The provenance of a work of art narrates the history of its ownership, from the time of its creation to the present. The study of provenance is an important part of art historical research and can inform our understanding of the work of art itself: its function, condition, and its place in the history of collecting.

Provenance research is also critical for legal and ethical reasons and part of a collecting institution’s due diligence for establishing the authenticity of an artwork and its rightful ownership. It is not unusual for an artwork to have periods in its history in which the ownership is unaccounted for, owing to lack of record keeping, requests for anonymity by past owners at the time of sale, or loss of archival sources due to natural disasters or war. Gaps in the provenance of an artwork are typical, but if evidence is uncovered of looting, theft, or another illegal transaction, the Museum will seek to redress past losses.

Provenance research is ongoing. If you have provenance-related inquiries or information, please contact collections@joslyn.org.

Provenance

PROVENANCE
AT THE JOSLYN

Joslyn Art Museum acquires works of art by purchase, gift, and bequest. The Museum reviews all potential acquisitions for quality, condition, authenticity, provenance, and appropriateness for research and display. The Museum is committed to collecting works of art in accordance with all applicable law, conventions regarding cultural property, and professional guidelines set by the American Alliance of Museums (AAM) and the American Association of Art Museum Directors (AAMD).

The Museum will not acquire any object known to have been stolen or illegally appropriated (without subsequent restitution), exported from its country of origin (or any other country in which it was subsequently owned) in violation of such country’s laws at the time of its export, or imported into the United States in violation of US law at the time of its importation.

The Museum conducts provenance research on all proposed acquisitions and continues to research artworks already in the collection. The Museum endeavors to obtain all available information and accurate written documentation about the ownership history of an object, as well as import and export documentation, and to determine whether any ownership claims to the object are known. The Museum also attends carefully to the following ethical and legal considerations:

Native American Graves Protection and Repatriation Act (NAGPRA)

The Native American Graves Protection and Repatriation Act (NAGPRA) is a federal law that requires Museums to actively consult with Indigenous communities on the return of Native American ancestral remains and other cultural items to lineal descendants, Indian Tribes, and Native Hawaiian organizations. The Joslyn believes in the value of dialogue and collaboration with Indigenous communities. For more information or to request a consultation, please contact NAGPRA@joslyn.org.

Art Associated with a Legacy of Colonialism or Conflict

The Museum recognizes that artwork coming from locations that may have experienced colonial rule and armed conflict may have been acquired under forced conditions. The Museum is committed to researching these works and consulting appropriate communities to understand an object’s history, purpose, and method of transfer from its local context. The Museum follows the AAMD Guidance on Art from Colonized Areas.

Ancient Art or Art from Archaeological Contexts

The Museum recognizes the importance of protecting and preserving archaeological sites and deplores the illicit excavation, looting, and theft of archaeological materials and ancient art. The Museum follows US law and professional guidelines from the AAMD Report on the Acquisition of Archaeological Materials and Ancient Art and recognizes the importance of the 1970 UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import and Export and Transfer of Ownership of Cultural Property. Gaps in provenance are common for antiquities, and in researching proposed acquisitions or artworks already in the collection, the Museum pursues legal and ethical analysis and may consult with scholars, individuals from countries of origin, and US and foreign government officials, as appropriate.

Art Acquired during the Nazi Era

Artworks that may have been in continental Europe between 1933 and 1945 are carefully researched to ensure legal ownership. The Museum follows the standards and guidelines set out in the Report of the AAMD Task Force on the Spoliation of Art During the Nazi/World War II Era (1933–1945) and the AAM Guidelines Concerning the Unlawful Appropriation of Objects During the Nazi Era. When Nazi-era provenance is incomplete or uncertain, the Museum consults available records as well as publications and databases that track illegally appropriated art. In the absence of evidence of illegal appropriation, the work is presumed not to have been illegally appropriated.

How to Read
Provenance Information

Joslyn Art Museum uses a variation of the format suggested by The AAM Guide to Provenance Research (2001). Provenance is listed in chronological order, beginning with the earliest known owner. Methods of transfer, such as sale, gift, or by inheritance, and relationships between owners, if known, are indicated at the beginning of each line. The term “With” precedes a gallery or dealer’s name to indicate their commercial status when the method of their acquisition is unknown. Unknown or anonymous owners are sometimes referred to as a “private collector.”

Life dates for collectors are included in parentheses and dates of ownership, when known, are indicated at the end of each line. Uncertain information is preceded by the terms “possibly” or “probably.” Relationships between owners and methods of transaction are clarified through punctuation: a semicolon indicates a direct transfer between owners and a period between owners indicates a gap, unknown method of transfer, or unknown period of time between owners. Footnotes are used to document or clarify information.