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Henry Moore Institute 74 the Headrow Leeds LS1 3AH Contact: Stephen Feeke, Assistant Curator

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Henry Moore Institute 74 the Headrow Leeds LS1 3AH Contact: Stephen Feeke, Assistant Curator Loans to Taking Shape: Finding Sculpture in the Decorative Arts Dates: 1 October 2008 – 4 January 2009 Venue: Henry Moore Institute 74 The Headrow Leeds LS1 3AH Contact: Stephen Feeke, Assistant Curator Lender: J. Paul Getty Museum 1200 Getty Center Drive Los Angeles CA 90049-1687 USA Contact: Sally Hibbard, Chief Registrar INTRODUCTION TO GETTY PROVENANCE INFORMATION Much of the following information has been excerpted from http://www.getty.edu/museum/research/provenance/ Provenance research has always been and continues to be a central and often laborious activity of the staff at the J. Paul Getty Museum, as it is at most art museums. It serves many purposes, sometimes helping to substantiate an attribution and at all times aiding curators, educators, and scholars to understand the history of collecting and taste. We have published this research in collection catalogues and other publications for many years; the Internet provides another powerful method of distribution. Reconstruction of a complete history of ownership for a given work can be difficult and sometimes impossible. Many records of ownership have been destroyed as a result of natural disasters, man-made disasters such as war, and neglect. Information is sometimes withheld by dealers and auction houses at the request of previous owners who wish to maintain their anonymity. Much archival information remains undiscovered or difficult to access. Provenance information we receive or find needs to be treated cautiously, since owners, dealers, curators, and scholars have been known to associate documentary evidence with the wrong object. The works included here may have gaps in, or no provenance for some periods of their history including the years from 1933 to 1945. Records are updated regularly as new information comes to light and as objects are added to the collection. Such gaps in provenance, in and of themselves, are by no means proof that these works were looted during the Holocaust or World War II. Publication and exhibition histories are also included here in order to document the extended presence of each object in the public domain. Please note, furthermore, that each object in the collection of the J. Paul Getty Museum is posted on the Internet at http://www.getty.edu/art/gettyguide. 1 UNDERSTANDING GETTY PROVENANCE DATA The following has been excerpted from http://www.getty.edu/museum/research/provenance/provIntroUnderstanding.jsp The provenance, or history of ownership, of our objects is listed in chronological order, starting with the earliest known owner and moving forward in time. Each entry is in the following format: Date name of owner or seller, life dates of owner or seller if known (location of owner or seller range of in parentheses if known), details (if known) of the transaction by which the object passed ownership to its next owner, including information about the particular sale if known (e.g., auction date, place, lot number, sale price) The left column shows the date range of ownership. Here are a few common date formats: 1955 - 1970 The work entered this collection in 1955 and left it in 1970. 1955 - The work entered this collection in 1955, but we do not know when it left. - 1955 We do not know when the work entered this collection, but it left in 1955. by 1955 - The work was in this collection by 1955 but may have entered it earlier. - still in 1955 The work was still in this collection in 1955, and may have left it at a later date. An owner name with no date(s) in the left column indicates that we know the work was in this collection, but we do not know precisely when. We do know the work was in this collection between the owners listed above and below it, though there may be other unknown owners in the chain of ownership. "Private collection" indicates that we know the work was not owned by a dealer and can mean one of two things: 1) we do not know the name of the owner or seller of that work, or 2) we know the name of the owner or seller, but he/she made it a condition of sale that his/her identity not be revealed. "Private Dealer" means that we know the seller was a dealer but we do not know his/her name. 2 Accession Number: 70.DE.98.1 TITLE(S): Figure Group: The Flute Lesson (Le Flûteur) (one of a pair) ARTIST OR MAKER(S): Sèvres Porcelain Manufactory [French, active 1756 - present] Modelled under the direction of Etienne-Maurice Falconet [French, 1716 - 1791] After engraved designs of François Boucher [French, 1703 - 1770] (Designer) CULTURE: French PLACE: Sèvres, France OBJECT TYPE: Figures MEDIUM: Soft-paste biscuit porcelain; traces of red pigment DATE OF EXECUTION: about 1757 - 1766 DIMENSIONS: Object: H: 22.3 x W: 25.4 x D: 15.2 cm (H: 8 3/4 x W: 10 x D: 6 in.) SOURCE NAME(S): J. Paul Getty (Donor) INSCRIPTIONS: Secondary Inscription: Incised "F" on back. PROVENANCE/HISTORY: - 1905 Goury de Rosland (Paris, France) [sold, Galerie Georges Petit, Paris, May 29-30, 1905, no. 108] - 1931 Mortimer Leo Schiff, 1877 - 1931 (New York City, New York), by inheritance to his son, John M. Schiff, 1931. 1931 - 1938 John Mortimer Schiff, 1904 - 1987 [sold, Christie's, London, June 22, 1938, lot 27, to J. Paul Getty.] 1938 - 1970 J. Paul Getty, American, 1892 - 1976, donated to the J. Paul Getty Museum, 1970. The Henry Moore Foundation possesses a full history of the object 1933 – 1945 (see above) BIBLIOGRAPHY: Antoine d'Albis, "Le Marchand Mercier Lazare Duvaux et la Porcelaine de Vincennes," Les Décors des boutiques parisiennes (Paris, 1987), La Delegation à l'Action artistique de la Ville de Paris, eds., pp. 76-88, The Flute Lesson illus. p. 83. Adrian Sassoon, Vincennes and Sèvres Porcelain: Catalogue of the Collections, The J. Paul Getty Museum (Malibu, 1991), no. 6, pp. 29-34, illus. pp. 31-35. Charissa Bremer-David et al., Decorative Arts, An Illustrated Summary Catalogue of the Collections of the J. Paul Getty Museum (Malibu, 1993), no. 217, pp. 128-129, illus. Gillian Wilson and Catherine Hess, Summary Catalogue of European Decorative Arts in the J. Paul Getty 3 Museum (Los Angeles, 2001), no. 227, p. 111, illus. Howard Coutts, The Art of Ceramics: European Ceramic Design 1500-1830 (New Haven, 2001), p. 111, figure 133. 4 Accession Number: 70.DE.98.2 TITLE(S): Figure Group: The Grape Eaters (Les Mangeurs de Raisins) (one of a pair) ARTIST OR MAKER(S): Sèvres Porcelain Manufactory [French, active 1756 - present] Modelled under the direction of Etienne-Maurice Falconet [French, 1716 - 1791] After engraved designs by François Boucher [French, 1703 - 1770] (Designer) CULTURE: French PLACE: Sèvres, France OBJECT TYPE: Figures MEDIUM: Soft-paste biscuit porcelain; traces of red pigment DATE OF EXECUTION: about 1757 - 1766 DIMENSIONS: Object: H: 22.9 x W: 24.8 x D: 17.8 cm (H: 9 x W: 9 3/4 x D: 7 in.) SOURCE NAME(S): J. Paul Getty (Donor) PROVENANCE/HISTORY: - 1905 Goury de Rosland (Paris, France) [sold, Galerie Georges Petit, Paris, May 29-30, 1905, no. 108] - 1931 Mortimer Leo Schiff, 1877 - 1931 (New York City, New York), by inheritance to his son, John M. Schiff, 1931. 1931 - 1938 John Mortimer Schiff, 1904 - 1987 [sold, Christie's, London, June 22, 1938, lot 27, to J. Paul Getty.] 1938 - 1970 J. Paul Getty, American, 1892 - 1976, donated to the J. Paul Getty Museum, 1970. The Henry Moore Foundation possesses a full history of the object 1933 – 1945 (see above) BIBLIOGRAPHY: Antoine d'Albis, "Le Marchand Mercier Lazare Duvaux et la Porcelaine de Vincennes," Les Décors des boutiques parisiennes (Paris, 1987), La Delegation à l'Action artistique de la Ville de Paris, eds., pp. 76-88, The Flute Lesson illus. p. 83. Adrian Sassoon, Vincennes and Sèvres Porcelain: Catalogue of the Collections, The J. Paul Getty Museum (Malibu, 1991), no. 6, pp. 29-34, illus. pp. 31-35. Charissa Bremer-David et al., Decorative Arts, An Illustrated Summary Catalogue of the Collections of the J. Paul Getty Museum (Malibu, 1993), no. 217, pp. 128-129, illus. Gillian Wilson and Catherine Hess, Summary Catalogue of European Decorative Arts in the J. Paul Getty Museum (Los Angeles, 2001), no. 227, p. 111, illus. 5 Accession Number: 72.DA.68 TITLE(S): Console Table ARTIST OR MAKER(S): Unknown CULTURE: French PLACE: Paris, France OBJECT TYPE: Furniture MEDIUM: Gessoed and gilded white oak and European walnut; lumachella pavonazza marble top DATE OF EXECUTION: about 1715 - 1720 DIMENSIONS: Object: H: 87.3 x W: 152.1 x D: 59.1 cm (H: 2 ft. 10 3/8 in. x W: 4 ft. 11 7/8 in. x D: 1 ft. 11 1/4 in.) SOURCE NAME(S): Rosenberg & Stiebel Incorporated (Vendor) MARKS: Label: Pasted under black rail, the remains of a printed label, "102, George Street, Portman Square, W1". PROVENANCE/HISTORY: Christie Robert (102 George Street, Portman Square, London, England), active between 1885 and 1916 Barone Etienne van Zuylen van Nyevelt van de Haar, 1860 - 1934 and Baronne Hélène van Zuylen van Nyevelt van de Haar (née de Rothschild), 1863 - 1947 by 1960 Baronne Marguerite Marie van Zuylen van Nyevelt van de Haar, died 1970 (Paris, France) [sold, Palais Galliera, Paris, June 8, 1971, no. 77] - 1972 Rosenberg & Stiebel Incorporated (New York City, New York), sold through the agent French & Company, New York, to J. Paul Getty for the J. Paul Getty Museum, 1972. The Henry Moore Foundation possesses a full history of the object 1933 – 1945 (see above) BIBLIOGRAPHY: Gillian Wilson et al., French Furniture and Gilt Bronzes, Baroque and Régence, Catalogue of the J.
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