provenance research on the baumgart-möller donation final ......c 1 2 % the provenance between 1933...

KirchnerMuseumDavos

Provenance Research on the Baumgart-Möller DonationFinal Report

Project management

Dr. Thorsten Sadowsky, Director

Annick Haldemann, [email protected]

Project handling and report

Julia Sophie Syperreck MA, Research Assistant [email protected]

31 August 2018

KirchnerMuseumDavos

3 I. Work report

4 a. The situation and state of research at the beginning of the project5 b. Work performed by the project staff and project schedule6 c. Methodical approach and manner of publication of the findings7 d. Object statistics9 e. List of the historical agents (individuals and institutions) relevant to the project 10 f. Documentation of the findings for third parties

11 II. Summary

12 a. Evaluation of the findings12 b. Unresolved issues and need for further research

13 III. Appendix: List of works

2Provenance Research on the Baumgart-Möller Donation

Contents

I. Work report

KirchnerMuseumDavos

The situation and state of research at the

beginning of the project

At the beginning of the project an assessment was made which groups of works within the collection are more likely to be linked to the “liquidation” of private and public collections during the Nazi dictatorship in Germany in the years from 1933 to 1945. It was found that there is only very patchy provenance information for the forty-two artworks donated in 2000 to the Kirchner Museum Davos by “Rosemarie and Konrad Baumgart-Möller in memory of Ferdinand Möller, Berlin.” Since “Möller” is one of the red-flag names in provenance research, the investigation of this part of the collection was given priority. Originally, the plan was to examine about eighty works from various gifts to the Kirchner Museum Davos, but the number of works to be investigated was deliberately reduced to the Baumgart-Möller donation. Also examined was the provenance of the Ernst Ludwig Kirchner painting “Kopf Erna (Frau des Künstlers)” (Portrait of Erna [the Artist’s Wife]) from the Steegmann-Morosani donation, which had likewise been traded through the Galerie Ferdinand Möller.

From 1912 on, Ferdinand Möller, the father of donor Rosemarie Baumgart-Möller, initially worked at the renowned Galerie Arnold in Dresden and Breslau (present-day Wroclaw). In 1917 he then opened an art gallery of his own in Breslau. In the 1920s and 1930s, Ferdinand Möller’s galleries in Berlin and Potsdam were among the most important galleries for modern art; every month, new group and solo exhibitions were presented there. A focus was on works of the members of the “Brücke” and “Der Blaue Reiter” artists’ groups. Starting in 1938, Ferdinand Möller, along with Karl Buchholz, Hildebrand Gurlitt and Bernhard A. Böhmer was commissioned with the liquidation of artworks confiscated from German public collections as part of the Nazi “degenerate art” campaign. Since Ferdinand Möller also had business relations with museum professionals, art dealers and private collectors who were racially persecuted, there is a higher likelihood for Nazi-looted art to be among the donated works. Time and again, artworks whose provenances include the Galerie Ferdinand Möller are subject to restitution.


a.

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Work performed by the project staff

and project schedule

Registrar (8 months, 20% workload)— Carrying through the project, deliberations, meetings— Attending the Provenance Symposium at the Kunstmuseum Bern in June 2017— Attending events of the Swiss Federal Office of Culture

Research Assistant (18 months, 45% workload)— Attending the Provenance Symposium at the Kunstmuseum Bern in June 2017— Review of the group of donated works: documents related to the donation, publication

in Sammlungsband III (collections catalogue, Kirchner Museum Davos, 2000), provenance information at MuseumPlus

— Creating records of all works to be examined in a Word file with an extensive data sheet and a photo file for each object

— Photographic documentation of the objects, their versos and details— Evaluating individual works and classifications on versos together with a

conservator — Entering and continuously updating all research findings into the work data sheets— Continued intensive learning about the art-dealing activities of Ferdinand Möller

in the period from 1912 to 1956 and the continued operation of the Dom-Galerie in Cologne until the 1960s by his widow, Maria Möller-Garny, and his daughter, Angelika Fessler-Möller

— Researching all works, as needed, in the following databases: Datenbank Beschlagnahmeinventar (Confiscation Inventory Database, FU Berlin); www.lostart.de; Sammlung Online / Berlinische Galerie, Berlin: thorough scholarly analysis of the Ferdinand Möller estate; Getty Provenance Data, Auktionskataloge digital (Universität Heidelberg)

— Researching auction and exhibition catalogues, catalogues raisonnés, art literature, dissertations

— Research trip to the Berlinische Galerie in Berlin (3 days): first inspection of the estate of the Galerie Ferdinand Möller: business correspondence, inventories and ledgers, photographic documents. Attempt at reconstructing the collecting activities of the Möller family over a period of nine decades (1912 – 2000) in order to determine when which works may have passed on to the individual family members

— External research queries to archives, museums, government bodies, art galleries, and exchange of information with other provenance researchers

— Research trip to the Berlinische Galerie in Berlin (5 days): second inspection of the estate of the Galerie Ferdinand Möller for in-depth research and clarification of unresolved issues

— Preparing the interim and final reports— Preparing a list of works with provenance information for all objects for

publication on the museum website at www.kirchnermuseum.ch according to the guidelines for standardising provenance information provided by the Arbeitskreis Provenienzforschung e. V. (Provenance Research Task Force)

— Evaluating the findings and entering the data into MuseumPlus


b.

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Methodical approach

and manner of publication of the findings

The methodical approach is already evident from the tasks and performance described under item I.b. In the course of the project, it emerged that not all artworks are exclusively from the Ferdinand Möller estate, but may also have been acquired for the gallery or the private collections by his wife, Mrs. Maria Möller-Garny, and the three daughters Rosemarie Baumgart-Möller, Angelika Fessler-Möller and Susanne Wenzel-Möller and their respective husbands. Since all those involved have passed away many years ago, reconstructing the acquisition policy of the Galerie Möller as well as the private collecting activities of the family over a period of nine decades (1912 – 2000) is a difficult undertaking, even with the help of the gallery estate at the Berlinische Galerie in Berlin.To this day, it has not been possible to establish whether Ferdinand Möller made a distinction between his sales portfolio and private collection. The presumption is, rather, that the boundary was flexible. Accordingly, the suspicion of Nazi-looted art cannot be dispelled even for objects thus far determined in secondary literature as having a “Möller Family” or similar provenance.Hence, research could not start directly with the period from 1933 until 1945; instead, the history of each individual work needed to be examined in reverse chronological order to establish when which works passed into the possession of the family members or the gallery at its various locations (Breslau, Berlin, Potsdam, Zermützel, Cologne). In 1956, Maria Möller-Garny inherited the estate of her husband and little by little gave artworks from the estate of the gallery to her three daughters, which were presumably also swapped among them. At the same time, her daughter Angelika continued the operations of the Dom-Galerie in Cologne and also acquired new works. In addition to the 42 objects from the Rosemarie Baumgart-Möller donation, a work from the Steegmann donation was identified which likewise has a provenance from the Galerie Ferdinand Möller and was confiscated from a German public collection in the Nazi “degenerate art” campaign.

Thus, there are five possible provenance groups for the group of works at the Kirchner Museum Davos:— Provenance from the estate of the Galerie Ferdinand Möller— Provenance from Nazi confiscation (previously part of a German public collection)— Provenance from the art trade— Provenance from the Steegmann donation via Galerie F. M. from Nazi confiscation— Provenance from the collecting activities of Maria Möller-Garny / Angelika Fessler-

Möller from the art trade— Provenance from the collecting activities of Rosemarie and Konrad Baumgart-Möller

from the art trade

After examining the classifications on the versos and documenting all works, the database “Beschlagnahmeinventar Entartete Kunst” (Inventory of confiscated degenerate art, FU Berlin) as well as documents pertaining to the confiscation campaign at the Berlinische Galerie in Berlin were used to attempt to identify the works previously held by German museums. Then enquiries were directed to the original museums regarding the status of the object in question (part of the museum collection or on loan) and the date it was received. The provenance information on all other works was researched as explained under item I.b.


c.

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Object statistics

Total number of artworks: 437 paintings, 8 sculptures, 5 watercolours / gouaches, 22 prints, 1 book featuring drawing

Provenance groups

Provenance from the estate of the Galerie Ferdinand Möller total 35

of these, provenance from the Galerie Ferdinand Möller art trade 21

of these, provenance from Nazi confiscation 13

of these, provenance from the Steegmann donation via Galerie F. M. from Nazi confiscation

1

Provenance from the collecting activities of Maria Möller-Garny / Angelika Fessler-Möller

1

Provenance from the collecting activities of Rosemarie Baumgart-Möller 1

Provenance not examined: works dated after 1945 5

Provenance not classifiable in any category 1

Total 43

Classification categories according to the guidelines of the Swiss Federal Office of Culture

Category Number of objects

Percentage of total

Classification of the examined objects

A 16 37 % The provenance between 1933 and 1945 can be reconstructed and ruled safe. It can be ruled out that the object is a work of Nazi-looted art.

B 21 49 % The provenance between 1933 and 1945 is not entirely clear or incomplete. The existing information, however, points to a safe provenance.

C 1 2 % The provenance between 1933 and 1945 is not entirely clear or incomplete. The existing information, however, points to connections to Nazi-looted art. Further research into the provenance is needed.

D 0 0 The provenance between 1933 and 1945 is completely clear and definitely problematic. The object is a work of Nazi-looted art. A fair and equitable solution must be found.

- 5 12 % Works created after 1945.

Total 43 100 % -


d.

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The two Ernst Ludwig Kirchner prints “Kopf Fräulein Hardt” and “Kopf Sohn Hardt” from the Kunstverein Jena were assigned to category B. Based on their chain of provenance, they constitute a special case, as the Kunstverein was “co-ordinated” with the Kunstmuseum in 1937, causing the Ernst Ludwig Kirchner prints from the Botho Graef donation to fall victim to the confiscation campaign as well. The painting “Landschaft mit Badenden” (Landscape with Bathers) by Otto Mueller was assigned to category C, since its provenance between the 1910s and 1938 is incomplete. In the late 1920s, early 1930s it was probably in the possession of the Jewish industrial director Berthold Nothmann, Düsseldorf / Berlin, who in 1939 emigrated to London due to persecution and, prior to this, sold part of his collection to finance his escape.


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List of the historical agents

(individuals and institutions)

relevant to the project

The Möller Family

— Ferdinand Möller (1882 – 1956), art dealer— Maria Möller-Garny (1886 – 1971), painter, wife of Ferdinand Möller— Three daughters: — Susanne Wenzel-Möller (1913 – 2003) — Rosemarie Baumgart-Möller (1915 – 2000), married to Wolfgang Schlenker,

Doctor of Law, from 1938 on and later to Konrad Baumgart — Angelika Fessler-Möller (1919 – 2002)

Additional individuals:

— Dr. Kurt Herberts (in archive materials his name may have been written down incorrectly as Dr. Hermann) and his assistant, Dr. Beatrix von Raqué, Wuppertal / Paris

— Eva Hülsmann / Major Hülsmann (relatives of the industrialist Eduard Hueck, Sr.), Lüdenscheid

— Berthold and Martha Nothmann, Düsseldorf / Berlin— Hans Fehr, Muri near Bern— Josef Steegmann and Lea Steegmann-Morosani, Davos— Willy Hahn, Berlin— Albert F. Daberkow, Bad Homburg— Hubert Baumgärtel, Berlin-Wilmersdorf— Hildebrand Gurlitt, Düsseldorf— Ulrich Kirchner, Biberach— Karl Ströher, Darmstadt— A. Mayer, Wiesbaden (not identified; perhaps Aloys Mayer)

Galleries:

— Galerie Ferdinand Möller, Breslau / Berlin / Potsdam / Zermützel / Cologne— Galerie Jeanne Bucher, Paris— Galerie Matthiesen, Berlin— Galerie Zimmer, Düsseldorf— Galerie Fischer, Lucerne— Galerie Ludwig Schames, Frankfurt am Main— Stuttgarter Kunstkabinett / Roman Norbert Ketterer, Stuttgart— Galerie Flechtheim, Düsseldorf


e.

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Museums from which works were confiscated as part of the “degenerate art” campaign:

— Städel Museum, Frankfurt am Main— Kunstmuseen Krefeld— Wallraf-Richartz-Museum Cologne— Städtisches Museum Mainz— Kunstsammlungen Chemnitz— Kunsthalle Mannheim— Museum Wiesbaden— Staatliche Kunstsammlungen Dresden— Bayerische Staatsgemäldesammlungen, Munich (Pinakothek)— Kunstverein Jena— Museum Folkwang Essen— Kaiser-Friedrich-Museum Magdeburg

Documentation of the findings for third parties

Originally, the plan was to publish the findings in the form of a catalogue, but in the course of the project it became clear that a publication online creates more transparency and is more conducive to the international exchange of information in provenance research. The list of works is available on the museum website at www.kirchnermuseum.ch. This type of publication is also more likely to provide new impulses in cases where the provenance between 1933 and 1945 has not yet been completely clarified.

During research, contact was also established with the Kunsthalle Mannheim which is presenting the exhibition “(Wieder-)Entdecken – Die Kunsthalle Mannheim 1933 bis 1945 und die Folgen” ([Re]Discover – The Kunsthalle Mannheim 1933 to 1945 and the Consequences). Included in it is a print by Erich Heckel formerly in the collection of the museum, which was acquired by Ferdinand Möller from the Nazi “degenerate art” campaign and today is among the holdings of the Kirchner Museum Davos.

The Kirchner Museum Davos itself presents the works of the Baumgart-Möller donation in conjunction with the provenance research findings in an exhibition running from 3 June until 4 November 2018.

Announcement of financial support received from the Swiss Federal Office of Culture was made through a press release, on the museum website at www.kirchnermuseum.ch, in the exhibition space and in the booklet accompanying the 2018 summer exhibition.


f.

II. Summary

KirchnerMuseumDavos

Evaluation of the findings

Twenty-one works still have gaps in their provenance (Category B) but thus far are not suspected of having been looted. Fourteen of those works are verifiably from the art trading activities of Ferdinand Möllers and their provenance can be traced up to the 1950s. One work is from the private collection of Maria Möller-Garny, but it is not possible to establish when it entered the collection. To date, four other works can be traced back only as far as Rosemarie Baumgart-Möller. For two other prints which Ferdinand Möller received following the campaign to confiscate works from public collections it is impossible to determine when they entered the collection in question and reconstruct their provenance before the confiscation in 1937, as ledgers are missing. One work suspected of being looted was subjected to an in-depth provenance investigation. In spite of extensive research, it has not yet been possible to reconstruct all the changes in ownership of the works.

Unresolved issues and need for further research

Obviously, regular investigations will be needed to fill the existing gaps, if at all possible. Since the focus of the 2016 – 17 provenance research was on the works from the Baumgart-Möller donation, a next step involves examining the objects from all other donations. A special provenance project is planned for a painting by Otto Mueller. This work is from the collection of the Nothmann family and under suspicion of having been looted.


a.

b.

III. Appendix: List of works

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Gerhard Marcks (1889 – 1981)Stehende mit ZopfStanding Woman with Braid1950BronzeDimensions: 115 x 23 x 55 cm

Works dated after 1945 were not subjected to provenance research.

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Franz Marc (1880 – 1916)Ruhende PferdeHorses Resting1911 – 1912Colour woodcutDimensions: 29 x 33 cm (sheet), 16.7 x 22.5 cm (plate)

P R O v e N A N C e

4 March – 19 April 1936 Probably included in the Franz Marc memorial exhibition, Kestner-Gesellschaft, Hannover

1936 Probably included in the Franz Marc memorial exhibition, Galerie Nierendorf, Berlin [1] Probably after 1922 – 25 August 1937 Museum Folkwang, Essen [2] 25 August 1937 – 2 January 1940 Deutsches Reich, Reich Ministry of Public Enlightenment and Propaganda, Berlin,

confiscated as “degenerate art” at the Museum Folkwang, Essen (EK no. 4717) 2 January 1940 – n. d. Galerie Ferdinand Möller, Berlin, acquired through exchange N. d. – 1949 Ferdinand Möller, Art Dealer, Zermützel 1949 – 1956 Galerie Ferdinand Möller, Cologne 1956 – n. d. Maria Möller-Garny, Cologne, acquired through inheritance from her husband N. d. – 2000 Rosemarie Baumgart-Möller, acquired through donation or inheritance from

her mother 2000 Kirchner Museum Davos, acquired through donation

[1] Cf. exh. cat. Galerie Nierendorf, Berlin 1936, Franz Marc Memorial Exhibition, no. 78, colour woodcut “Ruhende Pferde” (1911), for sale.[2] Circumstances of acquisition unknown. The stamp of the Museum Folkwang in Essen suggests it was acquired after 1922.

Category B

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Ewald Mataré (1887 – 1965)Kühe im WindCows in the Wind1928Colour woodcutDimensions: 27.2 x 37.5 cm (sheet); 18 x 27.1 cm (plate)

P R O v e N A N C e

N. d. – 2000 Rosemarie Baumgart-Möller 2000 Kirchner Museum Davos, acquired through donation

Category B

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Karl Schmidt-Rottluff (1884 – 1976)Lupinen in VaseLupines in a Vase1921Oil on canvasDimensions: 73 x 65 cm (image), 87.6 x 79.5 x 5 cm (frame)

P R O v e N A N C e

N. d. Probably Galerie Matthiesen, Berlin, Bellevuestr. 14 [1] N. d. – 30 January 1928 Galerie Ferdinand Möller, Berlin 30 January 1928 – 12 August 1937 Staatliche Gemäldegalerie, Dresden 12 August 1937 – July 1939 German Reich, Reich Ministry of Public Enlightenment and Propaganda, Berlin,

confiscated as “degenerate art” at the Staatliche Gemäldegalerie, Dresden (EK no. 13662)

August 1938 – 25 April 1939 Storage at depot of “internationally exploitable” works of art at Schönhausen Palace in Berlin

30 June 1939 Galerie Fischer, Lucerne, auction (unsold) [2] July 1939 – n. d. Hans Fehr, Muri near Bern, acquired through purchase from Galerie Fischer, Lucerne N. d. – 1954 Stuttgarter Kunstkabinett, Roman Norbert Ketterer, Stuttgart, entered for auction by

Hans Fehr [3] 1954 – 1956 Ferdinand Möller, Art Dealer, Cologne, acquired through purchase at the Stuttgarter

Kunstkabinett auction 1956 – n. d. Maria Möller-Garny, Cologne, acquired through inheritance from her husband N. d. – 2000 Rosemarie Baumgart-Möller, acquired through donation or inheritance from


[1] Remnants of a label on the stretcher frame: “Galerie Matthiesen, Berlin W. 9, Bellevuestr. 14” with an illegible, partly scraped-off, handwritten note. Galerie Matthiesen was located at this address from 1926 until 1931.[2] Galerie Fischer, Lucerne 1939, auction of “Paintings and Sculptures by Modern Masters from German Museums,” lot no. 122, no bid.[3] Stuttgarter Kunstkabinett, Roman Norbert Ketterer, Stuttgart 1954, 19th auction, lot no. 1622.

Category A

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Karl Schmidt-Rottluff (1884 – 1976)ZiegenGoats1924 – 1928Watercolour and inkDimensions: 48.5 x 67 cm (image)

P R O v e N A N C e

22 May 1927 – 18 August 1937 Kaiser-Friedrich-Museum, Magdeburg, acquired through a donation of the

Museumsgesellschaft [1] 18 August 1937 – 7 March 1940 German Reich, Reich Ministry of Public Enlightenment and Propaganda, Berlin,

confiscated as “degenerate art” at the Kaiser-Friedrich-Museum, Magdeburg (EK no. 11988)

7 March 1940 – 1943 Galerie Ferdinand Möller, Berlin, acquired through exchange 1943 – 1949 Ferdinand Möller, Art Dealer, Zermützel 1949 – 1956 Galerie Ferdinand Möller, Cologne 1956 – n. d. Maria Möller-Garny, Cologne, acquired through inheritance from her husband N. d. – 2000 Rosemarie Baumgart-Möller, acquired through donation or inheritance from


[1] Cf. Kulturhistorisches Museum Magdeburg, entry in inventory, 22 May 1927, no. 742: “Schmidt-Rottluff, Ziegen, Aquarell, 50 x 68.5 cm, Geschenk der Museumsgesellschaft.”

Category A

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Karl Schmidt-Rottluff (1884 – 1976)KatzenCats1915WoodcutDimensions: 48.5 x 62.2 cm (sheet), 40 x 50 cm (plate)

P R O v e N A N C e

N. d. – 1956 Galerie Ferdinand Möller, Cologne 1956 – n. d. Maria Möller-Garny, Cologne, acquired through inheritance from her husband N. d. – 2000 Rosemarie Baumgart-Möller, acquired through donation or inheritance from


Category B

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Richard Scheibe (1879 – 1964)Spielende KatzenCats Playing1922Bronze on marble pedestalDimensions: 13.5 x 22.5 x 6.5 cm

P R O v e N A N C e

1923 Probably exhibited at the E. Weyhe Gallery in New York by the art dealer Ferdinand Möller; at this time, a copy of the bronze was probably in the possession of the publishing house run by Ferdinand Möller [1]

N. d. Maria Möller-Garny, Cologne [2] N. d. – 2000 Rosemarie Baumgart-Möller, acquired through donation or inheritance from


[1] Cf. Berlinische Galerie, Berlin, artists’ archives, Ferdinand Möller estate, BG-GFM-DI, viewing invoice from Galerie Ferdinand Möller in Berlin to Mr. Ferdinand Möller, New York City, 23 November 1923, listed under item 4: “Bronzen von Richard Scheibe, Spielende Katzen, Besitz Verlag.”[2] Cf. Georg Kolbe Museum, Berlin, excerpts from the unpublished catalogue raisonné by Magdalena George: “Der Bildhauer Richard Scheibe.” Diss. Karl-Marx-Universität, Leipzig, typescript, 5 vols., 1961, pp. 22f.: “Bes.: Dr. Plietzsch, Cologne, 2. Stück Maria Möller-Garny, Cologne, Ausstellung Potsdamer Kunstverein 1921.”

Category B

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Otto Mueller (1874 – 1930)Landschaft mit BadendenLandscape with Bathersc. 1915Distemper on hessianDimensions: 92 x 70 cm (image), 102.4 x 80.4 x 4 cm (frame)

P R O v e N A N C e

Ca. 1910 – 1917 Painting’s date of origin uncertain [1] Before 1917 Galerie Ernst Arnold, Breslau (present-day Wroclaw), Tauentzienplatz [2] N. d. Berthold Nothmann (1865 – 1942), industrialist and art collector, Düsseldorf /

Berlin-Wannsee [3] [4] 2 June 1929 – 6 July 1929 Galerie Alfred Flechtheim, Düsseldorf, probably shown in the exhibition “Lebende

deutsche Kunst aus rheinischem Privatbesitz,” possibly as a loan from Berthold Nothmann [5]

March 1932 Kunstverein für die Rheinlande und Westfalen, Düsseldorf, Hindenburgwall 42, shown in the exhibition “Sammlung Nothmann / Kunstsammlung eines rheinischen Kunstfreundes” [6]

N. d. – March 1938 Galerie Ferdinand Möller, Berlin March 1938 – 1958 Institute of Arts, Detroit, USA, Wilhelm R. Valentiner, Director; sent there from Berlin

by Ferdinand Möller [7] 1957/58 – n. d. Maria Möller-Garny, Cologne, return of the work from the U.S. secured by Ferdinand

Möller’s widow and her daughter, Angelika [8] N. d. – 2000 Rosemarie Baumgart-Möller, acquired through donation or inheritance from


[1] Cf. Mario-Andreas von Lüttichau: Künstlergemeinschaft Brücke, Dresden 1910, p. 94, in Berlinische Galerie (ed.): Stationen der Moderne. Die bedeutendsten Kunstausstellungen des 20. Jahrhunderts in Deutschland, pp. 88 – 108. Von Lüttichau posits that the painting was already included in the 1910 “Brücke” exhibition at Galerie Arnold in Dresden, where it was titled “Im Schilf” (In the Reeds).[2] According to label on stretcher frame: “Galerie Ernst Arnold, Inh.: L. W. Gutbier, Königlicher Hofkunsthändler, Breslau, Tauentzienplatz ….”[3] Cf. Berthold Nothmann: Meine Lebenserinnerungen für die Familie bestimmt, 1865 – 1935 (Berlin-Wannsee, 1936), unpublished manuscript, Leo Baeck Institute, New York.

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[4] Circumstances of acquisition unknown. In 1923, Berthold Nothmann and his wife were already regular visitors at Galerie Ferdinand Möller, Berlin. Cf. Berlinische Galerie, Berlin, artists’ archives, Ferdinand Möller estate, BG-GFM-DI-41, letter by Frl. Caspar, a staff member of Galerie Ferdinand Möller, Berlin, to Ferdinand Möller, New York City, 7 November 1923, p. 2: “Dir. Nothmann und his wife visited the exhibition. They do not want to buy anything.” A second letter by Caspar to Möller (BG-GFM-DI-66, 4 December 1923) mentions that Mr. and Mrs. Nothmann visited the December exhibition of the Galerie Ferdinand Möller in Berlin. In a third letter by Caspar to Möller (BG-GFM-DI-79, 9 January 1924) we read that Nothmann attended the preview of the Schwichtenberg exhibition at the Galerie Ferdinand Möller in Berlin. To date, there is no evidence of any business relations between the Nothmanns and Galerie Ferdinand Möller in the 1920s or 1930s.[5] Cf. exh. cat. Galerie Alfred Flechtheim, Düsseldorf 1929: Lebende Deutsche Kunst aus rheinischem Privatbesitz. Berthold Nothmann is listed among the lenders. Two paintings by Otto Mueller, “no. 39 Zigeunerin” and “no. 40 Badende,” are included.[6] Cf. Berthold Nothmann: Dokumente. Leo Baeck Institute, New York. The collection of documents includes several newspaper articles reporting on the exhibition as well as installation views, which show, among other works, the Otto Mueller painting. Gustav Lomnitz, who from 1904 until 1941 served as Executive Director of the Kunstverein für die Rheinlande und Westfalen, wrote in a letter dated 15 August 1932 to Berthold Nothmann: “Dear Mr. Nothmann, you personally and Walter Cohen had already indicated to me that you might move to Berlin. Now that this has come true, I do want to tell you how vividly I regret, on our own behalf and that of Düsseldorf, that we no longer have you as one of our own. Of course, we will safeguard your paintings until you can find a place for them in your new home. So you do not need to use the space in the museum ….” It is not known how long the paintings were stored at the Kunstverein.[7] It is not known from when on the painting was at the Galerie Ferdinand Möller in Berlin and under what circumstances it was acquired. Along with a group of seventeen other paintings, Ferdinand Möller shipped the work to Wilhelm R. Valentiner at the Institute of Arts in Detroit, USA, in order to be exhibited and stored there. Among the papers in the Ferdinand Möller estate are viewing invoices relating to this group of works, but no purchase agreements between the Galerie Ferdinand Möller and the Institute of Arts. The shipment raises many questions, though Ferdinand Möller himself characterised it as a “rescue operation” in the 1950s. Cf. Berlinische Galerie, Berlin, artists’ archives, Ferdinand Möller estate, BG-GFM MF 5317, 453 – 467.[8] Cf. Eberhard Roters: Galerie Ferdinand Möller, Die Geschichte einer Galerie für Moderne Kunst in Deutschland, 1917 – 1956 (Berlin, 1984), pp. 221 – 228.

Category C


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Otto Mueller (1874 – 1930)Fünf gelbe Akte am WasserFive Yellow Nudes by the Water1921Colour lithographDimensions: 36 x 51.2 cm (sheet), 33.5 x 43.5 cm (plate)

P R O v e N A N C e

N. d. – 1956 Galerie Ferdinand Möller, Cologne [1] 1956 – n. d. Maria Möller-Garny, Cologne, acquired through inheritance from her husband N. d. – 2000 Rosemarie Baumgart-Möller, acquired through donation or inheritance from


[1] Cf. Berlinische Galerie, Berlin, artists’ archives, Ferdinand Möller estate, “Journal” ledger/goods inward book between 1951 and 1960: The print is listed under the title “Gr. 6981 Große Badende.”

Category B

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Otto Mueller (1874 – 1930)Stehender Knabe und zwei Mädchen 2 (Drei Akte)Standing Boy with Two Girls 2 (Three Nudes)1917Watercoloured chalk lithograph Dimensions: 50.3 x 39 cm (sheet), 31.7 x 24.5 cm (plate)

P R O v e N A N C e

N. d. – 1956 Galerie Ferdinand Möller, Cologne [1] 1956 – N. d. Maria Möller-Garny, Cologne, acquired through inheritance from her husband N. d. – 2000 Rosemarie Baumgart-Möller, acquired through donation or inheritance from


[1] Cf. Berlinische Galerie, Berlin, artists’ archives, Ferdinand Möller estate, “Journal” ledger/goods inward book between 1951 and 1960: The print is listed under the title “Gr. 6623 Drei Akte in Landschaft, L, übermalt, Rosie.”

Category B

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Otto Mueller (1874 – 1930)Zigeuner-Liebespaar 1Gypsy Lovers 11914 – 1918Recto chalk lithograph,Verso drawingDimensions: 55.8 x 44.5 cm (sheet), 43.3 x 32.6 cm (plate)

P R O v e N A N C e

N. d. Probably A. Mayer [1] 1921 – 26 August 1937 Nassauisches Landesmuseum, Wiesbaden, acquired through donation [2] 26 August 1937 – 7 March 1940 German Reich, Reich Ministry of Public Enlightenment and Propaganda, Berlin,

confiscated as “degenerate art” from the Nassauisches Landesmuseum in Wiesbaden (EK no. 8790)

7 March 1940 – 1943 Galerie Ferdinand Möller, Berlin, acquired through exchange 1943 – 1949 Ferdinand Möller, Art Dealer, Zermützel [3] 1949 – 1956 Galerie Ferdinand Möller, Cologne 1956 – n. d. Maria Möller-Garny, Cologne, acquired through inheritance from her husband N. d. – 2000 Rosemarie Baumgart-Möller, acquired through donation or inheritance from


[1] On the reverse handwritten signature in pencil “A. Mayer.” This may have been Aloys Mayer, art collector and man of private means, born in 1845 – 46 in Niederhochstadt, Palatinate, died on 1 June 1920 in Wiesbaden.[2] According to the Museum Wiesbaden, the lithograph entered the collection in 1921 as a donation.[3] Inventoried by Kurt Reutti in November 1946

Category A

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Karl Schmidt-Rottluff (1884 – 1976)Frau in den Dünen (Hohwacht in Holstein)Woman in the Dunes (Hohwacht in Holstein)1914WoodcutDimensions: 51.2 x 62 cm (image), 39.6 x 50 cm (plate)

P R O v e N A N C e



[1] Cf. Berlinische Galerie, Berlin, artists’ archives, Ferdinand Möller estate, “Journal” ledger/goods inward book between 1951 and 1960: The print is listed. On the recto, classifications in pencil of the Galerie Ferdinand Möller in Cologne have been added at the bottom right of the print.

Category B

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Georg Kolbe (1877 – 1947)Die SklavinThe Slave1916BronzeDimensions: 73 x 21 x 19 cm

P R O v e N A N C e

1953 – 1956 Galerie Ferdinand Möller, Cologne [1] 1956 – n. d. Maria Möller-Garny, Cologne, acquired through inheritance from her husband N. d. – 2000 Rosemarie Baumgart-Möller, acquired through donation or inheritance from


[1] Cf. Berlinische Galerie, Berlin, artists’ archives, Ferdinand Möller estate, “Journal” ledger/goods inward book between 1951 and 1960: Listed from 1953 on, no mention of seller.

Category B

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Ernst Ludwig Kirchner (1880 – 1938)Das Mittagessen der BauernThe Peasant Meal1920WoodcutDimensions: 40.8 x 63.2 cm, 37.5 x 40.8 cm (plate)

P R O v e N A N C e

N. d. – 1956 Galerie Ferdinand Möller, Cologne 1956 – n. d. Maria Möller-Garny, Cologne, acquired through inheritance from her husband N. d. – 2000 Rosemarie Baumgart-Möller, acquired through donation or inheritance from


Category B

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Ernst Ludwig Kirchner (1880 – 1938)Landschaft mit blauen Felsen und WasserfallLandscape with Blue Cliffs and Waterfall1919Oil on canvasDimensions: 70 x 60.5 cm (painting), 89.4 x 79.7 x 5 cm (frame)

P R O v e N A N C e

1918 – 1922 Karl Ernst Osthaus [1] 1922 – 25 August 1937 Museum Folkwang, Essen, acquired with the collection of the Museum Folkwang

in Hagen 25 August 1937 – 5 March 1941 German Reich, Reich Ministry of Public Enlightenment and Propaganda, Berlin,

confiscated as “degenerate art” from the Museum Folkwang, Essen (EK no. 3636) 1938 – 5 March 1941 Storage at depot of “internationally exploitable” works of art at Schönhausen Palace

in Berlin 5 March 1941 – 1943 Galerie Ferdinand Möller, Berlin, acquired through exchange 1943 – 1949 Ferdinand Möller, Art Dealer, Zermützel [2] 1949 – 1956 Galerie Ferdinand Möller, Cologne 1956 – n. d. Maria Möller-Garny, Cologne, acquired through inheritance from her husband N. d. – 2000 Rosemarie Baumgart-Möller, acquired through donation or inheritance from


[1] Acquired by Karl Ernst Osthaus directly from E. L. Kirchner. Cf. Hans Delfs: Ernst Ludwig Kirchner. Der gesamte Briefwechsel (Zürich, 2010), doc. no. 571, letter by E. L. Kirchner to Karl Ernst Osthaus, 31 March 1918.[2] Inventoried by Kurt Reutti 11.1946

Category A

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Georg Kolbe (1877 – 1947)Porträt Maria Möller-GarnyPortrait of Maria Möller-Garny1921BronzeDimensions: 36 x 16.5 x 27 cm

P R O v e N A N C e

1920s – n. d. Maria Möller-Garny, Cologne, acquired as a gift from the artist [1] N. d. – 2000 Rosemarie Baumgart-Möller, acquired as a gift from her mother 2000 Kirchner Museum Davos, acquired through donation

[1] All three daughters of Ferdinand Möller and Maria Möller-Garny received a portrait bust of their mother by Georg Kolbe.

Category A

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Berthold Müller-Oerlinghausen (1893 – 1979)Mädchentorso (Ursula Dethleffs)Torso of a girl (Ursula Dethleffs)1947BronzeDimensions: 44 x 13 x 11 cm


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Berthold Müller-Oerlinghausen (1893 – 1979)Spiel mit dem BallBall Playing1964BronzeDimensions: 39 x 16 x 11 cm


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Erich Heckel (1883 – 1970)JünglingTeenage Boy1917WoodcutDimensions: 58 x 42.2 cm (image), 36 x 29.7 cm (plate)

P R O v e N A N C e



[1] Cf. Berlinische Galerie, Berlin, artists’ archives, Ferdinand Möller estate, “Journal” ledger/goods inward book between 1951 and 1960: One copy of this print is listed there under “Gr. 6230.”

Category B

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Erich Heckel (1883 – 1970)Bildnis E. H. (Selbstbildnis)Portrait E. H. (Self-Portrait)1917WoodcutDimensions: 56 x 43.5 cm (sheet), 36.8 x 29.8 cm (plate)

P R O v e N A N C e



[1] Cf. Berlinische Galerie, Berlin, artists’ archives, Ferdinand Möller estate, “Journal” ledger/goods inward book between 1951 and 1960: One copy of this print is listed there.

Category B

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Otto Mueller (1874 – 1930)Selbstbildnis mit Modell und MaskeSelf-Portrait with Model and Mask1921 – 22Chalk lithographDimensions: 56.5 x 44.2 cm, 38.7 x 29.5 cm (plate)

P R O v e N A N C e



[1] Cf. Berlinische Galerie, Berlin, artists’ archives, Ferdinand Möller estate, “Journal” ledger/goods inward book between 1951 and 1960: One copy of this print is listed there under “Gr. 6530.”

Category B

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Erich Heckel (1883 – 1970)Madonna von OstendeMadonna of Ostend1916Watercoloured woodcutDimensions: 58 x 41 cm (sheet), 42.2 x 26.5 cm (plate)

P R O v e N A N C e

28 March 1918 – 28 August 1937 Kunsthalle Mannheim, acquired directly from the artist [1] 28 August 1937 – 2 January 1940 German Reich, Reich Ministry of Public Enlightenment and Propaganda, Berlin,

confiscated as “degenerate art” at the Kunsthalle Mannheim (EK no. 6161) August 1938 – 2 January 1940 Storage at depot of “internationally exploitable” works of art at Schönhausen Palace

in Berlin 1940 or 1941 Galerie Ferdinand Möller, Berlin, acquired through exchange 1941 – 1949 Ferdinand Möller, Art Dealer 1949 – 1956 Galerie Ferdinand Möller, Cologne 1956 – n. d. Maria Möller-Garny, Cologne, acquired through inheritance from her husband N. d. – 2000 Rosemarie Baumgart-Möller, acquired through donation or inheritance from


[1] Cf. Kunsthalle Mannheim, note in inventory book, 1918, p. 110: “Heckel Erich /1 / H. / Ostender Madonna / 1059 / 50,- / Berlin / 28.III. / Künstler: Erich Heckel.”

Category A

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Karl Schmidt-Rottluff (1884 – 1976)Christus und JudasChrist and Judas1918WoodcutDimensions: 47 x 59 cm (image), 38.5 x 50 cm (plate)

P R O v e N A N C e

N. d. Hildebrand Gurlitt, Düsseldorf N. d. – 1953 Stuttgarter Kunstkabinett, Roman Nobert Ketterer, entered for auction by Hildebrand

Gurlitt [1] 1953 – 1956 Galerie Ferdinand Möller, Cologne, acquired at the Stuttgarter Kunstkabinett auction 1956 – n. d. Maria Möller-Garny, Cologne, acquired through inheritance from her husband N. d. – 2000 Rosemarie Baumgart-Möller, acquired through donation or inheritance from


[1] Stuttgarter Kunstkabinett, Roman Norbert Ketterer, Stuttgart, auction 17, 1953, lot no. 1907.

Category B

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Ernst Ludwig Kirchner (1880 – 1938)Kopf Erna mit FrisurPortrait of Erna with Coiffure1912Chalk lithographDimensions: 51.5 x 39.1 cm (sheet), 24 x 31.9 cm (plate)

P R O v e N A N C e

N. d. – 1954 Ulrich Kirchner, Biberach, probably acquired from the estate of Ernst Ludwig Kirchner [1]

1954 Stuttgarter Kunstkabinett, Roman Norbert Ketterer, Stuttgart, entered for auction by Ulrich Kirchner [2]

1954 – n. d. Karl Ströher, Darmstadt, acquired at the Stuttgarter Kunstkabinett auction N. d. – 1956 Galerie Ferdinand Möller, Cologne 1956 – n. d. Maria Möller-Garny, Cologne, acquired through inheritance from her husband N. d. – 2000 Rosemarie Baumgart-Möller, acquired through donation or inheritance from


[1] Probably acquired from the estate of his brother, Ernst Ludwig Kirchner, after Erna Kirchner’s death in 1945. The classification “K 45” in ink indicates that it was among the group of works in the so-called (fictive) “Gervais collection.”[2] Stuttgarter Kunstkabinett, Roman Norbert Ketterer, Stuttgart, auction 20, lot no. 1245.

Category A

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Erich Heckel (1883 – 1970)Mädchen mit hohem HutGirl with High Hat1913DrypointDimensions: 39.8 x 29.8 cm (sheet), 25.2 x 20.2 cm (plate)

P R O v e N A N C e

N. d. – 27 August 1937 Kaiser-Wilhelm-Museum, Krefeld 27 August 1937 – 7 March 1940 German Reich, Reich Ministry of Public Enlightenment and Propaganda, Berlin,

confiscated as „degenerate art“ at the Kaiser-Wilhelm-Museum (EK no. 14524) 7 March 1940 – 1943 Galerie Ferdinand Möller, Berlin, acquired through exchange 1943 – 1949 Ferdinand Möller, Art Dealer, Zermützel [1] 1949 – 1956 Galerie Ferdinand Möller, Cologne [2] 1956 – n. d. Maria Möller-Garny, Cologne, acquired through inheritance from her husband N. d. – 2000 Rosemarie Baumgart-Möller, acquired through donation or inheritance from


[1] Inventoried by Kurt Reutti 11.1946[2] Cf. Berlinische Galerie, Berlin, artists’ archives, Ferdinand Möller estate, “Journal” ledger/goods inward book between 1951 and 1960: The print is listed there under “Gr. 6942” and labelled “Susie Geschenk.” It remains unclear whether this is a mistake or whether the print was passed on from Susanne Wenzel-Möller to Rosemarie Baumgart-Möller.

Category B

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Ernst Ludwig Kirchner (1880 – 1938)Kopf Sohn Hardt (Prosper Hardt)Portrait of Hardt, Jr. (Prosper Hardt)1914 – 15WoodcutDimensions: 58 x 40.6 cm (sheet), 50 x 34 cm (plate)

P R O v e N A N C e

1918 – 2 August 1937 Kunstverein Jena, acquired from E. L. Kirchner by the Botho Graef donation [1] 2 August 1937 – 1940 German Reich, Reich Ministry of Public Enlightenment and Propaganda, Berlin,

confiscated as “degenerate art” from the Berliner Kupferstichkabinett (EK no. 13072) 1940 – 1943 Galerie Ferdinand Möller, Berlin, acquired through exchange 1943 – 1949 Ferdinand Möller, Art Dealer, Zermützel 1949 – 1956 Galerie Ferdinand Möller, Cologne 1956 – n. d. Maria Möller-Garny, Cologne, acquired through inheritance from her husband N. d. – 2000 Rosemarie Baumgart-Möller, acquired through donation or inheritance from


[1] Gleichschaltung of the Kunstverein in 1937; museum director Werner Meinhof sends the group of works in an exchange to the Berlin Kupferstichkabinett; there loss due to confiscation. Cf. Jenaer Kunstverein e. V., Rausch und Ernüchterung: Die Bildersammlung des Jenaer Kunstvereins – Schicksal einer Sammlung der Avantgarde im 20. Jahrhundert (Jena, 2008,) with contributions by Maria Schmid, Günther Gercken and Andreas Hüneke.

Category B

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Ernst Ludwig Kirchner (1880 – 1938)Kopf Erna (Frau des Künstlers)Portrait of Erna (the Artist’s Wife)1917Oil on canvasDimensions: 70.5 x 60.5 cm (painting), 91 x 80.5 x 5 cm (frame)

P R O v e N A N C e

April 1919 – 7 July 1937 Städelsches Kunstinstitut und Städtische Galerie, Frankfurt am Main, acquired directly from the artist with funds of the Pfungst Foundation [1]

7 July 1937 – 7 March 1940 German Reich, Reich Ministry of Public Enlightenment and Propaganda, Berlin, confiscated as “degenerate art” from the Städelsches Kunstinstitut, Frankfurt am Main (EK no. 16016)

19 July 1937 – 7 August 1938 “Entartete Kunst” travelling exhibition, shown in Munich, Berlin, Leipzig, Düsseldorf [2]

August 1938 – 7 March 1940 Storage at depot of “internationally exploitable” works of art at Schönhausen Palace in Berlin

7 March 1940 – 1943 Galerie Ferdinand Möller, Berlin, acquired through purchase 1943 – 1949 Ferdinand Möller, Art Dealer, Zermützel [3] 1949 – 1956 Galerie Ferdinand Möller, Cologne 1956 – n. d. Maria Möller-Garny, Cologne, acquired through inheritance from her husband N. d. – 2000 Rosemarie Baumgart-Möller, acquired through donation or inheritance from


[1] Cf. Hans Delfs: Ernst Ludwig Kirchner. Der gesamte Briefwechsel (Zürich, 2010), doc. no. 722 letter by Erna Kirchner to Georg Swarzenski, 7 April 1919.[2] “Entartete Kunst” (2.1), Munich, Hofgarten-Arkaden, 19 July 1937 – 30 November 1937; “Entartete Kunst” (2.2), Berlin, Haus der Kunst, 26 February 1938 – 8 May 1938; “Entartete Kunst” (2.3), Leipzig, Grassi-Museum, 13 May 1938 – 6 June 1938; “Entartete Kunst” (2.4), Düsseldorf, Kunstpalast, 18 June 1938 – 7 August 1938.[3] Inventoried by Kurt Reutti in November 1946

Category A

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Wilhelm Lehmbruck (1881 – 1919)Kopf der “Grossen Knienden”Head of the “Large Kneeling Woman”1911TerracottaDimensions: 40 x 43 x 30 cm

P R O v e N A N C e

1916 – 25 August 1937 Städelsches Kunstinstitut und Städtische Galerie, Frankfurt am Main, acquired from the artist via the Galerie Schames in Frankfurt am Main

25 August 1937 – February 1939 German Reich, Reich Ministry of Public Enlightenment and Propaganda, Berlin,

confiscated as “degenerate art” from the Städelsches Kunstinstitut (EK no. 436) August 1938 – February 1939 Storage at depot of “internationally exploitable” works of art at Schönhausen Palace

in Berlin February 1939 – 1943 Galerie Ferdinand Möller, Berlin, acquired through purchase 1943 – 1949 Ferdinand Möller, Art Dealer 1949 – 1956 Galerie Ferdinand Möller, Cologne 1956 – n. d. Maria Möller-Garny, Cologne, acquired through inheritance from her husband N. d. – 2000 Rosemarie Baumgart-Möller, acquired through donation or inheritance from


Category A

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Ernst Ludwig Kirchner (1880 – 1938)Kopf Fräulein Hardt (Donata Hardt)Portrait of Miss Hardt (Donata Hardt)1914 – 1915WoodcutDimensions: 51.5 x 39.1 cm (sheet), 24 x 31.9 cm (plate)

P R O v e N A N C e

1918 – 2 August 1937 Kunstverein Jena, acquired from E. L. Kirchner by the Botho Graef donation [1] 2 August 1937 – 1940 German Reich, Reich Ministry of Public Enlightenment and Propaganda, Berlin,

confiscated as “degenerate art” from the Berliner Kupferstichkabinett (EK no. 13071) 1940 – 1943 Galerie Ferdinand Möller, Berlin, acquired through exchange 1943 – 1949 Ferdinand Möller, Art Dealer, Zermützel 1949 – 1956 Galerie Ferdinand Möller, Cologne 1956 – n. d. Maria Möller-Garny, Cologne, acquired through inheritance from her husband N. d. – 2000 Rosemarie Baumgart-Möller, acquired through donation or inheritance from


[1] Gleichschaltung of the Kunstverein in 1937; museum director Werner Meinhof sends the group of works in an exchange to the Berlin Kupferstichkabinett; there loss due to confiscation. Cf. Jenaer Kunstverein e. V., Rausch und Ernüchterung: Die Bildersammlung des Jenaer Kunstvereins – Schicksal einer Sammlung der Avantgarde im 20. Jahrhundert (Jena, 2008,) with contributions by Maria Schmid, Günther Gercken and Andreas Hüneke.

Category B

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Erich Heckel (1883 – 1970)Mädchen mit TurbanGirl with Turban1911Chalk lithographDimensions: 36.6 x 49.9 cm (sheet), 26.2 x 33.1 cm (plate)

P R O v e N A N C e

N. d. – 29 October 1929 Kunstausstellung Kühl, Dresden 29 October 1929 – 19 August 1937 Städtische Kunstsammlung, Chemnitz, acquired through purchase from the

Kunstausstellung Kühl in Dresden 19 August 1937 – 7 March 1940 German Reich, Reich Ministry of Public Enlightenment and Propaganda, Berlin,

confiscated as “degenerate art” from the Städtische Kunstsammlung, Chemnitz (EK no. 10461)

1938 – 7 March 1940 Storage at depot of “internationally exploitable” works of art at Schönhausen Palace in Berlin

7 March 1940 – 1943 Galerie Ferdinand Möller, Berlin, acquired through exchange 1943 – 1949 Ferdinand Möller, Art Dealer, Zermützel [1] 1949 – 1956 Galerie Ferdinand Möller, Cologne 1956 – n. d. Maria Möller-Garny, Cologne, acquired through inheritance from her husband N. d. – 2000 Rosemarie Baumgart-Möller, acquired through donation or inheritance from


[1] Inventoried by Kurt Reutti 11.1946

Category A

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Erich Heckel (1883 – 1970)Weibliches GesichtFemale Face1907WoodcutDimensions: 44 x 34.2 cm (sheet), 20.2 x 15 cm (plate)

P R O v e N A N C e

N. d. – 31 March 1932 Kunstantiquariat Eduard Walz, Munich 31 March 1932 – 1937 Städtisches Museum, Mainz, acquired through purchase from the Kunstantiquariat

Eduard Walz, Munich [1] 1937 – 7 March 1940 German Reich, Reich Ministry of Public Enlightenment and Propaganda, Berlin,

confiscated as “degenerate art” from the Städtisches Museum, Mainz (EK no. 11079) 7 March 1940 – 1943 Galerie Ferdinand Möller, Berlin, acquired through exchange 1943 – 1949 Ferdinand Möller, Art Dealer, Zermützel [2] 1949 – 1956 Galerie Ferdinand Möller, Cologne 1956 – n. d. Maria Möller-Garny, Cologne, acquired through inheritance from her husband N. d. – 2000 Rosemarie Baumgart-Möller, acquired through donation or inheritance from


[1] Cf. Landesmuseum Mainz, Inventarbuch, 1932, inv. no. 3130, labelled in 1937 as “Nach Berlin gesandt” (Sent to Berlin).[2] Inventoried by Kurt Reutti 11.1946

Category A

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Alexej von Jawlensky (1864 – 1941)Abstrakter Kopf (Ohne Titel)Abstract Head (Untitled)1920Oil on cardboardDimensions: 41.5 x 31.5 cm

P R O v e N A N C e


Category B

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Lyonel Feininger (1871 – 1956)Brücke IV – Brücke in WeimarBridge IV – Bridge in Weimar1918Oil on canvasDimensions: 63 x 90 cm

P R O v e N A N C e

N. d. – July 1931 Eva Hülsmann / Major Hülsmann, Lüdenscheid July 1931 – March 1938 Galerie Ferdinand Möller, Berlin, acquired from Eva Hülsmann, Lüdenscheid [1] March 1938 – 1958 Institute of Arts, Detroit, USA, Wilhelm R. Valentiner, Director; sent there by

Ferdinand Möller from Berlin [2] 1957 – 58 – n. d. Maria Möller-Garny, Cologne, return of the work from the U.S. secured by Ferdinand

Möller’s widow and her daughter, Angelika [3] N. d. – 2000 Rosemarie Baumgart-Möller, acquired through donation or inheritance from


[1] Cf. Berlinische Galerie, Berlin, artists’ archives, Ferdinand Möller estate, BG-KA-N/F.Möller-13-M13, letter by Eva Hülsmann, Lüdenscheid, to Galerie Ferdinand Möller, 7 July 1931. Eva Hülsmann was a relative of the industrialist Eduard Hueck, Sr.[2] Along with a group of seventeen other paintings, Ferdinand Möller shipped the work to Wilhelm R. Valentiner at the Institute of Arts in Detroit, USA, in order to be exhibited and stored there. Among the papers in the Ferdinand Möllers estate are viewing invoices relating to this group of works, but no purchase agreements between the Galerie Ferdinand Möller and the Institute of Arts. The shipment raises many questions, though Ferdinand Möller himself characterised it as a “rescue operation” in the 1950s. Cf. Berlinische Galerie, Berlin, artists’ archives, Ferdinand Möller estate, BG-GFM MF 5317, 453 – 467.[3] Cf. Eberhard Roters: Galerie Ferdinand Möller, Die Geschichte einer Galerie für Moderne Kunst in Deutschland, 1917 – 1956 (Berlin, 1984), pp. 221 – 228.

Category A

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Lyonel Feininger (1871 – 1956)Schiffe (mit Mann auf einer Mole)Ships (with Man on Jetty)1920WoodcutDimensions: 11 x 13.5 cm (plate)

P R O v e N A N C e

N. d. Albert F. Daberkow, Bad Homburg N. d. – 1952 Stuttgarter Kunstkabinett, Roman Norbert Ketterer, entered for auction by Albert

F. Daberkow, Bad Homburg [1] 1952 – 1956 Galerie Ferdinand Möller, Cologne, acquired at the Stuttgarter Kunstkabinett auction 1956 – n. d. Maria Möller-Garny, Cologne, acquired through inheritance from her husband N. d. – 2000 Rosemarie Baumgart-Möller, acquired through donation or inheritance from


[1] Stuttgarter Kunstkabinett, Roman Norbert Ketterer, Stuttgart, auction 15, lot no. 1793, title: “Dampfer mit Segelschiffen; Wrack” (Steamboat and Sailing Ships; Wreck).

Category B

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Lyonel Feininger (1871 – 1956)Rathaus und NeumondTown Hall and New Moon1918WoodcutDimensions: 18.2 x 24.6 cm (plate)

P R O v e N A N C e

N. d. Hubert Baumgärtel, Berlin-Wilmersdorf N. d. – 1952 Stuttgarter Kunstkabinett, Roman Norbert Ketterer, Stuttgart, entered for auction

by Hubert Baumgärtel, Berlin-Wilmersdorf [1] 1952 – 1956 Galerie Ferdinand Möller, Cologne, acquired at the Stuttgarter Kunstkabinett auction 1956 – n. d. Maria Möller-Garny, Cologne, acquired through inheritance from her husband N. d. – 2000 Rosemarie Baumgart-Möller, acquired through donation or inheritance from


[1] Stuttgarter Kunstkabinett, Roman Norbert Ketterer, Stuttgart, auction 15, lot no. 1794, title: “Häuser; Turmhaus mit Sonne” (Houses; Tower House with Sun)

Category B

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Wassily Kandinsky (1866 – 1944)Lithografie für die “Vierte Bauhausmappe”Lithograph for the “Fourth Bauhaus Portfolio”1922Colour lithographDimensions: 35.4 x 34.2 cm (sheet), 27.8 x 24 cm (plate)

P R O v e N A N C e

N. d. – 1925 Galerie Karl Nierendorf 1925 – 1937 Wallraf-Richartz-Museum, Cologne, acquired through purchase at the Galerie

Karl Nierendorf [1] 1937 – n. d. Deutsches Reich, Reichsministerium für Volksaufklärung und Propaganda, confiscated

as “degenerate art” from the Wallraf-Richartz-Museum, Cologne (EK no. 16281) N. d. – 1943 Galerie Ferdinand Möller, Berlin 1943 – 1949 Ferdinand Möller, Art Dealer, Zermützel 1949 – 1956 Galerie Ferdinand Möller, Cologne 1956 – n. d. Maria Möller-Garny, Cologne, acquired through inheritance from her husband N. d. – 2000 Rosemarie Baumgart-Möller, acquired through donation or inheritance from


[1] Cf. Wallraf-Richartz-Museum, inventory book, 1925, p. 178: “Bauhausmappe No. 4, Bezug von Nierendorf, no. 143, Kandinsky, Wassily, Composition.”

Category A

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Wassily Kandinsky (1866 – 1944)Bänder (Der Kontakt)Ribbons1938Gouache and watercolourDimensions: 50 x 32 cm

P R O v e N A N C e

Summer 1939 – 26 February 1941 Galerie Jeanne Bucher, Paris, acquired directly from the artist 26 February 1941 – 21 May 1957 Dr. Kurt Herberts, Wuppertal / Paris [1] 21 May 1957 – n. d. Maria Möller-Garny, Cologne, acquired from Dr. Kurt Herberts, Wuppertal / Paris

through his associate, Dr. Beatrix von Raqué [2] N. d. – 2000 Rosemarie Baumgart-Möller, acquired through donation or inheritance from


[1] Cf. archive of the Galerie Jeanne Bucher, Paris, inventory book, no. 4279.[2] Cf. Berlinische Galerie, Berlin, artists’ archives, Ferdinand Möller estate, BG-KA-N/F.Möller-127-A38,136, letter by Dr. Kurt Herberts & Co., Lackfabrik, Wuppertal-Barmen, to Galerie Ferdinand Möller, 21 May 1957.

Category A

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Theodor Werner (1886 – 1969)KompositionComposition1944Pencil and gouacheDimensions: 30 x 21 cm

P R O v e N A N C e

N. d. – 12 December 1978 Bayerische Staatsgemäldesammlungen / Pinakothek der Moderne, Munich, acquired through the bequest of Theodor and Woty Werner: prints

12 December 1978 – 1979 Galerie Zimmer, Düsseldorf, acquired through purchase from the Bayerische Staatsgemäldesammlungen, Munich [1]

1979 – 2000 Rosemarie Baumgart-Möller, acquired through donation or inheritance from her mother

2000 Kirchner Museum Davos, acquired through donation

[1] Cf. archive of the Galerie Zimmer, Düsseldorf, sales contract.

Category A

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Fritz Winter (1905 – 1976)Schwarz vor Rot und BlauBlack on Red and Blue1953Watercolour, chalk, inkDimensions: 50 x 70 cm


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Serge Poliakoff (1906 – 1969)Composition1964Colour aquatintDimensions: 76 x 58.2 cm


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KirchnerMuseumDavos


Albrecht Bräuer (1830 – 1897)MeerlandschaftSeascapeBefore 1897Oil on carcboardDimensions: 11.5 x 19.5 cm

P R O v e N A N C e

N. d. – 2000 Rosemarie Baumgart-Möller [1] 2000 Kirchner Museum Davos, acquired through donation

[1] Certified on the reverse by the artist’s daughter in typewriting: “Dass dieses Bild von Professor A. Bräuer gemalt wurde und aus dessen Nachlass stammt bescheinigt hierdurch, Breslau, den 12. Februar 1919“ (I herewith certify that this painting was painted by Professor A. Bräuer and is from his estate, Breslau, 12 February 1919). In handwriting: Elisabet Blaser, née Bräuer.

Category B

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Will Grohmann: Kirchner-ZeichnungenOriginal drawing by Ernst Ludwig Kirchner:Sitzender Mann und drei Akte am UferSeated Man and Three Nudes by the Water1912Dresden 1925No. 22/25 of the luxury edition, bound in red Morocco leather, with gilt edge at the top Dimensions book: 22 x 28 x 2.4 cmDimensions drawing: 18.4 x 13 cm (sheet)

P R O v e N A N C e


Category B

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Ernst Ludwig KirchnerTinzenhorn – Zügenschlucht bei MonsteinTinzenhorn – Zügenschlucht near Monstein1919 – 20Oil on canvasDimensions: 119 x 119 cm (painting), 140.6 x 140.6 x 5.7 cm (frame)

P R O v e N A N C e

N. d. – 1924 Galerie Ludwig Schames, Frankfurt am Main 1924 – 1929 Willy Hahn, Berlin 1929 – 26 August 1937 Nassauisches Landesmuseum, Wiesbaden, probably purchased from Willy Hahn,

Berlin, in 1931 by the Bezirksverband Nassau 26 August 1937 – 7 March 1940 German Reich, Reich Ministry of Public Enlightenment and Propaganda, Berlin,

confiscated as “degenerate art” from the Nassauisches Landesmuseum, Wiesbaden (EK no. 8740)

August 1938 – 7 March 1940 Storage at depot of “internationally exploitable” works of art at Schönhausen Palace in Berlin

7 March 1940 – 1943 Galerie Ferdinand Möller, Berlin, acquired through exchange 1943 – 1949 Ferdinand Möller, Art Dealer, Zermützel [1] 1949 – 1953 Galerie Ferdinand Möller, Cologne [2] 1953 – 1991 Josef Steegmann and Lea Steegmann-Morosani, Davos, acquired at the Galerie

Ferdinand Möller in Cologne 1991 Kirchner Museum Davos, acquired through donation

[1] Inventoried by Kurt Reutti 11.1946[2] Ferdinand Möller had the painting reframed in 1953 and the canvas doubled by a Munich conservator. Cf. Berlinische Galerie, Berlin, artists’ archives, Ferdinand Möller estate, business correspondence Cologne 1953, A, Ferdinand Möller to Prof. Dr. Anselmino, 14 April 1953.

Category A

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provenance research on the baumgart-möller donation final ......c 1 2 % the provenance between 1933...

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