Provenance Research at the AGO

WHAT IS PROVENANCE?

Provenance refers to the ownership history of a painting – who owned it and when, from the time of its creation to the present. The study of provenance is a traditional part of art historical research and helps us to better understand the artwork – its function, condition, authenticity and its place in historical collecting practices.

WHAT IS PROVENANCE RESEARCH?

The AGO is committed to investigating the provenance or history of ownership of works in the AGO Collection its collection as they are acquired, for art historical as well as legal and ethical reasons. The AGO believes stolen or looted objects have no place in a public museum. Having a complete provenance for a given work of art is often difficult if not impossible to establish and does not mean that the work was looted or stolen, only that the complete ownership history cannot be reconstructed today. Research into artworks is ever-evolving as resources and archives become available.

Provenance research at the AGO is overseen by the museum’s Provenance, Repatriation and Restitution Committee, made up of employees from various departments. Established in 2020, and operating in accord with national law, international conventions and principles, the Committee assesses all collecting areas, with focussed attention on Indigenous and African works as well as works that may have been in Europe during the Nazi regime (1933-1945). The committee can suggest repatriation in response to requests received from First Nations, or have materials designated as needing repatriation. If a work in the AGO Collection is determined to have been confiscated or sold under duress, the committee will work to identify the rightful owner or heir and restitute the work of art.

Questions for the AGO Provenance, Repatriation and Restitution Committee can be directed to Liana Radvak, Registrar, Collections Information & Image Resources.

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.

OWNERSHIP RESOLUTIONS

The Provenance, Repatriation, and Restitution Committee works in accordance with the AGO’s Acquisition and Deaccessioning to resolve ownership issues relating to works in the AGO Collection.

Click title to view the details of each artwork

Still Life with Flowers
Jan van Kessel II, Still Life with Flowers

Kessel II, Jan van (Attributed to) (Flemish, 1626 – 1679), Still Life with Flowers, c 1660, oil on panel, 44.4 x 51.3 cm. Gift of Mr. and Mrs. Henry F. Davis, in memory of his mother, 1995. 95/268 (Deaccessioned) © 2001 Art Gallery of Ontario

Provenance:

[1] Dagobert and Martha David of Dusseldorf; Martha David forced sale Brussels; [2] (Arens, Antiquités et Tableaux, of Brussels); Dr. Hans A. Wetzlar of Amsterdam; His sale at (Hans W. Lange, of Berlin, as Jan Brueghel I) on January 27, 1943, lot 13; [3] (Wildenstein & Co., London, England) (as Jan Brueghel the Elder); Purchased in 1951 or 1952 by Henry Davis of Ottawa; By whom donated in 1995 to the AGO; The AGO formally deaccessioned the painting on October 27, 2020.

[1] Gap in provenance
[2] Gap in provenance
[3] Gap in provenance

The Dormition of the Virgin 17th century
The Dormition of the Virgin 17th century, painting by Esteban Marquez

Provenance:

Made for the Convento de Nuestra Señora de Gracia, Seville [1]. William Harris, London dealer; June 16, 1810, Christie’s, London, lot A5 (as by Murillo), sold to Lee. Sold by Cochrane Johnston to William Manning (1763-1835), Hertfordshire; about 1816-1826, purchased by John Biddulph (1768-1845), Ledbury, Herefordshire; by descent to his grandson, Michael Biddulph, 1st Baron Biddulph (1834-1923), Ledbury Park, Herefordshire; May 19, 1916, anonymous (Property of a Nobleman, sold for the Benefit of La Croix Rouge Française) sale, Christie’s, London, lot 105 (as by Murillo), purchased by Nicholson; sold by Kunsthaus Malmedé to Adolfo Marx, Barcelona (also identified as Adolfo Marx Weil, Adolpho Marx; b. Heidelberg, Germany1865- d. Marylebone, London, 1936) [2]. Galveston Fine Arts Associated, S. A., Tortola, British Virgin Islands; April 22, 1993, Christie’s, London, lot 43 (as by Marquez), purchased by Joey and Toby Tanenbaum, Toronto; December 1995, gift of Joey and Toby Tanenbaum to the AGO; in agreement with the heirs of Adolfo Marx, 2024.

NOTES:
[1] The painting was taken from the convent following French invasion in 1810. The convent was closed in 1835.
[2] Gap in provenance from 1934 to 1993

This painting was donated to the AGO in 1995. In 2021, heirs of art collector Adolfo Marx (1865-1936) contacted the gallery to indicated that Marx had owned the painting in Spain during the 1920s and 1930s, and then lost possession sometime after fleeing to England in 1936 amidst rising fascism. After an extensive research process, the AGO reached an agreement with Marx’s heirs that the painting would remain at the gallery.

ART WORKS UNDER INVESTIGATION

Major paintings, sculptures and drawings from the AGO’s European Collection with gaps in their provenance between the critical years of 1933-1945 are listed below. You can view what information is known by clicking on the titles below. This list will be updated as additional information becomes available.

Click title to view the details of each artwork under investigation

Asselijn, Jan. Landscape with Ancient Ruins
Landscape with Ancient Ruins, oil painting by Jan Asselijn

Provenance:

[1] (Colnaghi, London, 1956); Purchase 1956 Art Gallery of Toronto.
[1] Gap in provenance before 1956

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Bassano, Leandro. Portrait of a Man
Portrait of a Man, painting by Leandro Bassano

Provenance:

[1] Rogerson Esq., 1939; Sampson (or Samson) Collection, Dutch Art, 1950; (P. & D. Colnaghi & Co. Ltd., London, 23 December,1957); Purchase 1957, Art Gallery of Toronto
[1] Gap in provenance before 1939

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Boldini, Giovanni. Portrait of Béatrice Ephrussi de Rothschild
Giovanni Boldini, Portrait of Béatrice Ephrussi de Rothschild

Giovanni Boldini, (Italian, 1845 - 1931), Portrait of Béatrice Ephrussi de Rothschild, 1899, pastel on wove paper. Overall (irregular): 27.5 x 20 cm (10 13/16 x 7 7/8 in.) Gift in memory of Rose and Noah Torno, 2006 2005/131

Provenance:

Mme. Edouard de Rothschild; Mr. Noah Torno, Toronto; Dr. Michael Laine, Glencairn, Ontario, by descent (son of Rose and Noah Torno), 2004 [1] Date acquired by Mme. Edouard de Rothschild unknown

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Boudin, Eugène Louis. Trouville Le Port
Eugène Louis Boudin, Trouville Le Port

Eugène Louis Boudin, (French, 1824 - 1898), Trouville Le Port, 1890, oil on panel. Overall: 37.2 x 46.4 cm (14 5/8 x 18 1/4 in.) Gift from the Estate of R. Fraser Elliott, 2005. 2005/168

Provenance:

A. Blanc, Paris; Galerie Georges Petit, Paris – vente A. Blanc, 3-4 Dec. 1906, no. 12; Galeries Durand-Ruel, Paris; Nune and Fiquet, Paris (by 7 May 1918); [1] Emile Lernoud, Buenos Aires; Lavedan de Cazaubon, Paris; Palais Galliéra, Paris, 29 Nov. 1969, no. 78. Jacques Dubourg, Paris; G. Blair Lang, Toronto; R. Fraser Elliott, Toronto (by Oct. 1971) [1] Date after 1918 not known when acquired by Emile Lernoud, Buenos Aires

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Camoin, Charles. La Baie d'Ajaccio
Charles Camoin, La Baie d'Ajaccio

Charles Camoin, (French, 1879 - 1965), La Baie d'Ajaccio, 1906, oil on canvas. Overall: 46 x 55.2 cm (18 1/8 x 21 3/4 in.) Gift from the Estate of R. Fraser Elliott, 2005. 2005/169

Provenance:

[1] Galerie Marcel Bernheim, Paris; Private Collection, Paris; R. Fraser Elliott, Toronto (by Aug. 1971).
[1] Date acquired by Galerie Marcel Bernheim, Paris unknown.

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Dalou, Jules. Bust of a Young Woman
Bust of a Young Woman, sculpture by Jules Dalou

Provenance:

[1] (Mallet at Bourdon House Ltd. London, 1964); Purchased with gifted funds, 1964, Art Gallery of Ontario
[1] Gap in provenance before 1964

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Dalou, Jules. Head of a Little Boy
Head of a Little Boy by Jules Dalou

Provenance:

[1] (Mallet at Bourdon House Ltd. London, 1964); Purchased with gifted funds, 1964, Art Gallery of Ontario
[1] Gap in provenance before 1964

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Daumier, Honoré. La détresse
La détresse painting by Honoré Daumier

Provenance:

Roger Marx, Paris; (Marx sale, Galerie Manzi-Joyant, Paris, 11-12 May 1914, no. 112); purchased by Dikran Khan Kélékian. [1] (Anonymous sale, Hôtel Drouot, Paris 2 July 1952, no. 20). (Art market until 1956 New York); by Mr. Sam and Mrs. Ayala Zacks, Toronto; Gift 1972, Art Gallery of Ontario
[1] Gaps in provenance from 1914 to 1956

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Degas, Edgar. Woman at Her Bath
Woman at Her Bath painting by Edgar Degas

Provenance:

Atelier Degas, Paris, May 1918 (Vente I, no.73); Gumaelius, 1918; (Galerie Petit, Paris, vente Gumelius, 8 June 1922, no. 6); George Williams, Paris. (Cassirer, Berlin, 20 October 1932 [1]).by 1949 Robert Woods Bliss, Washington D.C.; (Stendahl Galleries Hollywood by 1956); sold 1956 to AGO.
[1] The painting was sold in "diverses collections" in Berlin in 1932 until it appeared in Washington, D.C. in 1949.

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Degas, Edgar. Grande Arabesque, troisième temps
Grande Arabesque, troisième temps sculpture by Edgar Degas

Provenance:

[1] (Marlborough Fine Art, London 1952); Purchase 1952 Art Gallery of Toronto.
[1] Gap in provenance before 1952

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
del Biondo, Giovanni. St. Benedict Restores Life to a Young Monk
St. Benedict Restores Life to a Young Monk, painting by Giovanni del Biondo

Provenance:

[1]Diana Buchanan, Balfron, Stirlingshire, Scotland; Purchase, 1953, Art Gallery of Ontario
[1] Date acquired by first owner unknown before 1953

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
del Biondo, Giovanni. Vision of St. Benedict
Vision of St. Benedict, painting by Giovanni del Biondo

Provenance:

[1]Diana Buchanan, Balfron, Stirlingshire, Scotland; Purchase, 1953, Art Gallery of Ontario
[1] Date acquired by first owner unknown before 1953

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Delacroix, Eugène. La Fiancee de Lammermoor
La Fiancee de Lammermoor painting by Eugène Delacroix

Provenance:

Fréderic Villot; (Vente Villot, Hotel Drouot, Salle No 5, Paris, Monday 6 December 1875, no. 61) (L. Ventes 35958). Jean Joseph Marie Anatole Marquet de Vasselot); (sale, Dessins Anciens et Modernes des Écoles Française, Italienne, Espagnole, Flamande, Hollandaise et Allemande, Hotel Drouot, Salle No.4, Paris, Thursday 28-Friday 29 May 1891, no. 81). (Andre Pacitti, in 1954). [1](Lucien Goldschmidt, 117 Madison Avenue, New York);Purchase 1980, by the Art Gallery of Ontario
[1] Gaps in provenance from 1891 to 1980.

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Derain, André. Face
André Derain, Face

André Derain, (French, 1880 - 1954), Face, 1919, red chalk on wove paper. Overall: 64 x 46 cm (25 3/16 x 18 1/8 in.) Gift in memory of Rose and Noah Torno, 2006. 2005/130

Provenance:

[1]B.C. Holland Gallery, Chicago; Jerrold Morris Gallery, Toronto; Mr. Noah Torno, Toronto, (by 1966); Dr. Michael Laine, Glancairn, Ontario, by descent (son of Rose and Noah Torno), 2004
[1] Date acquired by B.C. Holland Gallery, Chicago unknown

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Doomer, Lambert. Noah's Ark on Mount Ararat, a Camel Train outside a City in the Foreground
Noah's Ark on Mount Ararat, a Camel Train outside a City in the Foreground painting by Lambert Doomer

Provenance:

Curt Otto; (sale, C. G. Boerner, Leipzig, 7 November 1929). Cornelis Hofstede de Groot, The Hague. [1] (sale, C.G. Boerner, Leipzig, 4 November 1931, no. 82); purchased by Meijer Elte. [3] Carl Robert Rudolf, London; (sale, Sotheby's, Amsterdam, Fine Dutch, Flemish and German Drawings from the Collection of the Late Mr C.R. Rudolf...Monday 18 April 1977, no.46);(David Tunick, Inc. New York); purchased 23 November 1979 by Art Gallery of Ontario
[1] Gap in provenance from 1929 to 1931. [2] Gap in provenance from 1931 to 1977

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Dufy, Raoul. La Place d'Hyères l'obélisque et le Kiosque à Musique
Raoul Dufy, La Place d'Hyères l'obélisque et le Kiosque à Musique

Raoul Dufy, (French, 1877 - 1953), La Place d'Hyères l'obélisque et le Kiosque à Musique, 1927, oil on canvas. Overall: 60.3 x 73.2 cm (23 3/4 x 28 13/16 in.) Gift from the Estate of R. Fraser Elliott, 2005. 2005/170

Provenance:

[1] Galerie Mouradian-Vallotton, Paris; Dalzell Hatfield Galleries, Los Angeles; Mr. and Mrs. Michael T. Gottlieb, Arizona; Christie’s London, 3 July 1973, lot 52; Galerie Walter Klinkhoff, Montreal; R. Fraser Elliott, Toronto (by Nov. 1973).
[1] Date acquired by Galerie Mouradian-Vallotton, Paris unknown.

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Dufy, Raoul. Paysage en Sicile
Raoul Dufy, Paysage en Sicile

Raoul Dufy, (French, 1877 - 1953), Paysage en Sicile, c 1922 -1923, oil on canvas. Overall: 60.3 x 73 cm (23 3/4 x 28 3/4 in.) Gift from the Estate of R. Fraser Elliott, 2005. 2005/171

Provenance:

[1] Sotheby’s London, 2 Dec. 1970, hors catalogue; Galerie Walter Klinkhoff, Montreal; R. Fraser Elliott, Toronto (by Mar. 1971).
[1] No provenance before 1970.

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Dufy, Raoul. Terrasse et Chaise-Longue
Raoul Dufy, Terrasse et Chaise-Longue

Raoul Dufy, (French, 1877 - 1953), Terrasse et Chaise-Longue, c 1913 -1914, oil on canvas. Overall: 73 x 60 cm (28 3/4 x 23 5/8 in.) Frame: 102 x 89.5 cm (40 3/16 x 35 1/4 in.) Gift in memory of Rose and Noah Torno, 2006. 2005/129

Provenance:

Arthur Tooth & Sons, London. Knoedler, New York. Rose and Noah Tourno, Toronto (by 1962); Dr. Michael Laine, Glancairn, Ontario, by descent (son of Rose and Noah Torno), 2004
[1] Date acquired by Arthur Tooth & Sons, London unknown.

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Dunoyer de Segonzac, André. Birth of Venus
André Dunoyer de Segonzac, Birth of Venus, watercolour

André Dunoyer de Segonzac, (French, 1884-1974), Birth of Venus, c. 1932, watercolour, ink on wove paper. Overall: 42 x 60.8 cm (16 9/16 x 23 15/16 in.) Gift of Dr. and Mrs. A.D. Taliano, 2005. 2005/103

Provenance:

[1] Edwin Bachman, New York (as Basket of Fruit); Rolly-Michaux, New York; Dr. Albert Taliano, St. Catharines (by Dec.1976).
[1] Date acquired by Edwin Bachman, New York unknown.

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Dyck, Anthony van. Michel Le Blon
Michel Le Blon painting by Anthony van Dyck

Provenance:

M. Delessert by 1869; sale of Delessert collection, Paris, 15- 16 March 1869, no. 22. By c. 1910 Baron Hottinger, Paris; Cassirer, Amsterdam, 1939; (by 1945 M. Knoedler & Co. New York); J.J. Vaughan, Toronto, 1946; bequest 1965 to AGO.
[1] Gap in provenance from c. 1910 to 1945.

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Francheschini, Baldassare. Head of the Virgin
Head of the Virgin painting by Baldassare Francheschin

Provenance:

[1] (Kate de Rothschild, London); Purchased 14 December 1991 by the Art Gallery of Ontario 
[1] No provenance before 1991.

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Gauguin, Paul. Tahitian Landscape (recto)
Tahitian Landscape (recto), painting by Paul Gauguin

Provenance:

[1] (possibly Wildenstein) / art market, New York; purchased by Andrew Kershaw, Toronto; by inheritance before 1974 by Mrs. Mary Kershaw, Toronto; gift 1990 to the Art Gallery of Ontario
[1] No provenance before 1974.

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Giordano, Luca. The Plague
The Plague, painting by Luca Giordano

Provenance:

[1] (Julius Böhler, Munich); purchased 1968 by the Art Gallery of Ontario through Mr Walter Vitzthum
[1] No provenance before 1968.

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Giordano, Luca. St. Sebastian and the Holy Women
St. Sebastian and the Holy Women, painting by Luca Giordano

Provenance:

[1] (Rudolph S. Joseph, Munich); Purchased 1969 by the Art Gallery of Ontario through Dr Walter Vitzthum
[1] No provenance before 1969.

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
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  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Gleyre, Marc Charles Gabriel. Head of Omphale
Head of Omphale, painting by Marc Charles Gabriel Gleyre

Provenance:

Charles Gleyre; by 1878 Charles Denuelle. [1] (Frederick J. Cummings, New York); Purchased 1989 by the Art Gallery of Ontario
[1] Gap in provenance from 1878 to 1989.

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  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Gogh, Vincent van. A woman with a spade, seen from behind
A woman with a spade, seen from behind, painting by Vincent van Gogh

Provenance:

C. Mouwen Jr, Breda. Private Collection (Peletier?), Netherlands, by 1956.[1] G. Ribbius Peletier [-1969], Utrecht; upon Peletier's death, the painting becomes part of  Stichting Peletier tot behoud van het Landgoed Linschoten. [2] (sale, Sotheby Parke Bernet & Co., London, 1 July 1980). Ann and Lawrence Heisey, Toronto; gift 1997 to AGO
Not known exactly when it entered C. Mouwen Jr. collection in Breda.[1] Faille 1939, no. 105, no. F. 95 is the earliest published, work found to date, including C. Mouwen, Breda in the provenance. See also, Wisselingh & Co. (Amsterdam) 1956, no. 21.[2] During Peletier Jr's ownership a bracketed note elaborates,  lent to dealer Dr. Ir M. De Wild, The Hague (label on verso) and to Centraal Museum, Utrecht; after 1969 owned by Stichting Peletier tot behoud van het Landgoed Linschoten,  anonymous, cataloguing report with heading,  Section 6,  n.d., Accession 97/156. It is unclear when the work was lent to Dr. Ir. De Wild or to the Centraal Museum, Utrecht.

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  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Goyen, Jan van. View of Rhenen
View of Rhenen, painting by Jan van Goyen

Provenance:

(Colnaghi, London)[1]; Purchase 1960 Art Gallery of Toronto.
[1] Colnaghi letter to Martin Baldwin, 1 Apr. 1960:  The picture comes from an English private house, where it had been certainly for a considerable time. Unfortunately we bought it through an intermediary who has not been willing to disclose the name

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  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Greiner, Otto. Devil Showing Woman to the People
Devil Showing Woman to the People, painting by Otto Greiner

Provenance:

Graf Guido Usedom. [1] (Galerie Ostes-Kaschey Ltd, New York); Purchase 1969 to the Art Gallery of Ontario
[1] Gap in provenance before 1969.

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  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Guerin, Pierre Narcisse. Clytemnestra hesitates before killing the sleeping Agamemnon while her accomplice Egistus urges her on
Clytemnestra hesitates before killing the sleeping Agamemnon while her accomplice Egistus urges her on, painting by Pierre Narcisse Guerin

Provenance:

[1] (Galerie Cailleux, Paris); purchased 1989 by the Art Gallery of Ontario
[1] No provenance before 1989.

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  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Guillaumin, Armand. Chaumière à Damiette
Armand Guillaumin, Chaumière à Damiette

Armand Guillaumin, (French, 1841 - 1927), Chaumière à Damiette, c. 1885, oil on canvas. Overall: 54.2 x 69.8 cm (21 5/16 x 27 1/2 in.) Gift from the Estate of R. Fraser Elliott, 2005. 2005/172

Provenance:

[1] David Purves, Winnipeg; Mrs. Jackie Shore, Vancouver; Galerie Walter Klinkhoff, Montreal; R. Fraser Elliott, Toronto (by May 1987).
[1] Date acquired by David Purves, Winnipeg unknown.

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  • Footnotes are used to document or clarify where critical gaps in provenance exist.
John, Augustus Edwin. Two Children
Augustus Edwin John, Two Children

Augustus Edwin John, (British, 1878-1961), Two Children, c. 1909, graphite on wove paper. Overall: 35.5 x 25 cm (14 x 9 13/16 in.) Gift of Dr. and Mrs. A.D. Taliano, 2005. 2005/104

Provenance:

[1] Mr. and Mrs. Daniel H. Silberberg, New York. Harvey Lubitz, New York; Dr. Albert Taliano, St. Catharines (by 20 Mar. 1985).
[1] Date acquired by Mr. and Mrs. Silberberg, New York unknown.

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  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Le Sidaner, Henri Eugène Augustin. The Belvedere at Trianon, Versailles
Henri Eugène Augustin Le Sidaner, The Belvedere at Trianon, Versailles

Henri Eugène Augustin Le Sidaner, (French, 1862 - 1939), The Belvedere at Trianon, Versailles, 1915, oil on canvas. Overall: 73.5 x 60.4 cm (28 15/16 x 23 3/4 in.) Gift from the Estate of R. Fraser Elliott, 2005. 2005/174

Provenance:

Galerie Georges Petit, Paris (no. 10532; 21994); [1] Galerie Walter Klinkhoff, Montreal; R. Fraser Elliott, Toronto (by Nov. 1969).
[1] Date acquired by Galerie Walter Klinkhoff, Montreal unknown.

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  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Le Sidaner, Henri Eugène Augustin. La Chapelle blanche, Falaise
Henri Eugène Augustin Le Sidaner, French, La Chapelle blanche, Falaise

Henri Eugène Augustin Le Sidaner, (French, 1862 - 1939), La Chapelle blanche, Falaise, 1920, oil on canvas. Overall: 65.5 x 81.5 cm (25 13/16 x 32 1/16 in.) Gift from the Estate of R. Fraser Elliott, 2005. 2005/173

Provenance:

[1] Galerie Walter Klinkhoff, Montreal; R. Fraser Elliott, Toronto (by June 1971).
[1] Date acquired by Galerie Walter Klinkhoff, Montreal unknown.

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  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Léger, Fernand. Femme à Genou
Femme à Genou, painting by Fernand Léger

Provenance:

Widow (?) of Paul Rosenberg, Paris, by 29 June 1959; (Perls Gallery, New York, by 1963); sold 1963 to AGO.

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  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Loiseau, Gustave. Les ombres sur la mer, Fécamp
Gustave Loiseau, Les ombres sur la mer, Fécamp

Gustave Loiseau, (French, 1865 - 1935), Les ombres sur la mer, Fécamp, 1914, oil on canvas. Overall: 54 x 65 cm (21 1/4 x 25 9/16 in.) Gift from the Estate of R. Fraser Elliott, 2005. 2005/175

Provenance:

Durand-Ruel, Paris (inv. no. 10717). [1] Galerie Marcel Bernheim, Paris; R. Fraser Elliott, Toronto (by Feb. 1969).
[1] Date acquired by Galerie Marcel Bernheim, Paris unknown.

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  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Luce, Maximilien. Les Batteurs de pieux, le chantier
Maximilien Luce, Les Batteurs de pieux, le chantier

Maximilien Luce, (French, 1858 - 1941), Les Batteurs de pieux, le chantier, 1900, oil on canvas. Overall: 73.4 x 92.2 cm (28 7/8 x 36 5/16 in.) Gift from the Estate of R. Fraser Elliott, 2005. 2005/177

Provenance:

Anon. sale, Drouot, Paris, 12 Dec. 1921, no. 89; [1] R. Lanton, Paris; Rodriques-Henriquez, Paris. Christie’s, London, 4 April 1989, lot 149; R. Fraser Elliott, Toronto (through Galerie Walter Klinkhoff, Montreal) (by April 1989).
[1] Date acquired by R. Lanton, Paris unknown.

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  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Luce, Maximilien. Paris, Travaux
Maximilien Luce, Paris, Travaux

Maximilien Luce, (French, 1858 - 1941), Paris, Travaux, c. 1885, oil on canvas. 65.5 x 81 cm (25 13/16 x 31 7/8 in.) Framed: 90.2 × 106 × 11.4 cm (35 1/2 × 41 3/4 × 4 1/2 in.) Gift from the Estate of R. Fraser Elliott, 2005. 2005/176

Provenance:

[1] Vente Lombrail, Enghien, 27 May 1979; Vente Lombrail, Enghien, 24 Oct. 1982 (as “Travaux sur la Place”, no. 48); Private Collection, San Antonio. Galerie Walter Klinkhoff, Montreal; R. Fraser Elliott, Toronto (by Nov. 1988).
[1] No provenance before 1979.

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  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Manguin, Henri. Le Cercle Nautique, Marseilles
Henri Manguin, French, Le Cercle Nautique, Marseilles

Henri Manguin, (French, 1874 - 1949), Le Cercle Nautique, Marseilles, c. 1925-1926, oil on canvas. Overall: 46.2 x 55 cm (18 3/16 x 21 5/8 in.) Gift from the Estate of R. Fraser Elliott, 2005. 2005/178

Provenance:

Galerie Marcel Bernheim, Paris (by Feb.1926); [1] Galerie Vildrac, Paris; Christies London, 23 April 1971, lot 64 (as Quai de Marseilles); Galerie Walter Klinkhoff, Montreal (1971); R. Fraser Elliott, Toronto (by Oct. 1971)
[1] Date acquired by Galerie Vildrac, Paris unknown.

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  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Master, Jativa. The Crucifixion
he Crucifixion, painting by Jativa Master

Provenance:

Unknown Spanish collection before 1938. (Sotheby’s, Monaco, 17 -18 June 1988, no. 803); sold 1988 to Joey and Toby Tanenbaum, Toronto; gift 1995 to AGO.

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  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Master of the Straus Madonna. Virgin and Child with Angel and Four Saints
Virgin and Child with Angel and Four Saints, painting by Master of the Straus Madonna

Provenance:

Gerald R. Larkin; bequest 1961 to AGO

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  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Matisse, Henri. Jeannette V
Jeannette V , sculpture by Henri Matisse

Provenance:

[1] (Zwemmer, London, 1949); Purchase 1949 Art Gallery of Toronto.
[1] Gap in provenance before 1949

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  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Menzel, Adolf Friedrich Erdmann. Head of a Young Man
Head of a Young Man, painting by Adolf Friedrich Erdmann Menzel

Provenance:

[1] (Galerie Grünwald, Munich); Purchase, 21 November 1985, the Art Gallery of Ontario
[1] No provenance before 1985.

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  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Miro, Joan. Untitled
Untitled, painting by Joan Miro

Provenance:

[1] Private collection, Paris (?); [2] (by 1981 John and Paul Herring, New York); Purchase, Art Gallery of Ontario, 1981

[1] Gap in provenance
[2] Gap in provenance

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  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Mondo, Domenico. St. Michael Arresting the Plague in Naples
St. Michael Arresting the Plague in Naples, painting by Domenico Mondo

Provenance:

[1] (Genevieve Aymonier, Paris); purchased 30 June 1966 by the Art Gallery of Ontario
[1] No provenance before 1966.

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  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Monet, Claude. Charing Cross Bridge, brouillard
Charing Cross Bridge, painting by Claude Monet

Provenance:

(Galerie Georges Petit, Paris). (by Jan. 1924 Knoedler, Paris). Hugo Moser (?). (Drouot, Paris, 12 June 1930, no. 53); (Durand-Ruel). (by 1937 Marcel Bernheim, Paris) [1]. By c. 1968 Blanco, Uruguay. (by 1974 Wildenstein & Co. Inc., New York). Milton Harris, Toronto by 1982; gift 1990 to AGO.
[1] Gap in provenance from 1937 to c. 1968

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  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Monnoyer, Jean-Baptiste. Still Life: Flowers 17th century
Still Life: Flowers 17th century, painting by Jean-Baptiste Monnoyer

Provenance:

Aileen Larkin, Toronto, by November 1938; bequest 1967 to AGO.

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  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Mura, Francesco de. The Assumption of the Virgin
The Assumption of the Virgin, painting by Francesco de Mura

Provenance:

[1] Mrs. A. Ashton by 1950; (Sotheby's, London, Feb. 1950, lot 30 as Preti); (P&D. Colnaghi Co. Ltd.); Purchase 1951 Art Gallery of Toronto.
[1] Gap in provenance before 1950

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  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Nolde, Emil. Feriengäste (II)
Feriengäste (II), painting by Emil Nolde

Provenance:

Rönisch, Dresden before 1930. [1] (Sale, Stuttgarter Kunstkabinett, Stuttgart, sale 22, 1955, no. 1784 (pl. 43). Mr and Mrs Walter Bareiss, Greenwich, CT. (Fine Arts Associates, Galeries Otto Gerson). Mr and Mrs Leo Rogers, New York by 1957; (sale, Christie's, London, The Leo M. Rogers Collection, 27 June 1972, no. 138); sold to (Raymond Wilson)[2]. Mr. Fukumoto, Tokyo. (sale, Christie's, New York, Impressionist and Modern Paintings and Sculpture, 21 October 1980, no. 237); purchased by Charles Tabachnick, Toronto; (sale, London, Sotheby' Fauve and Expressionist Art from the Collection of Charles Tabachnick, sale LN7384, 24 June 1997, no. 17); bought in; gift 1997 to AGO [3]
[1] Note Provenance gap pre-1930 to 1955 [2]  Price List, Tuesday 27th June, 1972 / Impressionist and Modern Drawings / and Sculpture, tipped into front cover, Christie's, London, 27 June 1972. [3] The provenance is based on Urban 1990, no. 700, p. 86

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  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Panini, Giovanni Paolo. Roman Ruin with Figures
Roman Ruin with Figures, painting by Giovanni Paolo Panini

Provenance:

Miss M. Tonuucci. [1] (Sotheby's, London, 9 April 1970, no. 55). (G. C. Baroni, Florence, 1971); purchased 1971 by the Art Gallery of Ontario
[1] No provenance before 1970.

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  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Pastorini, Pastorino (after Polidcro de Caravaggio). A Group of Roman Soldiers with Lances, Swords and Banners (recto)
A Group of Roman Soldiers with Lances, Swords and Banners (recto), painting by Pastorino Pastorini (after Polidcro de Caravaggio)by

Provenance:

Padre Sebastiano Resta. [1] (Lucien Goldschmidt, New York); purchased 1968 by the Art Gallery of Ontario
[1] No provenance before 1968.

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  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Picasso, Pablo. La Soupe
La Soupe, painting by Pablo Picasso

Provenance:

Michael and Sarah Stein, Paris;[1] Gertrude Stein, Paris.[2] Karl/Klaus Sternheim, Paris by 1932.[3] Von Ripper, Paris.[4] (M. Knoedler & Co., New York).[5] (Caroll Carstairs Gallery, New York); purchased April 1949 by Mr Moffat Dunlap Esq., Toronto;[6] by inheritance to his wife Mrs Margaret Dunlap; Mrs Dunlap remarries with Mr J. Harold Crang, Toronto by 1957; gift 1983 to AGO.
Note Provenance gap: After Sternheim (1932), it is not clear when the picture was acquired by Von Ripper, Knoedler, and eventually Carstairs before it was sold in 1949. [1] New York/San Francisco 1970-1971, p. 164 [2] Moravia & Lecaldano 1968, no. 34, p. 89. It is unclear which of the Steins acquired the painting and which of the Steins disposed of it. Michael Stein's greater activity in the art market leads one to believe he acquired it and that he would have been the one to dispose of it, however Daix and Boudaille 1966 (no. VII.11, p. 209) claim Gertrude Stein owned the painting. Apparently, this painting was a favorite with the entire Stein family. It has long been known as having belonged to Gertrude Stein; it appears in old photographs of the apartment of her brother and sister-in-law, Michael and Sarah Stein. Margaret Potter (Associate Curator, Museum of Modern Art, New York) to Mrs Harold Crang, 11 March 1970, Accession 83/316. However, there has been disagreement regarding Gertrude Stein's ownership of the painting. Although your painting, Soup [sic], was not in Gertrude's collection, I wonder whether you would still be willing to lend it to us.  Jean Sutherland Boggs (National Gallery of Canada) to Mrs J.H. Crang, 2 March 1971, Accession 83/316. Subsequent correspondence on the matter of the Gertrude Stein provenance further muddies the water. The Stein family was very close at that time, and it is well-known that the Steins traded works back and forth and that Michael Stein, the elder brother, acted as a financial agent for all of the Stein family. Given the circumstance, I cannot be absolutely sure that the painting was once owned by Gertrude, but the circumstantial evidence is strong. Margaret Potter (Associate Curator, Museum of Modern Art, New York) to J.H. Crang, 1 April 1971, Accession 83/316. [3] Records are incomplete regarding the given name of the owner. The credit line under the reproduction of AGO 83/316 in Cahiers d'Art, VII (June 1932), p. 162 gives Klaus Sternheim as the owner. A letter from Christopher Burge (Vice President, Christie's Appraisals, New York) to Mrs J. Harold Crang (Toronto), 4 January 1984, Accession 83/316 also indicates Klaus Sternheim as the owner, although Burge's letter does not provide a location. The credit line in Zervos 1932 (I), no. 131, pl. 64 indicates Karl Sternheim is the owner. [4] Moravia & Lecaldano 1968, no. 34, p. 89. [5] Daix and Boudaille 1966 no. VII.11, p. 209 [6] Z. Sharkey (Carstairs Gallery, New York) to Mr Moffat Dunlap (Toronto), 11 April 1949, Accession 83/316 acknowledges receipt of payment through the Art Gallery of Toronto for La Soupe.

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Picasso, Pablo. Head of a Woman (Fernande)
Head of a Woman (Fernande), sculpture by Pablo Picasso

Provenance:

[1] (Zwemmer, London, 1949); Purchase 1949 Art Gallery of Toronto
[1] Gap in provenance before 1949

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Picasso, Pablo. Nu aux mains serrees
Nu aux mains serrees, painting by Pablo Picasso

Provenance:

Otto Boehringer, Mannheim; (Galerie Rosengart, Lucerne); Sam and Ayala Zacks, Toronto, 14 August 1956; gift 1970 to AGO.

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Preti, Mattia. St. Paul the Hermit
St. Paul the Hermit, painting by Mattia Preti

Provenance:

Private collection, Rome, before 28 September 1966. (P.D. Colnaghi & Co., London, 16 May- 2 June 1967, no. 6); sold 1967 to AGO.

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Puy, Jean. Village près de la mer - Collioure
Jean Puy, Village près de la mer - Collioure

Jean Puy, (French, 1876 - 1960), Village près de la mer - Collioure, 1913, oil on canvas. Overall: 60 x 81 cm (23 5/8 x 31 7/8 in.) Gift from the Estate of R. Fraser Elliott, 2005. 2005/180

Provenance:

[1] Palais Galliera, Paris; Me Rheims (22/06/1970). Galerie Walter Klinkhoff, Montreal; R. Fraser Elliott, Toronto (by Jan. 1972).
[1] Date acquired by Palais Galliera, Paris unknown.

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Reni, Guido. Christ Crowned with Thorns
Christ Crowned with Thorns, painting by Gudio Reni

Provenance:

Cardinal Mazarin, Paris, c. 1661 (unconfirmed) [1]. (Christie's, London, 21 December 1967, no. 10 bought in). (by 1978 Heim Gallery, London); Margaret and Ian Ross, Toronto, 1978; gift 1990 to AGO.
[1] Gap in provenance from c. 1661 to 1967

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Reynolds, Joshua. George Townshend, 4th Viscount Townshend
George Townshend, 4th Viscount Townshend, painting by Joshua Reynolds

Provenance:

By descent to 6th Marquess Townshend; (His sale, Christie's, London, 5 March 1904, lot 89); Asher Wertheimer; Lady Townshend.[1] (Thomas Agnew & Son, London); Purchase 1948 Art Gallery of Toronto
[1] Gap in provenance from Lady Townshend to 1948

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Ribera, Jusepe de. Saint Jerome
Saint Jerome, painting by Juespe de Ribera

Provenance:

Royal House of the Two Sicilies; by 1861/2? Princes of Bourbon Sicily and Naples [1]. (Hapsburg Feldman, New York, 9 January 1990, no. 49); Joey and Toby Tanenbaum, Toronto, 1990; gift 1995 to AGO.
[1] Gap in provenance from Italy 1861-2 to New York, 1990.

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Robert, Hubert. View of the Vaulting in St.Peter's Taken from an Upper Cornice

Provenance:

View of the Vaulting in St.Peter's Taken from an Upper Cornice, painting by Hubert Robert

[1] (Sotheby's, New York, 18 January 1984, no. 81); purchased 1984 by the Art Gallery of Ontario through Lucien Goldschmidt, New York
[1] No provenance before 1984.

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Schalcken, Godfried. Boy Holding a Torch
Boy Holding a Torch, painting by Godfried Schalcken

Provenance:

[1]Private collection. England. (Christie's sale).[2] (Rafael Valls, London, and Jack Kilgore & Co., New York, by 1992);[3] purchased 1997 by AGO.
Whereabouts unknown before 1992. Need to identify Christie's sale.[1] Provenance comes from an anonymous justification for acquisition, n.d., Accession 97/3.[2] The anonymous justification for acquisition, Accession 97/3, states, unidentified, inventory number of [sic] reverse [3] Advertisement for Rafael Valls Limited (11 Duke Street, London, SW1Y 6BN, t. 071 930 1144) in Simiolus, vol. 21, no. 4 (1992).

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Sisley, Alfred. Vue de Saint-Cloud, effet de soleil
Vue de Saint-Cloud, effet de soleil, painting by Alfred Sisley

Provenance:

M. Zygomalas. Marseille; (Galeries Georges Petit, Paris Vente Zygomalas, 8 June 1903, no. 39). Mme Alexandre Rosenberg, Paris. (Paul Rosenberg and Co., Paris). (by 1925 Thomas Agnew and Sons, London). (Alex Reid and Lefevre, London). (by 26 June 1927 Arthur Tooth and Sons, London); Heinemann, Munich, 1926 [1]. by 16 Feb. 1958 Private collection, Switzerland. On deposit at Musée d'Art et d'Histoire, Geneva from 1959-1986. by 1986 Fritz Nathan, Zurich; (Galerie Koller, Zurich, 21 November 1986); sold 1986 to Fraser Elliot Toronto; gift 1989 to AGO.
[1] Gap in provenance from 1926 to 1958

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Snyders, Frans; Vos, Cornelis de. Still Life with Figures
Missing media item.
Still Life with Figures, painting by Cornelis de Vos; Frans Snyders

Provenance:

J.E. Strickland, Boynton Hall, Bridlington, Yorkshire, 19th century.[1] (Roland, Browse & Delbanco, London, 1952). Purchase 1952 Art Gallery of Toronto
[1] Gap in provenance from first recorded owner to 1952

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist
Vernet, Emile-Jean-Horace. Combat de corsaires, au lever de soleil
Combat de corsaires, au lever de soleil, painting by Emile-Jean-Horace Vernet

Provenance:

Purchased 10 November 1818 by Louis-Philippe, duc d'Orléans;[1] (sale, l'Hôtel des Ventes, Paris, 28 April 1851, no. 183). Unidentified Private Collections, France;[2] (sale, Hôtel des ventes [sic], Paris, 1981).[3] Private collection, France. (Wittgenstein, Paris, ca. 1992).[4] Joey and Toby Tanenbaum, Toronto; gift 14 December 1993 to AGO
Exact whereabouts not known between sale in 1851 through various private French collections until sale in 1981.[1] Dayot 1898a, p. 199 [2] Dr Andrew S. Ciechanowiecki (Director, Old Masters (Paintings and Sculptures) Ltd., London) to Janet Brooke (Curator of European Art to 1960, AGO), 28 October 1993, Accession 94/320, file 1/2.[3] Under PROVENANCE: / Collection, in Gilbert S. Edelson (Administrative Vice-President and Counsel, Art Dealers Association of America) to David A. Walden (Canadian Cultural Property Review Board), 30 June 1994, copy, Accession 94/320, file 1/2.[4] Janet Brooke (Curator of European Art to 1960, AGO) to Glenn Lowry (Director, AGO), Subject: Horace Vernet-donation, 19 July 1993, Accession 94/320 1/2. He [Joey Tanenbaum] recommends we ask Wittgenstein in Paris (where the painting was for sale last year).

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Vos, Cornelis de; Snyders, Frans. Still Life with Figures
Still Life with Figures, painting by Cornelis de Vos; Frans Snyders

Provenance:

J.E. Strickland, Boynton Hall, Bridlington, Yorkshire, 19th century.[1] (Roland, Browse & Delbanco, London, 1952). Purchase 1952 Art Gallery of Toronto
[1] Gap in provenance from first recorded owner to 1952

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Utrillo, Maurice. Eglise de Puteaux sous la neige
Maurice Utrillo, Eglise de Puteaux sous la neige

Maurice Utrillo, (French, 1883 - 1955), Eglise de Puteaux sous la neige, c. 1935, oil on canvas. Overall: 54.9 x 45.8 cm (21 5/8 x 18 1/16 in.) Gift from the Estate of R. Fraser Elliott, 2005. 2005/183

Provenance:

[1] M. Fotinsky, Paris. Wally Findlay Galleries, Chicago; A. and A. Thompson, Edmonton; Galerie Walter Klinkhoff, Montreal; R. Fraser Elliott, Toronto (by Mar. 1980).
[1] Date acquired by M. Fotinsky, Paris unknown.

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Utrillo, Maurice. La Belle Gabrielle à Montmartre
Maurice Utrillo, La Belle Gabrielle à Montmartre

Maurice Utrillo, (French, 1883 - 1955), La Belle Gabrielle à Montmartre, 1935, oil on canvas. Overall: 46 x 33 cm (18 1/8 x 13 in.) Gift from the Estate of R. Fraser Elliott, 2005. 2005/184

Provenance:

[1] Galerie Walter Klinkhoff, Montreal; R. Fraser Elliott, Toronto (by Mar. 1972)
[1] Date acquired by Galerie Walter Klinkhoff, Montreal unknown.

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Valadon, Suzanne. Nature morte aux fruits et aux fleurs
Suzanne Valadon, Nature morte aux fruits et aux fleurs

Suzanne Valadon, (French, 1865 - 1938), Nature morte aux fruits et aux fleurs, 1926, oil on canvas. Overall: 50.3 x 65.4 cm (19 13/16 x 25 3/4 in.) Gift from the Estate of R. Fraser Elliott, 2005. 2005/185

Provenance:

Pierre du Colombier. [1] A. and A. Thompson, Edmonton; R. Fraser Elliott, Toronto (through Galerie Walter Klinkhoff, Montreal) (by July 1981).
[1] Date acquired by A. and A. Thompson, Edmonton unknown.

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Valtat, Louis. Fleurs des champs
Louis Valtat, Fleurs des champs

Louis Valtat, (French, 1869 - 1952), Fleurs des champs, 1913, oil on canvas. Overall: 46.1 x 55 cm (18 1/8 x 21 5/8 in.) Gift from the Estate of R. Fraser Elliott, 2005. 2005/186

Provenance:

[1] R. Fraser Elliott, Toronto (by 1969)
[1] No provenance before 1969.

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Vlaminck, Maurice de. Ferme sur la Colline
Maurice de Vlaminck, Ferme sur la Colline

Maurice de Vlaminck, (French, 1876 - 1958), Ferme sur la Colline, c. 1926, oil on canvas. Overall: 53.8 x 64.9 cm (21 3/16 x 25 9/16 in.) Gift from the Estate of R. Fraser Elliott, 2005. 2005/187

Provenance:

[1] Léon Delaquerrière, Paris (Chief tenor of the Opéra Comique, Paris); Galerie Walter Klinkhoff, Montreal; R. Fraser Elliott, Toronto (by Mar. 1971).
[1] Date acquired by Léon Delaquerrière, Paris unknown.

Please use the guide to read Gallery provenance texts:

  • Provenance is listed in chronological order, beginning with the earliest known owner.
  • Dealers, auction houses or agents appear in parentheses.
  • Relationships between owners and methods of transactions are indicated by punctuation: a semicolon is used to indicate that the work passed directly between two owners (including dealers, auction houses, or agents), and a period is used to separate two owners (including dealers auction houses or agents) if a direct transfer did not occur or is not known to have occurred.
  • Footnotes are used to document or clarify where critical gaps in provenance exist.

HISTORY OF PROVENANCE RESEARCH AT THE AGO

Collection research began at the AGO in July 1998, when the AGO Board of Trustees established the Ad Hoc Committee on the Spoliation of Art in Europe (1998-2006) in response to the Association of Art Museum Directors (AAMD) Task Force Report on the Spoliation of Art during the Nazi/WWII Era (1933-1945). 

The chair of the Board Committee, Allan Gotlieb, and the Director, Matthew Teitelbaum, subsequently set up a staff task force chaired by Dr. Katharine Lochnan, Senior Curator, Prints and Drawings, with a mandate to develop policies and procedures regarding the search for wartime provenance and their implementation.

The AGO's staff task force (1998-2006) focussed on the most important paintings, sculptures and drawings in the European Collection with gaps in their provenance between the critical years of 1933-1945.

In 1999-2000, The Tecolote Foundation generously supported the work of two interns who conducted research on the provenance of the most important paintings in the AGO’s European Collection. In summer 2000, the Marvin Gelber Intern in Prints and Drawings began work on the provenance of the most important European drawings. Every work was checked with the New York-based Art Loss Register to see if any could be identified as works known to be missing.

ART WORKS ON SHORT-TERM LOAN TO THE AGO

The AGO borrows artworks from institutions and private collections outside of Ontario for the purposes of displaying them in exhibitions. Information about these objects is published below in accordance with provincial immunity from seizure legislation.

Keith Haring: Art is for Everybody
DOWNLOAD THE PDF (203 KB)

Wolfgang Tillmans: To look without fear
DOWNLOAD THE PDF (340 KB)

Building Icons: Arnold Newman’s Magazine World, 1938-2000.
DOWNLOAD THE PDF (136 KB)

Defaced! Money, Conflict, Protest
DOWNLOAD THE PDF (875 KB)

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