Newhouse Galleries (Q78088174)
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1878-1999 New York City NY Dealer/Gallery
| Language | Label | Description | Also known as |
|---|---|---|---|
| English | Newhouse Galleries |
1878-1999 New York City NY Dealer/Gallery |
Statements
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Frederick Mont was part owner of Galerie Sanct Lucas in Vienna (est. 1926), under his given name of Adolf Fritz Mondschein. In 1938 he left Austria and came to the US via England in 1939, changed his name and established himself, with his wife Betty (née Berta), as a dealer in old master paintings. Their business was in two locations in New York; at The Langdon, 2 East 56th Street until early 1957, and then at 465 Park Avenue (the Ritz Tower). Mont worked primarily with the American dealers Newhouse and Victor Spark. He also had an art dealer business based in London, where he was partner with Wilhelm Austerlitz [d. 1940], Berta's father. Mont died in New York on 20 August 1994. (English)
19 August 2023
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Die Fälle 10 bis 12 fallen vor allem auf, weil hier viele Fragen offen sind. Im Fall von «Idylle à Tahiti» von Paul Gauguin (1901) besteht in den Provenienzangaben des Internetkatalogs eine Lücke für den Zeitraum 1936 bis 1952. Also für die «schwierige», wenig idyllische Phase. Der Gauguin (ehemals Bernheim, Paris) gelangte über verschiedene Stationen 1936 zur New Yorker Newhouse Gallery und M. Knoedler & Co. Inc. Arthur Kauffmann und Fritz Nathan veräusserten es dann nach langer Sendepause 1952 in einer wohl gemeinsamen Aktion an Bührle. Leerstellen genug für Laurie Stern, die von der Stiftung Bührle bestellte Provenienzforscherin. (German)
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Gallery opened in St. Louis, ca. 1878, by M.A. Newhouse, under the name M.A. Newhouse & Son. Bertram Newhouse (the Son, 1883-1982) opened branches in New York in c. 1919 and in Los Angeles, selling Old Master paintings. He was succeeded by his son Clyde Newhouse [1920-1986]. In 1934 Ehrich Galleries merged with Newhouse, following the death of Harold Louis Ehrich [1880-1932]. (English)
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In another case, this time involving the Virginia Museum of Fine Arts, the Museum was conducting research on its collection and determined that there was a gap in the provenance with respect to a small oil on panel by the 16th century artist Jan Mostaert entitled Portrait of a Courtier. After more research, the Museum determined that the painting had been in the Czartoryski family collection in Poland and was transferred from the family collection at Goluchów Castle to safekeeping in Warsaw in 1939. The Nazis located the painting and seized it in 1941, moving it to the Castle of Fischhorn in Austria after the 1944 Warsaw Up-rising. The painting surfaced at the Newhouse Galleries in NewYork and was sold in 1948 to a collector who gave it to the Muse-um in 1949. (English)
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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)
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The Kimbell acquired Glaucus and Scylla from New York's Newhouse Galleries in 1966. It was among the first pieces purchased by Richard Brown, the museum's director in the years leading up to its opening, in 1972. When Brown purchased the piece, there was no indication in its provenance that it had ever been confiscated or sold in a forced auction. The gallery maintained that from 1902 until after 1950, a French collector owned the painting. The reconstructed history of the Turner now has it disappearing after the 1943 auction and resurfacing in 1956, when Emile Leitz of Paris sold it to a London dealer. It was bought by the Howard Young Galleries in New York in 1957 and presumably sold to a Mrs. Chamberlain, who owned it until 1966, when it came into the possession of the Newhouse. The gallery, no longer in business, sold it to the Kimbell for an undisclosed sum. (English)