Spoliation Research

The AGO is committed to investigating the provenance of works in its permanent collection, particularly as it pertains the ownership history of European painting and sculpture during the 1933–45 period.

The Gallery is investigating the most important paintings, sculptures and drawings in the European collection with gaps in their history of ownership between these critical years. Forty six of these works are listed here.

You can view images of these works and the information available on them. Click the left-side menu to browse these works by artist's last name, or browse the listing below to view each of the works.

Find out more about Spoliation Research at the AGO

Introduction to the Provenance Research Project

Ownership History for European Painting and Sculpture, 1933-45

On July 16, 1998, The AGO Board of Trustees established the Ad Hoc Committee on the Spoliation of Art in Europe (1933-1945) in response to the American Art Museums Directors (AAMD) Task Force Report on the Spoliation of Art during the Nazi/WWII Era (1933-1945). This important policy document has since been adopted by the Canadian Association of Museum Directors (CAMDO).

In doing this, the AGO reaffirmed its ongoing commitment to research the provenance of works in its permanent collection, and underlined its adherence to professional ethics. 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 has focussed on the most important paintings, sculptures, and drawings the European collection with gaps in their provenance (history of ownership) between the critical years of 1933-1945. We are listing the first 46 here. We will continue to update this site as additional information becomes available.

The research process is lengthy and complex and involves curators working with dedicated researchers. 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 Art Gallery of Ontario'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 is being checked with the New York based Art Loss Registry to see if any can be identified as works that are known to be missing.

The Gallery has no reason to believe that any of the works in its collection were unlawfully confiscated during the Nazi/WWII era. It is our hope that continuing research into the provenance of works in the collection will allow us to determine with certainty where they were during this period of time.

The value of the research conducted cannot be overstated. By exercising due diligence in searching for all the information we can reasonably gather regarding our permanent collection, and the commensurate understanding of the works we hold in public trust, we reflect the core values of this institution.

Information or questions concerning these works, contact Liana Radvak, Registrar, Collections Information Resources.

Board Ad Hoc Committee on the Spoliation of Art in Europe (1933-45)

  • Allan Gotlieb (Chair)
  • Lucie Amyot
  • William Innes
  • Samuel Sarick
  • Joseph Tanenbaum
  • Joanne Tod

Ex. Officio:

  • Matthew Teitelbaum, Director
  • Dennis Reid, Chief Curator
  • Katharine Lochnan, Senior Curator, Prints and Drawings

Staff Task Force on the Spoliation of Art in Europe (1933-45)

  • Katharine Lochnan, Senior Curator, Prints and Drawings (Chair)
  • Mara Meikle, Manager, Curatorial Administration
  • Michael Parke-Taylor, Acting Curator of European Art
  • Larry Pfaff, Deputy Librarian
  • Liana Radvak, Registrar, Collection Information Resources
  • Barry Simpson, Registrar
Asselijn, Jan. Landscape with Ancient Ruins

Landscape with Ancient Ruins, oil painting by Jan Asselijn

Asselijn, Jan (Dutch, c 1615 - 1652), Landscape with Ancient Ruins, oil on canvas, 72.4 x 95.3 cm Purchase, 1956 #56/15 © 2001 Art Gallery of Ontario

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

Bassano, Leandro (Italian, 1557 - 1622), Portrait of a Man, oil on canvas, 68.6 x 53.3 cm. Purchase, 1958 #57/28 © 2001 Art Gallery of Ontario

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.
Chagall, Marc. Over Vitebsk

Over Vitebsk Painting by Marc Chagall

Chagall, Marc, Russian, 1887 - 1985, Over Vitebsk, c 1914, oil on card mounted on canvas, 70.3 x 91.0 cm. Gift of Sam and Ayala Zacks, 1970 #71/85 © Estate of Marc Chagall / ADAGP (Paris) / SODRAC (Montreal) 2000

Provenance:

Kagan Chabchay, Moscow and Paris, by 1923 [1929]; by 1939, Charles Im-Obersteg, Geneva and Basel [1943]; (Galerie Rosengart, Lucerne by 1951); Sam and Ayala Zacks, Toronto, 1951; 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.
Courbet, Gustave. Woman Painted at Palavas 1854

Woman Painted at Palavas 1854 painting by Gustave Courbet

Courbet, Gustave (French, 1819 - 1877), Woman Painted at Palavas 1854, c 1854, oil on canvas, 59.1 x 48.3 cm. Purchase, 1956 #56/13 © 2001 Art Gallery of Ontario

Provenance:

(Reid & Lefevre, London). by 1930 Mrs. H.O. Havemeyer, New York.[1] (Reid & Lefevre, London, 1956); Purchase 1956 Art Gallery of Toronto.
[1] Gap in provenance 1930-1956

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.
Dalou, Jules. Bust of a Young Woman

Bust of a Young Woman, sculpture by Jules Dalou

Dalou, Jules (French, 1838 - 1902), Bust of a Young Woman, bronze, 45.0 x 32.3 x 19.0 cm (without base). Purchase, 1964 #63/50 © 2001 Art Gallery of Ontario

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

Dalou, Jules (French, 1838 - 1902), Head of a Little Boy, bronze, 30.8 x 26.7 x 20.2 cm. Purchase, 1964 #63/51 © 2001 Art Gallery of Ontario

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

Daumier, Honoré (French, 1808-1879), La détresse, c 1860, charcoal on laid paper, 38.7 x 28.5 cm (Paper). Gift of Sam and Ayala Zacks, 1970 #71/108 © 2001: Art Gallery of Ontario

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

Degas, Edgar (French, 1834 - 1917), Woman at Her Bath, c 1895, oil on canvas, 71.1 x 88.9 cm. Purchase, 1956 #55/49 © 2000 Art Gallery of Ontario

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

Degas, Edgar (French, 1834 - 1917), Grande Arabesque, troisième temps, bronze, 43.2 x 54.6 x 24.2 cm. Purchase, 1952 #51/72 © 2001 Art Gallery of Ontario

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.
Delacroix, Eugène. La Fiancee de Lammermoor

La Fiancee de Lammermoor painting by Eugène Delacroix

Delacroix, Eugène (French 1798 - 1863), La Fiancee de Lammermoor, c 1826, graphite, watercolour and gouache on wove paper, 19.2 x 26.5 cm. Purchase, 1980 #80/83 © 2001: Art Gallery of Ontario

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.
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

Doomer, Lambert, (Dutch 1622/23 - 1700), Noah's Ark on Mount Ararat, a Camel Train outside a City in the Foreground, c 1678 -1679, pen and brown ink with brown, grey and yellow washes on laid paper, 26.7 x 41.0 cm. Purchase, 1978 #78/98 © 2001: Art Gallery of Ontario

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.
Dyck, Anthony van. Michel Le Blon

Michel Le Blon painting by Anthony van Dyck

Dyck, Anthony van (Flemish, 1599 - 1641), Michel Le Blon, c 1630-1635, oil on canvas, 78.1 x 61.0 cm. Bequest of J.J. Vaughan, 1965 #64/45 © 2000 Art Gallery of Ontario

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

Francheschini, Baldassare (Italian, 1611 - 1689), Head of the Virgin, red chalk, with traces of white chalk heightening on laid paper, 26.8 x 39.9 cm, Purchased, 1991 #91/150 © 2001 Art Gallery of Ontario

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

Gauguin, Paul (French 1848 - 1903), Tahitian Landscape (recto), c 1894, monoprint and watercolour (recto); charcoal and red pencil (verso) on wove paper, 23.1 x 30.1 cm. Gift from the Estate of Mary Kershaw, 1990 ? #90/628 © 2001 Art Gallery of Ontario

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

Giordano, Luca (Italian 1634 - 1705), The Plague, 1702-1704, brown ink and wash over black chalk on paper, 26.5 x 19.7 cm. Purchase, 1968 #68/14 © 2001 Art Gallery of Ontario

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

Giordano, Luca (Italian 1634 - 1705), St. Sebastian and the Holy Women, c 1655-1657, pen and brown ink on paper. 17.4 x 16.8 cm (sheet). Purchase, 1969 #68/21 © 2001: Art Gallery of Ontario

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.
  • 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.
Gleyre, Marc Charles Gabriel. Head of Omphale

Head of Omphale, painting by Marc Charles Gabriel Gleyre

Gleyre, Marc Charles Gabriel (French 1806 - 1874), Head of Omphale, c1863, graphite and stump on laid paper, 23.3 x 17.2 cm (sheet). Purchase, 1989 #89/45 © 2001: Art Gallery of Ontario

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.

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.
Gogh, Vincent van. A woman with a spade, seen from behind

A woman with a spade, seen from behind, painting by Vincent van Gogh

Gogh, Vincent van (Dutch 1853 - 1890), A woman with a spade, seen from behind, c 1885, oil on canvas on wood panel, 41.7 x 32.3 cm. Gift of Ann and Lawrence Heisey, 1997 #97/156 © 2003 Art Gallery of Ontario

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.

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.
Goyen, Jan van. View of Rhenen

View of Rhenen, painting by Jan van Goyen

Jan van Goyen (Dutch, 1596 - 1656), View of Rhenen, c 1641, oil on canvas, 143.5 x 222.9 cm Purchase, 1960 #60/5 © 2001 Art Gallery of Ontario

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

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.
Greiner, Otto. Devil Showing Woman to the People

Devil Showing Woman to the People, painting by Otto Greiner

Greiner, Otto (German 1869 - 1916), Devil Showing Woman to the People, 1897, black and red chalks on wove paper, 39.3 x 28.2 cm (sight). Purchase, 1969 #69/43 © 2001: Art Gallery of Ontario

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.

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.
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

Guerin, Pierre Narcisse (French 1774-1833), Clytemnestra hesitates before killing the sleeping Agamemnon while her accomplice Egistus urges her on, c 817, pen and ink, watercolour and gouache on laid paper, 26.7 x 21.7 cm. Purchase, 1989 #89/376 © 2001: Art Gallery of Ontario

Provenance:

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

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.
Léger, Fernand. Femme à Genou

Femme à Genou, painting by Fernand Léger

Léger,Fernand (French 1881-1955), Femme à Genou, c 1921, oil on canvas, 92.1 x 60.3 cm. Purchase, 1963 #63/4 © Estaate of Fernand Léger / ADAGP (Paris) / SODRAC (Montreal)

Provenance:

Widow (?) of Paul Rosenberg, Paris, by 29 June 1959; (Perls Gallery, New York, by 1963); sold 1963 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.
Lepautre, Pierre. Aeneas and Anchises with Ascanius

Aeneas and Anchises with Ascanius, sculpture by Pierre Lepautre

Lepautre, Pierre (French, 1660 - 1744), Aeneas and Anchises with Ascanius, bronze, 54.0 cm. Purchase, 1962 #61/81 © 2001 Art Gallery of Ontario

Provenance:

[1] Seligmann, Paris; (Mallet at Bourdon House); Purchase 1962 Art Gallery of Toronto
[1] Date acquired by first owner is unknown

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  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Marquez, Esteban. The Dormition of the Virgin 17th century

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

Marquez, Esteban (Spanish died 1696), The Dormition of the Virgin 17th century, oil on canvas, 252.2 x 160.0 cm. Gift of Joey and Toby Tanenbaum, 1995 #95/148 © 2000 Art Gallery of Ontario

Provenance:

Convent of La Trinidad Calzada, Seville [1]. by 1810; Lionel Harris, London; (Christie’s, London, 16 June 1810, no. 5 -- as a Murillo); Lee ?. Cochrane Johnson?. by c. 1820 Manning?; by 1916 Lord Biddulph ; (Christie’s, London, 19 May 1916, no. 105 --as a Murillo); by 1916 Nicolson. Adolphe Marx, Barcelona, 1928.[2] by 1993 Joey and Toby Tanenbaum, Toronto; gift 1995 to AGO.
[1] Sold during French occupation of Spain ca. 1810 to unknown person. [2] Gap in provenance from Barcelona 1928 to London 1993

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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

Matisse, Henri (French, 1869 - 1954), Jeannette V, c 1916, bronze, 58.0 x 20.8 x 28.7 cm. Purchase, 1949 #49/45 © Succession H. Matisse/SODART 2001

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

Menzel, Adolf Friedrich Erdmann (German 1815-1905), Head of a Young Man, 1897, charcoal and stump on wove paper, 21.0 x 13.0 cm (sheet). Purchase, 1985 #85/270 © 2001: Art Gallery of Ontario

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

Miro, Joan (Spanish 1893-1983) Untitled, c 1926, oil on canvas, 100.2 x 81.5 cm. Purchase, 1981 #81/158 © Estate of Joan Miro / ADAGP (Paris) / SODRAC (Montreal)

Provenance:

Private collection, Paris ?); (by 1981 John and Paul Herring, New York); sold 1981 to AGO

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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

Mondo, Domenico (Italian 1723-1806), St. Michael Arresting the Plague in Naples, pen and brown ink and wash, heightened with white on laid paper, 27.9 x 20.3 cm. Purchase, 1966 #65/54 © 2001: Art Gallery of Ontario

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

Claude Monet, born Paris, France, 1840; died Giverny, France, 1926, Charing Cross Bridge, brouillard, 1902, oil on canvas, 73 x 92 cm (28 3/4 x 36 1/4 in.). Framed: 103.2 x 121.9 x 13.3 cm (40 5/8 x 48 x 5 1/4 in.) Gift of Ethel and Milton Harris, 1990 90/161

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

Monnoyer, Jean-Baptiste (French 1634-1699), Still Life: Flowers 17th century, oil on canvas, 114.9 x 89.5 cm. Bequest of Miss L. Aileen Larkin, 1967 #67/3 © 2000 Art Gallery of Ontario

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

Mura, Francesco de (Italian, 1696-1782), The Assumption of the Virgin, c 1751, oil on canvas, 168.6 x 123.5 cm. Purchase, 1951 #51/8 © 2001 Art Gallery of Ontario

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

Nolde, Emil German(1867-1956), Feriengäste (II), c 1915, oil on canvas, 85.5 x 100.5 cm. Gift of Rose and Charles Tabachnick, 1997 #97/1606 © Seebull Ada Und 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’s 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

Panini, Giovanni Paolo (Italian 1691-1765), Roman Ruin with Figures, 1728, pen and brown ink and grey wash over black chalk on laid paper, 68.3 x 45.4 cm. Purchase, 1971 #70/147 © 2001: Art Gallery of Ontario

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

Pastorini, Pastorino (after Polidcro de Caravaggio), Italian, c 1508 - 1592, A Group of Roman Soldiers with Lances, Swords and Banners (recto), pen and brown ink and wash over traces of black chalk on paper, 26.6 x 15.9 cm. Purchase, 1968 #68/2 © 2001: Art Gallery of Ontario

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

Picasso, Pablo (Spanish 1881-1973), La Soupe, c 1902, oil on canvas, 38.5 x 46.0 cm. Gift of Margaret Dunlap Crang, 1983 #83/316 (C) Sucession Pablo PICASSO/ PICASSO adminstration/ SODRAC (Montreal) 2003

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.

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  • 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

Picasso, Pablo (Spanish,1881-1973), Head of a Woman (Fernande), c 1909, bronze, 41.9 x 26.1 x 26.7 cm. Purchase, 1949 #48/32 © Estate of Pablo Picasso (Paris)/SODRAC (Montreal) 2001

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.
Picasso, Pablo. Nu aux mains serrees

Nu aux mains serrees, painting by Pablo Picasso

Picasso, Pablo (Spanish,1881-1973), Nu aux mains serrees, c 1905-1906, gouache on canvas, 96.5 x 75.6 cm. Gift of Sam and Ayala Zacks, 1970 #71/297 © Estate of Pablo Picasso (Paris) / Sodrac (Montreal)

Provenance:

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

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  • Footnotes are used to document or clarify where critical gaps in provenance exist.
Poussin, Nicolas. Venus, Mother of Aeneas, presenting him with Arms forged by Vulcan

Venus, Mother of Aeneas, presenting him with Arms forged by Vulcan, painting by Nicolas Poussin

Poussin, Nicolas (French, 1594-1665), Venus, Mother of Aeneas, presenting him with Arms forged by Vulcan, c 1636-1637, oil on canvas, 108.0 x 134.6 cm. Purchase, 1948 #48/5 © 2001 Art Gallery of Ontario

Provenance:

Possibly commissioned by Nicola Giudice, Prince of Cellamare (1587-1672), Naples [created Principe di Cellamare, 1631];Princes of Cellamare, Naples (either Nicolas Giudice’s son, Domenico Giudice (d.1718) or Domenico’s son, Antonio (d.1733); By descent to Duchessa di Cellamare, Rome (1785-87); Carlo Ludovico of Bourbon, Duke of Luca (according to label on frame); (His sale, Phillips, London, 5 June 1841, lot 24, see Lugt, v.2, no.16238). [1] Arthur Ledger, Sheffield, 1945; Sold by him in 1945 to a dealer in Sheffield. H. Jefferson Barnes, Helensburg, Scotland, 1948; Purchase 1948, Art Gallery of Ontario
[1] Gap in provenance 1841 to 1945.

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  • 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

Preti, Mattia (Italian, 1613-1699), St. Paul the Hermit, c 1656-1660, oil on canvas, 233.7 x 181.0 cm. Purchase, 1968 #67/36 © 2000 Art Gallery of Ontario

Provenance:

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

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  • 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

Reni, Guido (Italian,1572-1642), Christ Crowned with Thorns, c 1622 -1623 oil on canvas, 64.9 x 49.0 cm. Gift of Margaret and Ian Ross in memory of Lance, 1990 #90/179 © 2000 Art Gallery of Ontario

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

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  • 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

Reynolds, Joshua (British,1723-1792), George Townshend, 4th Viscount Townshend, c 1779-1784, oil on canvas, 237.5 x 146.1 cm. Purchase, 1948 #48/6 © 2001 Art Gallery of Ontario

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

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  • 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

Ribera, Jusepe de (Spanish, 1591-1652), Saint Jerome, c 1613, oil on canvas, 125.7 x 99.5 cm. Gift of Joey and Toby Tanenbaum, 1995 #95/150 © 2000 Art Gallery of Ontario

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.

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  • 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

Robert, Hubert (French, 1733-1808), View of the Vaulting in St.Peter's Taken from an Upper Cornice, c 1793, red chalk on laid paper mounted on paper with hand-coloured border, 33.5 x 45.0 cm. Purchase, 1984 #83/312 © 2001: Art Gallery of Ontario

[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.

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  • 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

Schalcken, Godfried (Dutch, 1643-1706), Boy Holding a Torch, c 1692, oil on canvas, 24.5 x 21.3 cm. Purchase, 1997 #97/3 © 2003 Art Gallery of Ontario

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).

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  • 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

Sisley, Alfred (French, 1839-1899), Vue de Saint-Cloud, effet de soleil, c 1876, oil on canvas, 54.2 x 73.2 cm (unframed). Gift of Mr. and Mrs. R. Fraser Elliott, 1989 #89/402 © 2000 Art Gallery of Ontario

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

Still Life with Figures, painting by Cornelis de Vos; Frans Snyders

Vos, Cornelis de; Snyders, Frans (Flemish, 1579 - 1657; Flemish, 1584/85 - 1651), Still Life with Figures, c 1625, oil on cradled wood panel, 124.5 x 177.8 cm. Purchase, 1952 #51/71 © 2001 Art Gallery of Ontario

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

Vernet, Emile-Jean-Horace (French, 1789-1863), Combat de corsaires, au lever de soleil, c 1818, oil on canvas, 72.0 x 103.2 cm. Gift of Joey and Toby Tanenbaum, 1993 #94/320 (C) 2003 Art Gallery of Ontario

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

Vos, Cornelis de; Snyders, Frans (Flemish, 1579 - 1657; Flemish, 1584/85 - 1651), Still Life with Figures, c 1625, oil on cradled wood panel, 124.5 x 177.8 cm. Purchase, 1952 #51/71 © 2001 Art Gallery of Ontario

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.
del Biondo, Giovanni . St. Benedict Restores Life to a Young Monk

St. Benedict Restores Life to a Young Monk, painting by Giovanni del Biondo

Giovanni del Biondo (Italian, active c 1356-1398), St. Benedict Restores Life to a Young Monk, tempera and gold leaf on panel, 33.7 x 37.5 cm. Purchase, 1953 #52/36 © 2001 Art Gallery of Ontario

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

Giovanni del Biondo (Italian, active c 1356-1398), Vision of St. Benedict, tempera and gold leaf on panel, 35.8 x 39.3 cm. Purchase, 1953 #52/37 © 2001 Art Gallery of Ontario

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.
Master, Jativa . The Crucifixion

he Crucifixion, painting by Jativa Master

Jativa Master (also known as the Master of the Seven Sorrows of the Virgin),  Spanish (Valencia), active late 1400's, The Crucifixion, late 1400's, oil on panel lined with fabric, 87.9 x 84.7 cm. Gift of Joey and Toby Tanenbaum, 1995 #95/146 © 2000 Art Gallery of Ontario

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.

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.
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

Master of the Straus Madonna (Italian (Florence), c 1350 - c 1420), Virgin and Child with Angel and Four Saints, c 1400-1415, tempera and gold leaf on panel, 74.9 x 44.5 cm (Sight). Bequest of Gerald R. Larkin, 1961 #60/70 © 2000 Art Gallery of Ontario

Provenance:

Gerald R. Larkin; bequest 1961 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.
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