Mohnblumenfeld bei Vétheuil · Claude Monet · Stiftung Sammlung E.G. Bührle

Claude Monet

Mohnblumenfeld bei Vétheuil

um 1879

Champ de coquelicots près de Vétheuil

Öl auf Leinwand

73 x 92 cm

Signiert unten rechts: Claude Monet

Wildenstein 536

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Provenienz

1Cantin (?) Acquired from the artist in November 1879, Wildenstein no. 536.

2Mme Cantin before 1895 Catalogue des tableaux anciens et modernes […] composant la collection de Madame Cantin, Vente à Paris, Hôtel Drouot, Paris (19 April 1895), no. 50.

3Durand-Ruel Paris • 1895 Acquired at the above sale, Wildenstein no. 536.

4Bernheim-Jeune Paris • 1898 Wildenstein no. 536.

5Paul Cassirer Berlin Wildenstein no. 536.

6Julius Stern Berlin • until [d.] 1914 Wildenstein no. 536.

7The estate of Julius Stern Berlin • 1914–1916 Sammlung Julius Stern †, Berlin, (sale cat.) Galerie Paul Cassirer, Berlin (22 May 1916), no. 70.

8G. Hauswaldt Magdeburg • 1916 until ca. 1928 Acquired at the above sale (the price fetched was M. 36.500, Kunst und Künstler (14) 1915/16, p. 513); AStEGB, Letter from Hermann Albrecht, Hamburg [lawyer acting on behalf of the estate of Helene Hauswaldt], to Kunsthaus Zurich, 25 July 1953, forwarded to Emil Bührle on 27 July 1953, asking for information regarding the sale of the painting «in 1928/30»; AStEGB, Letter from Dr. Walter Drack [curator of the Bührle collection] to Hermann Albrecht, Hamburg, 29 July 1953, summarizing information that Dr. Fritz Nathan has provided in regard to the painting’s provenance; AStEGB, Inventory Card Monet, Champ de Coquelicots, locates G. Hauswaldt in Magdeburg.

9Galerie Caspari Munich • ca. 1928/29 Inventory Card and Letter as above, n. (8).

10Dr. Max Emden Porto Ronco • Isola di Brissago • 1929 until [d.] 1940 Acquired from the above, according to Dr. Fritz Nathan’s memory for 55.000 to 60.000 Goldmark, Letter of 29 July 1953 as above, n. (8); Inventory Card, as above, n. (8), gives the date of the acquisiton as 1929. No documents regarding the acquisition by Max Emden from Galerie Caspari seem to have been preserved. However, recent research by the Foundation E.G. Bührle Collection has found that Max Emden’s fortune was seriously hit by the Great Depression, beginning in October 1929, and it seems correct to hold on to the date 1929, the year after completion of the villa built on the Brissago Islands, given on the Inventory Card as above, n. (8).

11Hans Erich Emden Porto Ronco • Isola di Brissago • 1940–1941 Son of the above, File listing Hans Erich Emden’s inherited assets and detailing the ways by which he made use of them from 1940 to 1944, National Archives and Records Administration, Washington D.C. (NARA), Record Group 131, Entry 247, Foreign Funds Control Subject Files, Box 112: Office of Alien Property, Foreign Funds Control Investigative Reports; U.S. Embassy Santiago, Chile, Despatch No. 10.947, to: U.S. Department of State, October 23, 1944. Hans Erich Emden, who stayed in Switzerland at the time of his father’s death, started offering artworks from the residence in Brissago in fall 1940, with the advice of the art dealer Dr. Walter Feilchenfeldt, St. Gall/Ascona, who had known his father, Paul Cassirer/Walter Feilchenfeldt-Archiv, Zurich, AStEGB, Diary 1940 of Dr. Walter Feilchenfeldt, documenting two meetings between Dr. Walter Feilchenfeldt and Hans Erich Emden, on 5 October 1940 in Zurich, and on 13 October 1940 in Porto Ronco. The second meeting was set up to show the paintings in Emden’s house to Dr. Oskar Reinhart, Winterthur, who was accompanied on this occasion by Dr. Fritz Nathan, Archive Oskar Reinhart Collection «Am Römerholz», Winterthur, Travel Notebook XVII, Entry of 13 October 1940. See also Paul Cassirer-Archiv, Walter Feilchenfeldt, Zurich, Notebook of Dr. Walter Feilchenfeldt 1940–1942, listing the paintings on the Isola di Brissago with their asking prices, and adding some indications regarding new owners, or new locations. The Monet, Champ de coquelicots, is listed with an asking price of CHF 30.000, and «Bührle» is added as the painting’s new owner.

12Dr. Fritz Nathan St. Gall • 1940/41 Acting as an intermediary between the above and his client, Emil Bührle, Inventory Card as above, n. (8).

13Emil Bührle Zurich • 1941 until [d.] 28 November 1956 Acquired from the above for CHF 35.000, Inventory Card as above, n. (8), indicating the year and the price of the purchase and specifying «Dr. Emden» as the seller. A previous assumption that the sale took place in spring 1941 was based upon two additional entries in Dr. Feilchenfeldt’s Notebook as above, n. (11), dated 16 March 1941 and 2 May 1941. However, a reassessment of the Notebook has shown that it was not used as an agenda with an ongoing sequence of dates, and the date of 2 May 1941 bears no relevance to the purchase of the painting by Bührle. Since Hans Erich Emden made money transfers from Switzerland to New York before he left Switzerland in February 1941, File as above, n. (11), it may be assumed that the sale took in fact place before that date. The involvement of Dr. Fritz Nathan in the transaction is corroborated by the fact that Bührle, in 1953, referred his curator to Nathan when asked for information regarding provenance, see above, n. (8). Regarding the 1941 sale see Lukas Gloor, «Emil Bührle: A Twentieth-Century Modern Art Collection», in: The Emil Bührle Collection, History, Full Catalogue, and 70 Masterpieces, Swiss Institute for Art Research, Zurich (ed.), Munich 2021, pp. 85–87, 235; a more detailed report can be found on this website, under «Provenances».

14Given by the heirs of Emil Bührle to the Foundation E.G. Bührle Collection Zurich • 1960 Inv. 71.

AStEGB = Archive of the Foundation E.G. Bührle Collection, Zurich

Ausstellungen

19141. Ausstellung der Freien Sezession Berlin Ausstellungshaus am Kurfürstendamm • Berlin • 1914.

1943Ausländische Kunst in Zürich Kunsthaus Zurich • 1943 no. 613.

1949Impressionisten, Monet, Pissarro, Sisley, Vorläufer und Zeitgenossen Kunsthalle Basel • 1949 no. 147.

1951Het Franse landschap van Poussin tot Cézanne Rijksmuseum • Amsterdam • 1951 no. 83.

1952Claude Monet 1840–1926 Kunsthaus Zurich • 1952 no. 51.

1958Sammlung Emil G. Bührle, Festschrift zu Ehren von Emil G. Bührle zur Eröffnung des Kunsthaus-Neubaus und Katalog der Sammlung Emil G. Bührle Kunsthaus Zurich • 1958 no. 183.

1958Französische Malerei von Manet bis Matisse aus der Sammlung Emil G. Bührle/Zürich Nationalgalerie der ehemals Staatlichen Museen, Schloss Charlottenburg • Berlin • 1958 no. 30.

1958Hauptwerke der Sammlung Emil Georg Bührle–Zürich Haus der Kunst • Munich • 1958–59 no. 114.

1961Masterpieces of French Painting from the Bührle Collection Royal Scottish Academy, Edinburgh • National Gallery, London • 1961 no. 43.

1963Die Ile de France und ihre Maler Nationalgalerie (Orangerie Schloss Charlottenburg) • Berlin • 1963 no. 42.

1990The Passionate Eye, Impressionist and Other Master Paintings from the Collection of Emil G. Bührle, Zurich, Catalogue of the Exhibition in Commemoration of the 100^th Birthday of the Collector Emil G. Bührle National Gallery of Art, Washington, D.C. • Musée des beaux-arts de Montréal • Yokohama Museum of Art • Royal Academy of Arts, London • 1990–91 no. 48.

2003Monet, The Seine and the Sea, Vétheuil and Normandy, 1878–1883 Royal Scottish Academy • Edinburgh • 2003 no. 16.

2004Monet’s Garden (Monets Garten) Kunsthaus Zurich • 2004–05 no. 18.

2006Claude Monet, Effet de soleil, Felder im Frühling Staatsgalerie • Stuttgart • 2006 no. 6.

2010Van Gogh, Cézanne, Monet, Die Sammlung Bührle zu Gast im Kunsthaus Zürich Kunsthaus Zurich • 2010 no. 71.

2011Monet au Musée Marmottan et dans les collections suisses Fondation Pierre Gianadda • Martigny • 2011 no. 18.

2016Von Dürer bis van Gogh, Sammlung Bührle trifft Wallraf Wallraf-Richartz-Museum & Fondation Corboud • Cologne • 2016–17 no. 50.

2017Chefs-d’oeuvre de la collection Bührle, Manet, Cézanne, Monet, Van Gogh… Fondation de l’Hermitage • Lausanne • 2017 no. 24.

2018Bührle Collection: Impressionist Masterpieces from the E.G. Bührle Collection, Zurich (Switzerland) National Art Center, Tokyo • Kyushu National Museum, Fukuoka • Nagoya City Art Museum • 2018 no. 28.

2019La Collection Emil Bührle Musée Maillol • Paris • 2019 no. 16.

Literatur

1904Julius Meier-Graefe Entwicklungsgeschichte der modernen Kunst, Vergleichende Betrachtung der bildenden Kunst als Beitrag zu einer neuen Ästhetik Stuttgart • 1904 • vol. 3, fig. 104 (bottom).

1904Adolf Hölzel «Über Künstlerische Ausdrucksmittel und deren Verhältnis zu Natur und Bild» in Die Kunst für Alle (20) • 1904/05 • p. 127 (ill.).

1913Erich Hancke «Die erste Ausstellung der freien Sezession» in Kunst und Künstler (12) • 1913/14 • p. 477 (ill.).

1915«Auktion der Sammlung Stern bei Paul Cassirer» in Kunst und Künstler (14) • 1915/16 • p. 517.

1950Doris Wild Moderne Malerei, Ihre Entwicklung seit dem Impressionismus 1880–1950 Zurich • 1950 • p. 21, fig. 3.

1952Claude Monet (exh. cat.) • Galerie de la Gazette des Beaux-Arts (Wildenstein) • Paris • 1952 • no. 39 (listed in the catalogue but not exhibited).

1956François Daulte «Le chef-d’œuvre d’une vie: la collection Buhrle» in Connaissance des Arts (52) • 15 June 1956 • p. 33.

1957Robert Th. Stoll Die französischen Impressionisten Zurich • 1957 • p. 61, fig. 64.

1963Leopold Reidemeister Auf den Spuren der Maler der Ile de France, Topographische Beiträge zur Geschichte der französischen Landschaftsmalerei von Corot bis zu den Fauves Berlin • 1963 • p. 118 (ill.).

1963René Wehrli «Emil G. Bührle, Zurich, French Nineteenth-Century Paintings» in Great Private Collections Douglas Cooper (ed.) • New York • 1963 • p. 216.

1972Luigina Rossi Bortolatto L’Opera completa di Claude Monet 1870–1889 Milan • 1972 • fig. 28, no. 155 (ill.; ²1978; German edition: Das Gesamtwerk von Monet 1870–1889, Lucerne etc. 1972 • French edition: Janine Bailly-Herzberg, Luigina Rossi Bortolatto, Tout l’œuvre peint de Monet 1870–1889, Paris 1981, fig. 28, no. 180 [ill.]).

1973Leopold Reidemeister etc. Stiftung Sammlung Emil G. Bührle • Fondation Collection Emil G. Bührle • Foundation Emil G. Bührle Collection Zurich & Munich • 1973 • no.70 (ill.; ²1986).

1974Daniel Wildenstein Claude Monet, Biographie et catalogue raisonné vol. 1 Peintures 1840–1881 Lausanne & Paris • 1974 • no. 536 (ill.; ²Monet oder der Triumph des Impressionismus, Cologne 1996, p. 141; Monet, Catalogue raisonné; Werkverzeichnis, vol. 2, Nos. 1–968, Cologne 1996).

1979Sophie Monneret L’Impressionnisme et son époque, Dictionnaire international illustré vol. 2 • Paris • 1979 • p. 66 (entry for Monet).

1994Emil Maurer Stiftung Sammlung E.G. Bührle, Zürich Bern • 1994 • pp. 12, 14 (ill.; English edition: Foundation E.G. Bührle Collection, Zurich, Bern 1995).

2002L’impressionismo e l’età di van Gogh (exh. cat.) • Casa dei Carraresi, Treviso • 2002/03 • p. 131 (ill.).

2005Lukas Gloor • Marco Goldin (ed.) Foundation E.G. Bührle Collection, Zurich, Catalogue vol. 1 • Conegliano & Zurich • 2005 • no. 79 (ill.; German edition: Stiftung Sammlung E.G. Bührle, Katalog • Italian edition: Fondazione Collezione E.G. Bührle, Catalogo).

2010Mary Mathews Gedo Monet and His Muse, Camille Monet in the Artist’s Life Chicago & London • 2010 • p. 196, fig. 13.7.

2021Lukas Gloor «The Holdings of the Emil Bührle Collection: Illustrated List of All 633 Purchases» in The Emil Bührle Collection: History, Full Catalogue and 70 Masterpieces Swiss Institute for Art Research, Zurich (ed.) • Munich • 2021 • no. 58 (ill.).

2021Elisabeth Eggimann Gerber Jüdische Kunsthändler und Galeristen, Eine Kulturgeschichte des Schweizer Kunsthandels mit einem Porträt der Galerie Aktuaryus in Zürich, 1924–1946 Cologne & Vienna • 2021 pp. 142 (n. 278), 313, 320, 326.