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Task Force Schwabing Art Trove/ Object Record Excerpt for Lost Art ID: 478221 Updated by Gurlitt Provenance Research Project

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Task Force Schwabing Art Trove/ Object Record Excerpt for Lost Art ID: 478221 Updated by Gurlitt Provenance Research Project © Task Force Schwabing Art Trove/ Object record excerpt for Lost Art ID: 478221 updated by Gurlitt Provenance Research Project Giacomo Guardi Sul fiume (On the banks of a river) Ink on paper, 138 x 104 mm on verso, upper centre, inscribed in pencil: “Guardi”; at centre: “7[?]”; upper right: “A”; centre right, inscribed in red chalk: “3”; lower right, inscribed in pencil: “2/6” Provenance: (...) Roger Delapalme, Paris (per Gurlitt Papers) Acquired after February 1941: Hildebrand Gurlitt, Hamburg Thence by descent to Cornelius Gurlitt, Munich/Salzburg From 6 May 2014: Estate of Cornelius Gurlitt Primary sources: Hildebrand Gurlitt and Cornelius Gurlitt Papers: Correspondence: BArch, N 1826/43, fols. 61–62. Antonio Morassi to Hildebrand Gurlitt, 26 February 1954 BArch, N 1826/172, fols. 219 f. [=vol. 5, fol. 105 f.]. Antonio Morassi to Helene Gurlitt, 2 April 1957 Delapalme Files: BArch, N 1826/49. Appraisal François Max-Kann, 25 February 1941 Ibid. Supplement List François Max-Kann (“Betr. Dr. Gurlitt”), n.d. Miscellaneous: BArch, N 1826/185. Hildebrand Gurlitt travel itinerary, 1941–1945 1 November 2018 (interim results) http://www.lostart.de/EN/Fund/478221 © Task Force Schwabing Art Trove/ Object record excerpt for Lost Art ID: 478221 updated by Gurlitt Provenance Research Project Photographs: BArch, N 1826 Bild-0843 [=7.1_F770], [10 June 1942] BArch, N 1826 Bild-0950 [=9.1_F937], [n.d.] Seizure Inventory [Sicherstellungsverzeichnis], 2012, no. SV 41/62 Hildebrand Gurlitt and Cornelius Gurlitt Papers – possible reference: Imports and exports ledger: 10 February 1944 [no. 85] 18 February 1944 [no. 85] Università Ca’ Foscari, Venice (Archivio Fototeca di Antonio Morassi): Giacomo Guradi Box 116, nos. 15784, 15794 and 15841 Musée du Louvre, Paris (Département des peintures, Documentation générale): Folder Francesco Guardi Further sources consulted (selected): Catalogue de tableaux anciens (…). Auct.cat, Hôtel Drouot, Paris, 12 February 1890. Vente de la Collection Mniszech (...). Auct. cat., Hôtel Drouot, Paris, 9–11 April 1902. Fiocco, Giuseppe. Francesco Guardi. Florence: Battistelli, 1923. Mühsam, Kurt. Internationales Lexikon der Preise von Gemälden und Handzeichnungen aller Schulen und Länder. Berlin: Reiss, 1925. Internationales Jahrbuch der Gemäldeauktionen für 1930. Berlin: Paul Neff, 1930. Art français des XVIIme & XVIIIme siècles. Exh. cat., École nationale supérieur des beaux-arts, Salle Foche, Paris, 1933. Annuaire de la Curiosité et des Beaux-Arts et de la Bibliophilie, vols. 1911–1914, 1920, 1922, 1924– 1940. Pallucchini, Rodolfo. Guardis Zeichnungen im Museum Correr zu Venedig. Florence: G. C. Sansoni, 1943. Goering, Max. Francesco Guardi. Wien: Anton Schroll & Co., 1944. Fage, André, ed. Les ventes publiques en France: Répertoire général des prix: 1943–1944. Vol. 1, Tableaux. Paris: Bureau international d’Édition et de Publicité, 1945. Dussler, Luitpold. Guardi. Munich: Filser-Verlag, 1948. Shaw, James Byam. The Drawings of Francesco Guardi. London: Faber & Faber, 1951. Parker, K. T., and James Byam Shaw, ed. Canaletto e Guardi. Venice: Neri Pozza Editore, 1962. Pignatti, Terisio, ed. Disegni dei Guardi. Florence: La Nuova Italia, 1967. Morassi, Antonio. Tutti i disegni di Antonio, Francesco e Giacomo Guardi. Venice: Alfieri, 1975. Binion, Alice. Antonio and Francesco Guardi: Their Life and Milieu, with a Catalogue of their Figure Drawings. New York/London: Garland Publishing, 1976. L’altra Venezia di Giacomo Guardi. Exh. cat., Ala Napoleonica, Venice, May–June 1977. Succi, Dario. Francesco Guardi: itinerario dell’avventura artistica. Cinisell Balsamo: Silvana Ed. 1993. MacDonald, Heather, ed. French Art of the Eighteenth Century: The Michael L. Rosenberg Lecture Series at the Dallas Museum of Art. New Haven/London: Yale University Press, 2016. Archives de Paris Archives of American Art, Smithsonian Institution, Washington, D. C. 1 November 2018 (interim results) http://www.lostart.de/EN/Fund/478221 © Task Force Schwabing Art Trove/ Object record excerpt for Lost Art ID: 478221 updated by Gurlitt Provenance Research Project Archives Nationales, Paris Centre Pompidou, Bibliothèque Kandinsky, Paris Cultural Plunder by the Einsatzstab Reichsleiter Rosenberg: Database of Art Objects at the Jeu de Paume Database “Central Collecting Point München” Database “Kunstsammlung Hermann Göring” Database “Sonderauftrag Linz” Getty Provenance Index, German Sales Catalogs Heidelberger Digitale Bibliothek (Auktionskataloge; Heidelberger Historische Bestände) Institut national d’histoire de l’art, Paris (French sale catalogues) Landesarchiv Berlin (Records of the Amt für Wiedergutmachung) Lootedart.com Lost Art Médiathèque de l'architecture et du patrimoine, Fort de Saint-Cyr (Fonds Vizzavona) Ministère des Affaires étrangères, Archives diplomatiques, Paris Musée du Louvre, Paris (Département des Arts graphiques, Documentation générale) Musée du Petit Palais, Paris (Documentation) National Archives, College Park, Maryland Répertoire des Biens Spoliés Rijksbureau voor Kunsthistorische Documentatie, The Hague Verzeichnis national wertvoller Kunstwerke (“Reichsliste von 1938”) Witt Library, London Note: Roger Delapalme (1892 Paris–1969 Paris) was the son of the public notary Pierre-Marie Delapalme. Roger Delapalme was professionally employed in the management of the Compagnie des Courtiers Jurés d’assurances, an insurance company, where he served first as Treasurer and then as Deputy Director. His wife Yvonne was the daughter of Henry Chabert, the director of the Banque de Paris et des Pays-Bas. The couple resided in Paris, first at 17 Rue du Général-Foy, and from 1929/30 at 65 Rue La Boétie. Delapalme’s business address was 92 Rue de Richelieu. The extant papers of Cornelius Gurlitt contain an inventory of art works said to belong to Roger Delapalme, as appraised by the art expert François Max-Kann in early 1941. This appraisal itemizes 40 lots (comprising a total of 58 artworks), including two Guardi drawings (this sheet and its pair, Lost Art ID: 478220). While the exact circumstances of the transaction are not yet known, it is most likely that Gurlitt acquired these works after February 1941, possibly through Max-Kann who may have acted as intermediary. In a condolence letter to Hildebrand Gurlitt’s widow Helene, dated 2 April 1957, Guardi expert Antonio Morassi asked if he might view Tiepolo and Guardi drawings that Hildebrand had shown him two years earlier. The personal papers found in Cornelius Gurlitt’s Salzburg home include a collection of about 2,400 photographs of artworks. Photographs nos. 7.1_F770 and 9.1_F937 are reproductions of this work; inscribed on verso of 7.1_F770, a statement of authenticity by Max-Kann, dated 10 June 1942. The original report on the provenance of this work, as submitted to the Task Force Schwabing Art Trove, was made accessible online at www.taskforce-kunstfund.de as of 14 January 2016. That report was updated by the Gurlitt Provenance Research Project on 1 November 2018. 1 November 2018 (interim results) http://www.lostart.de/EN/Fund/478221 © Task Force Schwabing Art Trove/ Object record excerpt for Lost Art ID: 478221 updated by Gurlitt Provenance Research Project Rights: All rights to this report belong to the German Lost Art Foundation under whose administration the Gurlitt Provenance Research Project operates. Disclaimer: The Gurlitt Provenance Research Project, as the successor to the Task Force Schwabing Art Trove, focused exclusively on the provenance of the artwork described in this report. This report does not purport to make pronouncements on any legal claims and legal positions. Where individuals are referred to as descendants, this term is not legally binding. No liability will be accepted for conclusions drawn by third parties based on this report. The Gurlitt Provenance Research Project endeavoured to ensure the accuracy and reliability of the information provided in this report. No liability will be accepted, in particular, for the accuracy of the used sources; the facts, analyses and conclusions contained therein; the exhaustiveness of research and evaluation of the available source material; any analyses or conclusions drawn from the sources in the course of research; the findings on the subject of the report and how they were derived; the authenticity of the artwork, its attribution to a particular artist, and/or its monetary value. The conclusions drawn in this report may be revised, should additional relevant material be discovered. The Gurlitt Provenance Research Project welcomes any information that may augment or clarify the provenance of this work. 1 November 2018 (interim results) http://www.lostart.de/EN/Fund/478221 .
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