeer’s had come from the estate of Dissius’s father-in-law, Pieter van Ruijven (1624-1674), a well-to-do Delft rentier.

The collecting history of Girl with a Pearl Earring is largely unknown:

The provenance of Girl with a Pearl Earring is unclear until 1881, when it was offered at a sale in The Hague, where the collection of a certain Mr. Braams was put up for auction. Victor de Stuers (1843-1916), an important art historian, recognized the quality of the painting and advised his friend Arnoldus des Tombe (1818-1902) to buy it. 

When Des Tombe, a neighbor of the Maritshuis, died in 1902, Girl with a Pearl Earring was one of 12 paintings given to the Royal Picture Gallery. In 1995-1996, the National Gallery of Art in Washington, D.C. displayed this tronie in a Vermeer retrospective.

The next stops on this tour of the Mauritshuis paintings are the High Museum of Artin Atlanta (June 22 through September 29, 2013) and the Frick Collection in New York City (October 22, 2013 through January 14, 2014).

Vermeer's Girl with a Pearl Earring, Mauritshuis

By Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

Johannes Vermeer’s Girl with a Pearl Earring ended its visit to San Francisco’s DeYoung Museum today.

This work was part of an exhibition of thirty-five 17^th century Dutch paintings on loan from the Royal Picture Gallery Maurithuis in The Hague. Girl with a Pearl Earring is considered not a portrait but a “tronie”, the study of an anonymous face meant to portray certain characters or types rather than recognizable persons, but this has not stopped viewers from speculating on the sitter’s identity.

In Tracy Chevalier’s 2001 novel titled after the painting, the author speculates that the girl in the painting is a peasant maid employed in the Vermeer household. Art historian Benjamin Binstock proposes in his book Vermeer’s Family Secrets that the model is Johannes Vermeer’s daughter Maria, who helped the family of 11 surviving children (four died young) produce paintings as her father’s unofficial apprentice until her marriage. Vermeer, the artist of The View of Delft and The Astronomer, died at the age of 43. His work went unrecognized for almost two centuries until rehabilitated by the French writer Théophile Thoré in 1866. The Mauritshuis purchased Diana and Her Nymphsin 1876 as a painting by Nicholaes Maes (1634-1693). At an auction in 1881 in The Hague, The Girl with a Pearl Earring sold for “two guilders, plus the buyer’s premium of thirty cents”, according to Quentin Buvelot and Ariane van Suchtelen in the chapter “Girl with a Pearl Earringby Johannes Vermeer: The Dutch Mona Lisa” in the exhibit’s catalogue, Girl with a Pearl Earring: Dutch Paintings from the Mauritshuis:

Over the years Vermeer’s technique became increasingly refined. His talent for using small dots of paint to create an illusion of light playing on the surface of an object is indeed masterly. This “pointillism” was applied to great effect in The Milkmaid, for example, in which countless tiny highlights make the bread rolls and earthenware seen almost palpable. It has often been surmised that this technique indicates the use of optical devices, such as the camera obscura, but there is no proof of this theory.

As for the history of Vermeer’s paintings, Buvelot and Suchtelen wrote:

The inventory of Vermeer’s possessions – drawn up in 1676, three months after his death – records “Two tronies painted in Turkish fashion.” One of these works may well have been Girl with a Pearl Earring, since her striking turban is characteristic of the traditional attire of the Ottoman Empire, to which Turkey once belonged. If so, it means that Vermeer never parted with the painting. 

Twenty years later, on May 16, 1696, twenty-one paintings by Vermeer were sold at auction in Amsterdam from the estate of the Delft printer Jacob Dissius (1653-1976), who owned more than half of what is now Vermeer’s known oeuvre. This impressive collection of Vermeer’s had come from the estate of Dissius’s father-in-law, Pieter van Ruijven (1624-1674), a well-to-do Delft rentier.

The collecting history of Girl with a Pearl Earring is largely unknown:

The provenance of Girl with a Pearl Earring is unclear until 1881, when it was offered at a sale in The Hague, where the collection of a certain Mr. Braams was put up for auction. Victor de Stuers (1843-1916), an important art historian, recognized the quality of the painting and advised his friend Arnoldus des Tombe (1818-1902) to buy it. 

When Des Tombe, a neighbor of the Maritshuis, died in 1902, Girl with a Pearl Earring was one of 12 paintings given to the Royal Picture Gallery. In 1995-1996, the National Gallery of Art in Washington, D.C. displayed this tronie in a Vermeer retrospective.

The next stops on this tour of the Mauritshuis paintings are the High Museum of Artin Atlanta (June 22 through September 29, 2013) and the Frick Collection in New York City (October 22, 2013 through January 14, 2014).

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The "Other" Dutch Paintings from the Mauritshuis Traveling with Girl with a Pearl Earring from San Francisco to Atlanta to New York City

Rembrandt, Self-Portrait
Germanisches National
 Museum

by Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

Thirty-four 17th century Dutch paintings accompanied Girl with a Pearl Earring in the exhibition leaving the De Young Museum in San Francisco for the High Museum of Art in Atlanta (June 23 through September 29, 2013). Only 10 of those paintings will visit The Frick Collection in New York (October 22, 2013 through January 19, 2014).

Last year, a larger exhibit of 48 paintings from the Mauritshuis toured two museums in Japan: The Tokyo Metropolitan Museum of Art (TMMA) and the Kobe City Museum.  The Mauritshuis exhibit at TMMA included a second Vermeer painting, Diana and her nymphs (now on display at the Gemeentemuseum Den Haag). After the North American tour, Palazzo Fava in Bologna, Italy, will host 40 paintings from the Mauritshuis while the 17th century palace undergoes an expansion and renovation until mid-2014. More than 100 paintings from the Royal Picture Gallery Mauritshuis have traveled to the Gemeentemuseum in The Hague.

Portrait of Rembrandt
(1606-1669) with a Gorget,
Rembrandt (studio copy)

The Mauritshuis opened as a Dutch state museum on January 1, 1822 as the "Royal Cabinets of Paintings and Curiosities." The catalogue, Girl with a Pearl Earring: Dutch Paintings from the Mauritshuis (Fine Arts Museums of San Francisco, includes "The History of the Mauritshuis and Its Collection" by Lea van der Vinde:

As its new name made clear, the museum did not merely exhibit paintings, for the entire ground floor was filled with a colorful display of "rarities." The art collection hung upstairs, where the walls were covered from floor to ceiling with paintings. Both collections had been formed over the years by various stadtholders; their turbulent history spans more than four centuries.

Rachel Ruysch
Vase with Flowers
1700
Mauritshuis

Half of the paintings at the De Young Mauritshuis show had been acquired by The Hague institution in the 20th century. Provenance information in the catalogue was provided in the section describing the painting and appeared incomplete. Many of the paintings have been restored in recent years. For example, infrared reflectography in the conservation studio in 1998 showed an underdrawing on a Rembrandt painting purchased in 1768, Portrait of Rembrandt (1606-1669) with a Gorget, that indicates it is a studio copy of a self-portrait of Rembrandt at the Germanisches National Museum in Nuremberg. The last painting highlighted in the catalogue is Vase of Flowers (1700) by Rachel Ruysch,  a married woman and mother of 10 children who painted until her death at the age of 84. A recent restoration removed several old layers of varnish.

The ticket to the Mauritshuis paintings at the De Young included entrance to an adjoining exhibition of Rembrandt's (and contemporaries) etchings from the collection of the Fine Arts Museums of San Francisco.

Rembrandt, Self-Portrait
Germanisches National
 Museum

by Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

Thirty-four 17th century Dutch paintings accompanied Girl with a Pearl Earring in the exhibition leaving the De Young Museum in San Francisco for the High Museum of Art in Atlanta (June 23 through September 29, 2013). Only 10 of those paintings will visit The Frick Collection in New York (October 22, 2013 through January 19, 2014).

Last year, a larger exhibit of 48 paintings from the Mauritshuis toured two museums in Japan: The Tokyo Metropolitan Museum of Art (TMMA) and the Kobe City Museum.  The Mauritshuis exhibit at TMMA included a second Vermeer painting, Diana and her nymphs (now on display at the Gemeentemuseum Den Haag). After the North American tour, Palazzo Fava in Bologna, Italy, will host 40 paintings from the Mauritshuis while the 17th century palace undergoes an expansion and renovation until mid-2014. More than 100 paintings from the Royal Picture Gallery Mauritshuis have traveled to the Gemeentemuseum in The Hague.

Portrait of Rembrandt
(1606-1669) with a Gorget,
Rembrandt (studio copy)

The Mauritshuis opened as a Dutch state museum on January 1, 1822 as the "Royal Cabinets of Paintings and Curiosities." The catalogue, Girl with a Pearl Earring: Dutch Paintings from the Mauritshuis (Fine Arts Museums of San Francisco, includes "The History of the Mauritshuis and Its Collection" by Lea van der Vinde:

As its new name made clear, the museum did not merely exhibit paintings, for the entire ground floor was filled with a colorful display of "rarities." The art collection hung upstairs, where the walls were covered from floor to ceiling with paintings. Both collections had been formed over the years by various stadtholders; their turbulent history spans more than four centuries.

Rachel Ruysch
Vase with Flowers
1700
Mauritshuis

Half of the paintings at the De Young Mauritshuis show had been acquired by The Hague institution in the 20th century. Provenance information in the catalogue was provided in the section describing the painting and appeared incomplete. Many of the paintings have been restored in recent years. For example, infrared reflectography in the conservation studio in 1998 showed an underdrawing on a Rembrandt painting purchased in 1768, Portrait of Rembrandt (1606-1669) with a Gorget, that indicates it is a studio copy of a self-portrait of Rembrandt at the Germanisches National Museum in Nuremberg. The last painting highlighted in the catalogue is Vase of Flowers (1700) by Rachel Ruysch,  a married woman and mother of 10 children who painted until her death at the age of 84. A recent restoration removed several old layers of varnish.

The ticket to the Mauritshuis paintings at the De Young included entrance to an adjoining exhibition of Rembrandt's (and contemporaries) etchings from the collection of the Fine Arts Museums of San Francisco.

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Reviewing two stolen Corot paintings and updating the catalogue raisonné of Jean-Baptiste-Camille Corot

Corot's "The Dreamer"/MMFA

by Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

Theft and authenticity intertwined in the case of the 1972 robbery of the Montreal Museum of Fine Arts.  In the years prior to the break-in, museum curators had been examining the collection and questions of authenticity had been left in the archives' files.  A recent article in the June issue of ARTnews about the authenticity of paintings by Jean-Baptiste-Camille Corot (1796-1875) sent me back to my notes on two Corot oil paintings stolen in 1972 from the Montreal Museum of Fine Arts, the largest art theft in Canada.  What kind of research is available to study the provenance of two missing Corot paintings?

Two oil paintings by Corot, "La rêveuse à la fontaine/The Dreamer at the Fountain" and "Jeune fille accoudée sur le bras gauche/Young Woman Resting Her Head in Her Left Hand), had both completed in the 1860s and donated a century later to the Quebec art gallery.

The museum's archives have very little information about the medium-sized paintings removed four decades ago by three thieves who entered the MMFA through a unsecured skylight on Labor Day Weekend and stole 18 paintings and 39 decorative art objects.

"The Dreamer", with its right corner signature of "COROT", was believed to have been painted between 1855-1863.  The museum received the painting from an anonymous donor in memory of Mr. and Mrs. William F. Angus (steel foundry executive).  In a 1969 press release, prepared for the exhibition From Daumier to Roualt, Bill Bantey -- a notorious journalist and the director of public relations for the museum -- noted that the painting 'was virtually unknown as it had been "lost" to scholarly knowledge for over 60 years in a private Montreal collection'.  The other stolen Corot painting, "Young Woman Resting" was a donation in 1963 from the estate of Miss Olive Hosmer, daughter of 'multi-millionaire financier Charles S. Hosmer'.  Miss Hosmer also bequeathed Jean-François Millet's signed portrait of his first wife (Portrait of Madame Millet), also taken on September 4, 1972.

Corot's "Young Woman Resting"

The collection at Montreal's premier art gallery had been built from donations from wealthy Anglo families that had prospered from the construction of Canada's transcontinental railroad and trading from the port of Montreal.  During the late 19th century and early 20th, many art dealers had offered paintings to Montreal collectors before approaching buyers in New York City.  The MMFA published a book by George-Hébert Germain, A City's Museum: A History of the Montreal Museum of Fine Arts, which chronicles the growth of the art gallery founded in 1860.  (Journalist and art historian Cynthia Saltzman tells of how American collectors bought up European masterpieces a century ago in her book, Old Masters, New World).

Laurie Hurwitz, writing for ARTnews, 'If It Doesn't Dance, It's Not Corot', tells of how 'a family steeped in Corot uses connoisseurship and instinct to distinguish the real paintings from copies and fakes'.  Hurwitz's article features the two-decades long work of Corot expert, Martin Dieterle, and his stepdaughter, Claire Lebeau, to create a database of authentic and fake paintings by the Barbizon School painter.  Alfred Robaut's four volume catalogue raisonné of Corot's work published in 1905 (you can read it online through the Getty Research Portal) identified 2,460 paintings.  A supplement published in 1948 added 100 canvases.  According to Dieterle, the notoriously generous artist had gifted numerous canvases to friends -- and those works had little documentation.  Dieterle's connection to Corot goes back to his great-great-grandfather who painted with the artist on the Normandy coast.  Other paintings not inventoried by Robaut had been those sold early on out of Corot's atelier "so it is impossible for Robaut to have known about them," Hurwitz quoted Dieterle.  According to Dieterle, most copies were executed during the artists' lifetime "thus eliminating the need for forensic authentication." Dieterle and Lebeau are preparing the sixth supplement to the artist's catalogue raisonné.

Hurwitz's article is available in the June issue of ARTnews.

Corot's "The Dreamer"/MMFA

by Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

Theft and authenticity intertwined in the case of the 1972 robbery of the Montreal Museum of Fine Arts.  In the years prior to the break-in, museum curators had been examining the collection and questions of authenticity had been left in the archives' files.  A recent article in the June issue of ARTnews about the authenticity of paintings by Jean-Baptiste-Camille Corot (1796-1875) sent me back to my notes on two Corot oil paintings stolen in 1972 from the Montreal Museum of Fine Arts, the largest art theft in Canada.  What kind of research is available to study the provenance of two missing Corot paintings?

Two oil paintings by Corot, "La rêveuse à la fontaine/The Dreamer at the Fountain" and "Jeune fille accoudée sur le bras gauche/Young Woman Resting Her Head in Her Left Hand), had both completed in the 1860s and donated a century later to the Quebec art gallery.

The museum's archives have very little information about the medium-sized paintings removed four decades ago by three thieves who entered the MMFA through a unsecured skylight on Labor Day Weekend and stole 18 paintings and 39 decorative art objects.

"The Dreamer", with its right corner signature of "COROT", was believed to have been painted between 1855-1863.  The museum received the painting from an anonymous donor in memory of Mr. and Mrs. William F. Angus (steel foundry executive).  In a 1969 press release, prepared for the exhibition From Daumier to Roualt, Bill Bantey -- a notorious journalist and the director of public relations for the museum -- noted that the painting 'was virtually unknown as it had been "lost" to scholarly knowledge for over 60 years in a private Montreal collection'.  The other stolen Corot painting, "Young Woman Resting" was a donation in 1963 from the estate of Miss Olive Hosmer, daughter of 'multi-millionaire financier Charles S. Hosmer'.  Miss Hosmer also bequeathed Jean-François Millet's signed portrait of his first wife (Portrait of Madame Millet), also taken on September 4, 1972.

Corot's "Young Woman Resting"

The collection at Montreal's premier art gallery had been built from donations from wealthy Anglo families that had prospered from the construction of Canada's transcontinental railroad and trading from the port of Montreal.  During the late 19th century and early 20th, many art dealers had offered paintings to Montreal collectors before approaching buyers in New York City.  The MMFA published a book by George-Hébert Germain, A City's Museum: A History of the Montreal Museum of Fine Arts, which chronicles the growth of the art gallery founded in 1860.  (Journalist and art historian Cynthia Saltzman tells of how American collectors bought up European masterpieces a century ago in her book, Old Masters, New World).

Laurie Hurwitz, writing for ARTnews, 'If It Doesn't Dance, It's Not Corot', tells of how 'a family steeped in Corot uses connoisseurship and instinct to distinguish the real paintings from copies and fakes'.  Hurwitz's article features the two-decades long work of Corot expert, Martin Dieterle, and his stepdaughter, Claire Lebeau, to create a database of authentic and fake paintings by the Barbizon School painter.  Alfred Robaut's four volume catalogue raisonné of Corot's work published in 1905 (you can read it online through the Getty Research Portal) identified 2,460 paintings.  A supplement published in 1948 added 100 canvases.  According to Dieterle, the notoriously generous artist had gifted numerous canvases to friends -- and those works had little documentation.  Dieterle's connection to Corot goes back to his great-great-grandfather who painted with the artist on the Normandy coast.  Other paintings not inventoried by Robaut had been those sold early on out of Corot's atelier "so it is impossible for Robaut to have known about them," Hurwitz quoted Dieterle.  According to Dieterle, most copies were executed during the artists' lifetime "thus eliminating the need for forensic authentication." Dieterle and Lebeau are preparing the sixth supplement to the artist's catalogue raisonné.

Hurwitz's article is available in the June issue of ARTnews.

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The Journal of Art Crime, Fall 2011: The Daumier Register

In the Fall 2011 issue of The Journal of Art Crime, Lilian and Dieter Noack of the Daumier Register announced that they had pinned down the the location of two paintings by the French painter and lithographer Honoré Daumier (1808-78) whose whereabouts had been previously unknown to the Swiss-based website that has the mission of identifying the works of the satirist of French society and politics.

The Daumier Register keeps a list of "Lost and Missing Paintings" and "Stolen and Looted Paintings".

Daumier's oil painting,
 "Femme avec deux enfants"

Daumier’s (“Femme avec deux enfants” / “Mother with her children” (numbered as DR7196 in the Daumier Register) is an oil painting (1865/68) that has been in the collection of the National Museum of Serbia in Belgrave, Serbia, since 1949, according to the Noacks, founders of the Daumier register, who report that "rumours about the theft of the picture are thus unfounded." The painting was reportedly owned by Ambroise Vollard, a Parisian art dealer who died in an auto accident in 1939 whose assistant Erich Schlomovic, a young Croatian Jew, exhibited the painting in Zagreb in 1940.   The painting was also exhibited in Prague, 1971; Zagreb again in 1989-90; Japan, 2005-6; and in Como, Italy, in 2007. The communist government of Yugoslavia incorporated the painting into the state's collection after World War II. [Schlomovic was murdered at the age of 27 in a mobile gas chamber in 1942).

The National Museum of Serbia in Belgrade closed its permanent collection on June 1, 2003, for a reconstruction.

Daumier's "Third Class"

The second painting, DR9119 (“Un wagon de troisième classe “ / “Third Class “ / “Wagen dritter Klasse’) had disappeared after it had been sold in 1982 at Drouot Auction in Paris. It was part of two Daumier paintings (the second being DR7005), which belonged to the estate of Parisian industrialist Roger Leybold (1896-1970) and shows an interesting Third Class Carriage scene, according to the Daumier Register. "We were informed by the owners that it was offered for sale in 2011 by Galerie AB in Paris where it had been stored since 1982," Daumier Register reported. You may read more about the background of this painting here.


The International Foundation for Art Research (IFAR) lists sources, including the Daumier Register, to obtain information on the body of work (catalogues raisonnés) for Honoré Daumier.

In the Fall 2011 issue of The Journal of Art Crime, Lilian and Dieter Noack of the Daumier Register announced that they had pinned down the the location of two paintings by the French painter and lithographer Honoré Daumier (1808-78) whose whereabouts had been previously unknown to the Swiss-based website that has the mission of identifying the works of the satirist of French society and politics.

The Daumier Register keeps a list of "Lost and Missing Paintings" and "Stolen and Looted Paintings".

Daumier's oil painting,
 "Femme avec deux enfants"

Daumier’s (“Femme avec deux enfants” / “Mother with her children” (numbered as DR7196 in the Daumier Register) is an oil painting (1865/68) that has been in the collection of the National Museum of Serbia in Belgrave, Serbia, since 1949, according to the Noacks, founders of the Daumier register, who report that "rumours about the theft of the picture are thus unfounded." The painting was reportedly owned by Ambroise Vollard, a Parisian art dealer who died in an auto accident in 1939 whose assistant Erich Schlomovic, a young Croatian Jew, exhibited the painting in Zagreb in 1940.   The painting was also exhibited in Prague, 1971; Zagreb again in 1989-90; Japan, 2005-6; and in Como, Italy, in 2007. The communist government of Yugoslavia incorporated the painting into the state's collection after World War II. [Schlomovic was murdered at the age of 27 in a mobile gas chamber in 1942).

The National Museum of Serbia in Belgrade closed its permanent collection on June 1, 2003, for a reconstruction.

Daumier's "Third Class"

The second painting, DR9119 (“Un wagon de troisième classe “ / “Third Class “ / “Wagen dritter Klasse’) had disappeared after it had been sold in 1982 at Drouot Auction in Paris. It was part of two Daumier paintings (the second being DR7005), which belonged to the estate of Parisian industrialist Roger Leybold (1896-1970) and shows an interesting Third Class Carriage scene, according to the Daumier Register. "We were informed by the owners that it was offered for sale in 2011 by Galerie AB in Paris where it had been stored since 1982," Daumier Register reported. You may read more about the background of this painting here.


The International Foundation for Art Research (IFAR) lists sources, including the Daumier Register, to obtain information on the body of work (catalogues raisonnés) for Honoré Daumier.

reade more... Résuméabuiyad