Immunity From Seizure

THE
NATIONAL
GALLERY
IMMUNITY
FROM SEIZURE
SISLEY IN ENGLAND AND WALES
The National Gallery, London
12 November 2008 – 15 February 2009
Amgueddfa Cymru – National Museum Wales
7 March – 14 June 2009
The National Gallery, Trafalgar Square, London WC2N 5DN
Immunity from Seizure
IMMUNITY FROM SEIZURE
The National Gallery is able to provide immunity from seizure under part 6 of the Tribunals,
Courts and Enforcement Act 2007. This Act provides protection from seizure for cultural
objects from abroad on loan to temporary exhibitions in approved museums and galleries in
the UK.
The conditions are:
•
The object is usually kept outside the UK
•
It is not owned by a person resident in the UK
•
Its import does not contravene any import regulations
•
It is brought to the UK for public display in a temporary exhibition at a museum or
gallery
•
The borrowing museum or gallery is approved under the Act
•
The borrowing museum has published information about the object
For further enquiries, please contact [email protected].
Protection under the Act is sought for the objects listed in this document, which are
intended to form part of the forthcoming exhibition, ‘Sisley in England and Wales.
Copyright Notice: no images from these pages should be reproduced without permission.
The National Gallery, Trafalgar Square, London WC2N 5DN
1
Immunity from Seizure
SISLEY IN ENGLAND AND WALES
The National Gallery, London
12 November 2008 – 15 February 2009
Amgueddfa Cymru – National Museum Wales
7 March – 14 June 2009
Protection under the Act is sought for the objects listed below:
Alfred Sisley (1839 – 1899)
X6433
The Road from Hampton Court to
Molesey
1874
Place of manufacture unknown
Painting
Oil on canvas
Support: 38.8 x 55.8 cm
Signed lower left: Sisley 74
Bayerische Staatsgemäldesammlungen
München, Neue Pinakothek
Lender’s name and address
© Bayerische Staatsgemäldesammlungen Neue
Pinakothek, Munich. Photo Blauel/Gnamm - ARTOTHEK
Bayerische Staatsgemäldesammlungen
Barer Strasse 29
Munich 80799
Germany
Accession Number
no. 13134
Provenance
1902 collection of Jules Strauss, Paris, his sale, Hotel Drouot, Paris, 3 May 1902, lot 67;
collection Zygomalas, Marseilles, his sale, Georges Petit, 8 June 1903, lot 41; collection
Durand-Ruel, Paris; collection Georges Bernheim, Paris, probably since 1917 (1); private
collection, Basel (undated); acquired by Munich from Dr Willi Raeber, Basel, 1961
This painting has incomplete provenance information for the years 1933-45. It has been
checked on the Art Loss Register and is not registered as being stolen or missing.
(1) Not among the paintings looted from Georges Bernheim. Communication from Dr
Andrea Bambi, provenance researcher, Bayerische Staatsgemäldesammlungen, Munich,
15/9/2008.
The website of the Bayerische Staatsgemäldesammlungen, Munich Neue Pinakothek invites
anyone with information on provenance issues to contact them:
Dr Andrea Christine Bambi
The National Gallery, Trafalgar Square, London WC2N 5DN
2
Immunity from Seizure
Tel. 00 49 (0) 8923 805 119
[email protected]
Exhibitions
Alfred Sisley, Galeries Georges Petit, Paris, 1917, no. 4
The Impressionists in London, Hayward Gallery, London, 1973, no. 42
Alfred Sisley, Royal Academy of Arts, London, Musée d’Orsay, Paris, Walters Art Gallery,
Baltimore, 1992-3, no. 27 (London only)
Bibliography
V.Pica, Gl’Impressionisti francesi, Bergamo, 1908, p. 145
F.Daulte, Alfred Sisley, Catalogue raisonné de l’oeuvre peint, Lausanne, 1959, no. 120
K.Martin, ‘Berichte der Staatlichen Kunstsammlungen’, Műncher Jahrbuch der bildenden
Kunst, 3, 1962, pp. 260, 26
R.Netzer, Alfred Sisley, ‘Strasse bei Hampton Court’, Kunstwerke der Welt aus dem
öffentlichen Bayerischen Kunstbesitz, II, 1962, no. 71
K.Martin, Die Tschudi-Spende, Munich 1962, p. 40, plate 10
Von Giotto bis Picasso. Meisterwerke aus den Bayerischen Staatsgemäldesammlungen,
Munich 1972
L.Dittmann, ‘Zum Sinn der Farbgestaltung im 19. Jahrhundert’, Beitrage zur Problem des
Stilpluralismus, Munich 1977, p. 102, plate 4
N.Kardinar, Alfred Sisley, Dresden 1979, plate 12
G.Hopp et al, Bayerische Staatsgemäldesammlungen. Neue Pinakothek, Munich.
Impressionisten, Post-Impressionisten und Symbolisten. Ausländische Kunstler, Munich, 1990,
pp. 267-8, no. 13134
X6439
Under the Bridge at Hampton Court
1874
Place of manufacture unknown
Painting
Oil on canvas
Support: 51 x 76.5 cm
No inscriptions
Winterthur, Kunstmuseum Winterthur
Geschenk von Dr. Herbert und
Charlotte Wolfer-de Armas, 1973
Lender’s name and address
Kunstmuseum Winterthur
Museumstr. 52
Winterthur CH-8400
Switzerland
© Kunstmuseum Winterthur
Accession Number
1549
The National Gallery, Trafalgar Square, London WC2N 5DN
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Immunity from Seizure
Provenance
Collection E. Decap, Paris, his sale, 15 April 1901, Hotel Drouot, Paris, lot 28, sold for 3450 fr;
Fritz Nathan (1895-1972), Zűrich (1); Dr Heinrich Wolfer (1882-1969), Winterthur, almost
certainly acquired from Nathan in the 1950s; Dr Herbert (son of Heinrich) and Charlotte
Wolfer-de-Armas, Winterthur, by whom donated to Winterthur Kunstmuseum, 1973
(1) The archive, which was kindly checked by Dr Johannes Nathan, gives no further
information about this painting.
This painting has incomplete provenance information for the years 1933-45. It has been
checked on the Art Loss Register and is not registered as being stolen or missing
Exhibitions
Europaïsche Meister, 1790-1910, Kunstmuseum, Winterthur, 1955, no. 181
Experiment Sammlung II: Fűnf Sammlungen fűr das Museum, Kunstmuseum Winterthur,
1984, pp. 14, 15
Alfred Sisley, Royal Academy of Arts, London, Musée d’Orsay, Paris, Walters Art Gallery,
Baltimore, 1992-3, no. 26
Von Bonnard bis Léger: Französiche Kunst 1880-1940 aus der Sammlung, Kunstmuseum
Winterthur, 1993
Sisley und die Brücke von Hampton Court, Stiftung Sammlung E.G.Bührle, Zurich, 1999, no. 4
Von Delacroix bis Bonnard. Sammlung Wolfer, Winterthur, Kunstmuseum, 2005
Die Kunst des Handelns: Meisterwerke des 14. bis 20. Jahrhunderts bei Fritz und Peter
Nathan, Kunsthalle Tübingen, 2005-6, no. 151
Blühendees: Ein Blick auf die Sammlung, Kunstmuseum Winterthur, 2007
Bibliography
F.Daulte, Alfred Sisley, Catalogue raisonné de l’oeuvre peint, Lausanne, 1959, no. 124
L. Reidemeister, ‘Die Brücke von Hampton Court’, Die Kunst und das schöne Heim’, vol 55,
1956, pp. 1, 2, 3, illustrated
J.Lassaigne and S. Gache-Patin, Sisley, Paris, 1983, pp. 91-2, illustrated
N.Reed, Sisley and the Thames, London 1991, p. 18, illustrated
R. Cogniat, Sisley, Paris, 1992, p. 36, illustrated
I. Gale, Sisley, London 1992, pp. 78-9, illustrated
E. Shanes, Impressionist London, New York, 1994, p. 49, illustrated
Impressionists in Winter. Effets de Neige, exhibition catalogue, Phillips Collection,
Washington, Fine Arts Museums of San Francisco at the Centre for the Arts at Yerba Buena
Gardens, San Francisco; Brooklyn Museum of Art, New York, 1998-9, pp. 72-3, illustrated
Alfred Sisley. Poeta dell’impressionismo, exhibition catalogue, Palazzo dei Diamanti, Ferrara,
2002, p. 39, illustrated; Musée des Beaux-Arts, Lyons, 2002-3, p. 29, illustrated
S. Allard, L de Cars, Le XIXe siècle: 1819-1905, Paris, 2006, p. 276, illustrated
The National Gallery, Trafalgar Square, London WC2N 5DN
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Immunity from Seizure
X6431
Bridge at Hampton Court
1874
Place of manufacture unknown
Painting
Oil on canvas
Support: 45.5 x 61 cm
Signed lower left: Sisley 74
Wallraf-Richartz Museum & Fondation
Corboud, Cologne
Lender’s name and address:
Wallraf-Richartz-Museum & Fondation
Corboud
Martinstraße 39
Cologne 50667
Germany
© Rheinisches Bildarchiv, Cologne
Accession Number WRM 2929
Provenance
Théodore Duret, Paris, his sale, Georges Petit, Paris, 19 March 1894, no. 40; private
collection, Wuppertal-Elberfeld (1); collection of Otto Wolff (1881-1940) or his son, Otto
Wolff von Amerongen (1918-2007) (2); collection of Frau Frangenheim, Cologne, probably
wife of Professor Paul Frangenheim (1876-1930)(3); acquired from the Kunstverein for
Rhineland and Westphalia, 1956 (4)
This painting has incomplete provenance information for the years 1933-45.
(1) Stefan Pucks (Impressionism. Paintings collected by European Museums, 1999, p. 218)
states that it came into this private collection at the beginning of the twentieth century. He
gives no reference for this.
(2) Otto Wolff, a German industrialist with a Jewish partner (Ottmar Strauss) before the firm
was aryanised. Wolff took over Strauss’s villa in Cologne and probably had a hand in the
sale of his collection. Although his passion was for books, he did collect art, as did his son,
Otto Wolff von Amerongen. The Art Loss Register has ascertained that there is no Sisley
mentioned in the list of the father’s private collection held at the Otto Wolff Foundation in
Cologne.
(3) The picture may have been acquired by Professor Frangenheim from Otto Wolff prior to
his death in 1930, and then stayed in the Frangenheim family’s possession until 1956.
However, at present it cannot be excluded that Frau Frangenheim could have obtained the
picture in her own right any time between 1933 and 1940 from Otto Wolff, or from his son,
Otto Wolff von Amerongen before 1956. Report from the Art Loss Register, 12/09/2008.
(4) The records for this acquisition cannot be located, as reported by the Art Loss Register.
The Wallraf-Richartz Museum and Fondation Corboud in Cologne invites anyone with
information or comments regarding provenance to contact them at the following address:
Dr. Roswitha Neu-Kock
Referat für übergreifende Museumsangelegenheiten/Provenienzforschung
Richartzstr. 2 – 4
50667 Köln
T. 0049-221-221-22520
F. 0049-221-221-24005
The National Gallery, Trafalgar Square, London WC2N 5DN
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Immunity from Seizure
Exhibitions
Ausstellung französischer Malerei des 19. Jahrhunderts, Galerie Ernst Arnold, Dresden, 1914,
not in catalogue or p. 20, no. 103
Alfred Sisley, Royal Academy of Arts, London, Musee d’Orsay, Paris, Walters Art Gallery,
Baltimore, 1992-3, no. 25
Impressionism. Paintings Collected by European Museums, High Museum of Art, Atlanta;
Seattle Art Museum; Denver Art Museum 1999, no. 58
Alfred Sisley. Poeta del Impresionismo, Palazzo dei Diamanti, Ferrara; Museo ThyssenBornemisza, Madrid; Musee des Beaux-Arts, Lyon, 2002-3, (Madrid, no. 23, and Lyons, no.
25, only)
Bibliography
P. Schumann, ‘Französische Ausstellung in Dresden’, Die Kunst, vol 29, 1914, p. 478,
illustrated, p. 479
Moderne Malerei von Impressionismus zur Gegenwart, Altona-Bahrenfeld, 1933, pp. 26-7
W. Uhde, Impressionisten, Vienna, 1937, plate 55
A.E.Brinckmann, Welt der Kunst, Baden-Baden, 1951, p. 60, plate on p. 61
L. Reidemeister, ‘Die Brücke von Hampton Court’, Die Kunst und das schöne Heim’, vol 55,
1956, pp. 1, 2, 3, illustrated
L. Reidemeister, ‘Begegnungen mit Emil Buhrle’, Kunsthaus Zürich, Sammlung Emil G.
Bührle, Zurich 1958, p. 22
F.Daulte, Alfred Sisley, Catalogue raisonné de l’oeuvre peint, Lausanne, 1959, no. 123
R.Andree, Katalog der Gemälde des 19. Jahrhunderts im Wallraf-Richart-Museum, Cologne,
1964, p. 114, no. 2929
J.Lassaigne and S. Gache-Patin, Sisley, Paris, 1983, p.90, illustrated
N.Reed, Sisley and the Thames, London 1991, p. 18, illustrated
R. Cogniat, Sisley, Paris, 1992, p. 35, illustrated
Alfred Sisley, exhibition catalogue, Royal Academy of Arts, London, Musee d’Orsay, Paris,
Walters Art Gallery, Baltimore, 1992-3, p. 132, illustrated
R. Shone, Alfred Sisley, 1992, illustrated p. 71
The National Gallery, Trafalgar Square, London WC2N 5DN
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