Spoliation Research

The Beaverbrook Art Gallery is dedicated to the preservation and exhibition of works of art, and is equally committed to the research and interpretation of those objects for which we are responsible: our collection. While the study of stylistic influence is important, it is the accompanying social history that provides a context in which to thoroughly understand an artwork. This context includes the era in which an artwork was produced, as well as its subsequent history, including exhibitions, published references, and ownership ("provenance").

Awareness of the extent of cultural destruction and pillage under the Nazi regime has given new urgency to settling histories of cultural property ownership. This Gallery has adopted guidelines established by the International Council of Museums (ICOM) and the Canadian Museums Association (CMA) concerning the confiscation of objects during the Nazi era. These guidelines recommend that collections research specifically address the provenance of a work between the years 1933 and 1945.

The acquisitions committee of The Beaverbrook Art Gallery now requires clarity of provenance before a work is considered for acquisition into the collection. Works already in the collection are being further researched in order to identify those with gaps, or with an unclear provenance.

Consistent with the practice of other major institutions, The Beaverbrook Art Gallery is publishing a list of works for review. We wish to emphasise that the works listed have incomplete provenance between the time that Hitler came to power (1933) and the end of the Second World War (1945). Inclusion on the list does not indicate that a work was unlawfully acquired. When our research alone is unable to satisfactorily establish provenance making the list public and cross-referencing it against databases of known stolen art are the only avenues that remain.

This list is in-progress and will change if and when new information comes to light. Should you have any concerns or questions about works listed here please contact Sarah Dick, Registrar, sdick@beaverbrookartgallery.org

Our very grateful thanks go to Margot Samuel. Margot volunteered many long hours reviewing the files of these and other works in order to assess the state of our provenance research. Due to Margot's efforts we have direction for further research that will allow us to eventually reduce the number of works appearing here.

Rachel Brodie, Former Collections Manager

Attr. Lucas Cranach, the Elder (German, c.1472-1553) (detail)
Lucretia, c.1530
tempera and oil on panel
Gift from the Estate of David H. M. Vaughan
31.1 x 23.5cm
#1996.07

Previously attributed to “School of Lucas Cranach the Elder”. The provenance for this work is unknown prior to 1946, when it is included in the inventory of a private collector in Montreal.

The Beaverbrook Art Gallery (1 November, 1996); The Estate of David H.M. Vaughan; Elwood B. Hosmer (by 1946); early history unknown.

Anonymous German (Cologne) School
Christ on the Cross and Virgin and Child between Two Angels, c.1340-60
ivory diptych
12.7 x 20.32cm
#1996.06

The provenance is unclear prior to1940. It is known to have been owned by a collector named Francois Van Waegeningh of The Hague, Holland, and later by R. Storra of New York. In April 1940 it was acquired by Watson Art Galleries, Montreal.

The Beaverbrook Art Gallery (1 November, 1996); The Estate of David H.M. Vaughan; Elwood B. Hosmer, Montreal (August 20, 1940); Watson Art Galleries, Montreal (April 27, 1940); R. Storra, New York; Francois Van Waegeningh, The Hague, Holland.

Eugene Boudin (French, 1824-1898)
Pardon a Sainte-Anne-la-Palud, 1858
oil on panel
35,6 x 58,4cm
#1993.28

The work was acquired by M. Knoedler and Co., Inc., New York in 1953. Previous to that it was known to have been in the collection of John Nairne, Forth Park, Kirkcaldy, Ireland (by 1901), and later in the collection of Andre Weil, Paris.

The Beaverbrook Art Gallery (31 December, 1993); Mr. and Mrs. John Flemer; Estate of Elwood B. Hosmer (March 5, 1955); M. Knoedler and Co., Inc., New York (1953); Andre Weil, Paris, John Nairne, Forth Park, Kirkcaldy, Ireland (by 1901). 

Eugene Boudin (French, 1824-1898)
La Plage de Trouville, 1869
watercolour and pencil on paper
15 x 30cm
#1991.17

Purchased in 1959, by a private collector, from Galerie André Weil, Paris. The earlier history is unknown.

The Beaverbrook Art Gallery (17 December, 1991), Mrs. L. Marguerite Vaughan (purchased from Galerie André Weil, Paris, 1959); early history unknown. 

Eugene Boudin (French, 1824-1898)
Madame Juliette dans le jardin, 1895
oil on panel
35.6 x 24.1cm
#1991.19

The work was purchased by a private collector in December 1953 from E.J. Van Wisseling & Co., Amsterdam. Previous to that it had been in the collections of Mme. Juliette Caband and, later, Jean-Pierre Moueiux, Libourne.

The Beaverbrook Art Gallery (23 May, 1991); L. Marguerite Vaughan (purchased from E.J. Van Wisseling & Co., Amsterdam, December 1953); Jean-Pierre Moueiux, Libourne, France; Mme Juliette Caband. 

Bartholomäus Bruyn, the Elder (German, c.1493-1555)
The Virgin and Child with St. Anne, c.1530
oil and tempera on panel
39.4 x 18.4cm
#1996.02

The work was known to have been acquired by Eugene L. Garbaty, Schloss Alt-Doebern, Nieder-Lausitz, and later Shorehaven, USA in 1912. The work later appeared at auction, as lot 74, 25 April, 1956, Sotheby Parke Bernet & Co.

The Beaverbrook Art Gallery (1 November, 1996); David H.M. Vaughan; Mr. and Mrs. Murray Vaughan; Estate of Elwood B. Hosmer, Montreal (21 November, 1956); Thos. Agnew and Sons Ltd., London (25 April, 1956); Sotheby Parke Bernet & Co. Sale, lot 74, 25 April, 1956; Eugene L. Garbaty, Schloss Alt-Doebern, Nieder-Lausitz, and later Shorehaven, USA; "Ruhl Collection Auction", Heberle, Cologne (1876); Christopher Rhaban Ruhl, Cologne (by 1850); early history unknown. 

Bartholomäus Bruyn, the Elder (German, c.1493-1555)
St. Elizabeth of Hungary Giving Alms, c. 1530
tempera and oil on panel
39.4 x 18.4cm
#1996.03

The work was known to have been acquired by Eugene L. Garbaty, Schloss Alt-Doebern, Nieder-Lausitz, and later Shorehaven, USA in 1912. The work later appeared at auction, as lot 74, 25 April, 1956, Sotheby Parke Bernet & Co.

The Beaverbrook Art Gallery (1 November, 1996); David H.M. Vaughan; Mr. and Mrs. Murray Vaughan; Estate of Elwood B. Hosmer, Montreal (21 November, 1956); Thos. Agnew and Sons Ltd., London (25 April, 1956); Sotheby Parke Bernet & Co. Sale, lot 74, 25 April, 1956; Eugene L. Garbaty, Schloss Alt-Doebern, Nieder-Lausitz, and later Shorehaven, USA; "Ruhl Collection Auction", Heberle, Cologne (1876); Christopher Rhaban Ruhl, Cologne (by 1850); early history unknown. 

Jaime Cirera (Catalan, c.1425 1459)
St. Martin of Tours, c.1440
tempera on panel
160 x 91.4cm
#1996.04

The provenance for this work is unknown prior to 1946, when it is included in the inventory of a private collector in Montreal.

The Beaverbrook Art Gallery (1 November, 1996); Estate of David H.M. Vaughan; Elwood B. Hosmer, Montreal (by 1946); early history unknown. 

Martin de Soria (Aragonese, active c.1471-1487)
Presentation of the Virgin, c.1475
tempera and oil on panel
116.8 x 47cm
#1996.05

The work is known to have been in the collections of (in this order) H. Daguerre, Paris; Thomas Harris, London; and Arnold Seligmann, Rey and Co., Inc., New York. It was sold by Seligmann to a private collector in March 1937.

The Beaverbrook Art Gallery (1 November, 1996); the Estate of David H.M. Vaughan; Elwood B. Hosmer (31 March, 1937); Arnold Seligmann, Rey and Co., Inc., New York; Thomas Harris, London, H. Daguerre, Paris; early history unknown. 

Jean Baptiste Mozin (after Barend van Orley) (French, active 1663-1696)
Gobelins Tapestry: The Hunts of Maximilian, July (The Report), 1693
textile
401.32 x 497.84cm
#1993.35

The early provenance of the work has been established up to 1792 when it came into the collection of the Ministry of Justice, Place Vendome, Paris. The only record of it after that is in 1937, when a private Montreal collector purchased it from the dealer J.J. Wolff of London.

The Beaverbrook Art Gallery (31 December, 1993); L. Marguerite Vaughan to 1991 and then her family; Mrs. Howard Pillow (to 1969); Elwood B. Hosmer, Montreal (August, 1937); J.J. Wolff, London, England; unknown; Ministry of Justice, Place Vendome, Paris (?) (by 1792); Chateau de Fontainebleau (by 1789); Louis XIV, garde-Meuble de la Couronne, Palais du Louvre, Paris (late 1693); Atelier of the artist.

Bartolomeo Passarotti (Bolognese 1529-1592)
A Young Man, sixteenth century
oil on canvas
83.3 x 55.9cm
#1993.29

Until August 1984 the work was attributed to Giovannie Girolamo Savoldo. It was acquired by a private Montreal collector in December 1936 from John Levy Galleries, Inc., New York. Previous to that, it was known to have been in the collection of Albert R. Jones, Kansas City, and earlier in the collections of of Dr. H. Wendland, Basle, and the Guecchio Collection, Genoa.

The Beaverbrook Art Gallery (31 December, 1993); Elwood B. Hosmer, Montreal, and then his family (16 December, 1936); John Levy Galleries, Inc., New York; Albert R. Jones, Kansas City; Dr. H. Wendland, Basle, Guecchio Collection, Genoa; early history unknown. 

Master of San Miniato (Florentine, active late fifteenth century)
The Marriage of St. Catherine, late fifteenth century
oil on panel
42.5 x 32.4cm
#1993.32

Until very recently the work was attributed to Bennozzo Gozzoli (1420-1497) an artist of the Florentine School. The work was known to have been in the collection of Barone Michele Angelo Lazzaroni, of Paris and of Rome, until the late 19th century. In 1936 it was in the posession of John Levy Galleries, Inc., New York, who loaned it to The Centennial Exposition at the Dallas Museum of Fine Arts during that same year.

The Beaverbrook Art Gallery (31 December, 1993); Mr. and Mrs. John Flemer; Elwood B. Hosmer, Montreal (May, 1939); Nicholas M. Acquavella Galleries, Inc., New York; John Levy Galleries, Inc., New York (1936); Barone Michele Angelo Lazzaroni, Paris & Rome (b. 1863); His de la Salle Collection, France; possibly Aime-Charles-Horace He De La Salle, born 1795, died 1878, Paris. 

Brussels Tapestry
Holykinship: Virgin and Child with St. Anne, early sixteenth century
textile
248.9 x 204.5cm
#1993.34

No provenance has been recorded prior to being purchased from Albert C. Morse & Son, New York, in 1937 by a private collector in Montreal.

The Beaverbrook Art Gallery (31 December, 1993); Mr. and Mrs. John Flemer; Elwood B. Hosmer, Montreal (April, 1937) (purchased for $5,250); Albert C. Morse & Son, New York; early history unknown. 

Brussels Tapestry
Diana the Huntress and her Nymphs, n.d.
textile
345.4 x 360.7cm
#1996.01

The provenance of this work is unknown until August 1937, when a private Montreal collector purchased it from the dealer J.J. Wolff of London.

The Beaverbrook Art Gallery (1 November, 1996); David H.M. Vaughan; Mr. and Mrs. A. Murray Vaughan; Elwood B. Hosmer, Montreal (August, 1937); J.J. Wolff, London, England; early history unknown. 

Jakob Van Loo (Dutch, 1614-1670)
A Gentleman, 1650
oil on canvas
105.41 x 92.39cm
#1961.48

The work was acquired by a private collector in the early 1930's.

The Beaverbrook Art Gallery / The Beaverbrook Canadian Foundation (in dispute, 2004); Sir James Dunn Foundation; Sir James Dunn (early 1930s).