Buchholz Gallery (Q27450220)
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German and American art gallery
- Karl Buchholz Gallery
- Curt Valentin Gallery
| Language | Label | Description | Also known as |
|---|---|---|---|
| English | Buchholz Gallery |
German and American art gallery |
|
Statements
1937
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Buchholz Gallery, New YorkFounded by Curt Valentin on W. 46th Street in 1937. Two years later it moved to 57th Street. Between 1934 and 1937, Valentin had run his own gallery in the art department of Buchhandlung Buchholz, Berlin. Buchholz Gallery, New York, was renamed Curt Valentin Gallery in 1951 and operated until Valentin's death in 1955. (English)
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Buchholz Gallery, New YorkFounded by Curt Valentin on W. 46th Street in 1937. Two years later it moved to 57th Street. Between 1934 and 1937, Valentin had run his own gallery in the art department of Buchhandlung Buchholz, Berlin. Buchholz Gallery, New York, was renamed Curt Valentin Gallery in 1951 and operated until Valentin's death in 1955.MOMA: Gallery papers 1937–1955ZADIK: Papers [See also Curt Valentin] (English)
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In January 1937, with financing from Buchholz, Valentin left for New York and set up the Karl Buchholz Gallery at 3 West 46th Street. According to Buchholz’s daughter Godula, who wrote a biography of her father, Valentin arrived in New York supplied with “degenerate art” from Germany. Normally, Jews allowed to leave Nazi Germany were permitted to take with them only ten reichsmarks, if that. But Valentin carried “baggage containing sculptures, [p]aintings, and drawings from the Galerie Buchholz in Berlin,” Godula Buchholz wrote. Her account, published in 2005, contrasts dramatically with Valentin’s own assertion, echoed by Barr, that he came to New York virtually destitute.Valentin later told the FBI, which during the war investigated him for violating the Trading with the Enemy Act (and seized paintings sent to him by Buchholz), that he had started his gallery with the help of both the banker E. M. Warburg, who was on MoMA’s board, and someone from Cassel & Co., a small investment firm. He made no mention to the FBI of his financial support from Buchholz. (English)
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PROVENANCE (Buchholz Gallery, Cologne, Germany) (Curt Valentin Gallery,New York, NY) (English)
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The Leger painting, however, remained in Kann's house until Nov. 5, 1942, when France's German-controlled government auctioned the house's contents. A Paris art dealer, Galerie Leiris, bought the Leger at that auction and subsequently sold it to Buchholz Gallery. (English)
1955
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The Leger painting, however, remained in Kann's house until Nov. 5, 1942, when France's German-controlled government auctioned the house's contents. A Paris art dealer, Galerie Leiris, bought the Leger at that auction and subsequently sold it to Buchholz Gallery. (English)
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In January 1937, with financing from Buchholz, Valentin left for New York and set up the Karl Buchholz Gallery at 3 West 46th Street. According to Buchholz’s daughter Godula, who wrote a biography of her father, Valentin arrived in New York supplied with “degenerate art” from Germany. Normally, Jews allowed to leave Nazi Germany were permitted to take with them only ten reichsmarks, if that. But Valentin carried “baggage containing sculptures, [p]aintings, and drawings from the Galerie Buchholz in Berlin,” Godula Buchholz wrote. Her account, published in 2005, contrasts dramatically with Valentin’s own assertion, echoed by Barr, that he came to New York virtually destitute (English)
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Between sometime between 1940 and 1941, the Corinth painting was located in the Buchholz Gallery operated by Curt Valentin. If that name sounds familiar to readers, it is because Valentin and Kurt Buchholz were a primary destination for much of the “degenerate art” seized by the Nazis and sold for hard currency abroad. Art dealer Sigfried Rosengart in Lucerne later wrote in a 1951 letter that he had heard reports from New York that Valentin “had acquired [the painting] about ten years ago at a Public Auction Sale.” Rosengart sold the painting in 1949 on commission for the Buchholz Gallery to Prof. Dr. Max Huggler, director of the Kunstmuseum Bern (the same museum currently pondering its appointment as Cornelius Gurlitt’s heir) and brought it to Bern. The Bavarian State Painting Collections (Bayerische Staatsgemäldesammlungen) acquired the painting from Huggler in 1950. (English)
Identifiers
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16 March 2019
11077
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