Portrait of a Man

 
Artist
Creation date
Materials
oil on canvas
Dimensions
14 x 10 in.
Credit line
Courtesy of The Clowes Fund
Accession number
C10085
Collection
Currently On View
(Galerie Sedelmeyer, Paris);{1}
Eduard Friedrich Weber [1830-1907], Hamburg, in 1897.{2}
Marczell von Nemes [1866-1930], Munich, by 1930.{3}
Probably Countess Vetter von der Lilie, Vienna;{4}
(E. and A. Silberman Galleries, New York);{5}
Dr. G.H. A. [George Henry Alexander] Clowes [1877-1958}, Indianapolis, in 1934;
Clowes Fund Collection, Indianapolis, in 1958, and on long-term loan to the Indianapolis Museum of Art since 1971 (C10085).

{1} A red oval wax seal on the stretcher bar can be deciphered to read: “Galerie Sedelmeyer Paris.”
{2} A paper label, once on the verso of the painting, bears a round ink stamp which can be deciphered to read: “Galerie Weber, Hamburg.” It also bears the hand-written date “1897” as well as the inventory number “969.” Eduard Weber did not own a gallery but amassed a large and important private collection which he called the Galerie Weber. This painting is not included in any of the published posthumously in Berlin in 1912 with other parts of this collection. However, correspondence in June 2013 with Carla Schmincke, author of the 2004 Hamburg University dissertation “Sammler in Hamburg: Der Kaufmann und Kunstfreund Konsul Eduard Friedrich Weber (1830-1907),” revealed that in an unpublished inventory of Weber’s collection, which she viewed in 2000 in the possession of a Weber heir, since deceased, nos. 967 to 971 were all purchased at Charles Sedelmeyer’s Gallery in Paris.
{3} The early Netherlandish art scholar, Max Jakob Friedländler, knew of three versions of this portrait: one formerly in the Cardon collection, Brussels (see RKD photo, Kunstwerknummer 104196); another, once in the Von Hollitscher collection, Berlin (see RKD photo, Kunstwerknummer 232913), and the Clowes Collection painting, which had belonged to Marczell von Nemes in 1930 (see Friedländer’s notes on RKD photo, Kunstwerknummer 232912). Friedländler was very familiar with the von Nemes collection; he wrote the introduction to the 1931 posthumous auction collection catalogue as well as an obituary in Pantheon, vol. 7 (1931), p. 32.
{4} Art historians who documented the Clowes Collection, in 1968 (Mark Roskill, unpublished ms. in Clowes Archive) and in 1973 (A. Ian Fraser, A Catalogue of the Clowes Collection, Indianapolis Museum of Art) both note that the painting came through Silberman Galleries from “ Countess Vetter von der Lilie, Vienna” but this had not been corroborated. A custom’s stamp on the stretcher bar reads “Bundesdenkmalamt Wien” indicating that painting did pass through Vienna where the Silberman brothers had a gallery.
{5} Bill of Sale, dated 6 October 1934, from A. Silberman in Clowes Archive.
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