Stealing Beauty: Part 1 (Q100427825)
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| Language | Label | Description | Also known as |
|---|---|---|---|
| English | Stealing Beauty: Part 1 |
news article |
Statements
Stealing Beauty: Part 1 (English)
1 reference
The Kimbell's history with Glaucus and Scylla dates to 1966, when Richard Brown, the museum's first director, bought it for an undisclosed sum from New York's Newhouse Galleries, which had a long tradition of supplying numerous wealthy families (including Fort Worth's Kay and Velma Kimbell) with 18th-century British paintings. The provenance, or ownership history, that Newhouse provided to the Kimbell upon purchase was quite detailed up until the painting's 1902 sale to Anna and John Jaffe. Where all the previous owners of Glaucus and Scylla were listed by name, the provenance suddenly got fuzzy when it came to the Jaffes. "A French Collector, Paris, France, until after 1950," is all the document says. Just as disturbingly, the only notation of ownership after 1950 is listed as the inaccurate and impossibly vague "An American Collector." The omission of the Jaffe's name is, at best, odd, given that Agnew's Gallery of London, which owned the work before Newhouse, publicly advertised in 1956 their Turner as coming from the John Jaffe collection. (English)
1 reference
The Kimbell's history with Glaucus and Scylla dates to 1966, when Richard Brown, the museum's first director, bought it for an undisclosed sum from New York's Newhouse Galleries, which had a long tradition of supplying numerous wealthy families (including Fort Worth's Kay and Velma Kimbell) with 18th-century British paintings. The provenance, or ownership history, that Newhouse provided to the Kimbell upon purchase was quite detailed up until the painting's 1902 sale to Anna and John Jaffe. Where all the previous owners of Glaucus and Scylla were listed by name, the provenance suddenly got fuzzy when it came to the Jaffes. "A French Collector, Paris, France, until after 1950," is all the document says. Just as disturbingly, the only notation of ownership after 1950 is listed as the inaccurate and impossibly vague "An American Collector." The omission of the Jaffe's name is, at best, odd, given that Agnew's Gallery of London, which owned the work before Newhouse, publicly advertised in 1956 their Turner as coming from the John Jaffe collection. (English)