Monika Grütters, the German Minister of State for Culture (CDU) has announced the return of a Nazi-looted painting from “Kenstfund Gurlitt.” The painting is a portrait of French painter Thomas Couture’s wife and is titled “Portrait de jeune femme assise [Portrait of a seated young woman].” It was identified in 2017 as the property of Georges Mandel, a high-ranking Jewish politician and Nazi opponent, and the work was returned to his heirs this week. When the painting was originally stolen, Mandel’s companion claimed it had a small tear at the breast height of the woman, and it was through this tear that the painting was eventually tracked down.
Rehs Galleries Inc., a New York gallery specializing in 19th- and 20th-century works, has discovered, acquired, and sold Daniel Ridgway Knight’s previously unknown painting, “On the Terrace, Rolleboise.” The painting was acquired from an estate in California and originally purchased by Mr. and Mrs. Samuel T. Wellman of Cleveland, Ohio shortly after it was painted, according to an email from Howard L. Rehs, who manages Rehs Galleries. The painting remained in the family’s possession until late last year, when their agent contacted the gallery to see if they would be interested in purchasing the work. Soon after, the painting was sold to a southern collector. [via email correspondence]
National Museums Scotland has acquired a Bruce-Oosterwikck longitude pendulum sea clock from 1662. It is one of two surviving clocks of this type, which was the first attempt — albeit unsuccessful attempt — at establishing longitude at sea “with a purpose-made mechanical timepiece, nearly 100 years before this was famously achieved by John Harrison,” according to the Museum’s website. The acquisition was achieved through a £36,000 (~$46,000) grant from the National Heritage Memorial Fund (NHMF) and a £15,000 (~$19,000) grant from Art Fund. The clock was purchased through Dreweatts 1759, a fine art auctioneer.
The Fitzwilliam Museum in Cambridge, UK has acquired Jan Adam Kruseman’s (1804–1862) portrait of Egyptologist Giovanni Belzoni (1778–1823), known as the “Great Belzoni.” The piece was acquired through a donation under the Cultural Gifts Scheme by Daniel Katz Limited, in honor of Tim Knox who served as Director of the Fitzwilliam Museum between 2013–2018. From July to October 2019, the work will be on display in an exhibition about Belzoni in the Fitzwilliam’s Octagon Gallery. “As Acting Director of the Fitzwilliam Museum I am delighted that, thanks to Daniel Katz Gallery, this imposing but genial portrait of the Great Belzoni will henceforth be on show to the public,” said Geoff Ward, Acting Director of the Fitzwilliam. “I am delighted too that it honors the contribution to the Museum made by our last full-time Director, Tim Knox.”
An ancient Egyptian pharaonic stone tablet that was stolen from a Karnak temple was repatriated from Britain, according to Egypt’s antiques ministry. The artifact, part of a “cartouche,” or ornamental tablet, belonged to Pharaoh Amenhotep I of the 17th dynasty in the 16th century BCE. “The piece was last seen in the open museum in Luxor temple in the early 1990s,” Shaaban Abdel Gawad told Agence France-Presse. Gawad is in charge of archeological collections at the ministry. The tablet was discovered on online auction sites. After discovery, the sale was cancelled, and Egypt’s antiques ministry took “necessary legal measures” to recover the piece, said Gawad.
Join Hyperallergic for an online conversation with Kiowa Tribal Museum Director Tahnee Ahtone on January 25 at 7pm (EST).
This week, Patrisse Cullors speaks, reviewing John Richardson’s final Picasso book, the Met Museum snags a rare oil on copper by Nicolas Poussin, and much more.
Graduate students in the University of Denver’s Emergent Digital Practices program work on research with faculty who are engaged directly with their communities, both online and off.
Alexi Worth’s paintings demand a double take that allows viewers to look closer and begin dissembling the painting in order to understand what is being looked at.
Anastasia Pelias’s sculpture builds on this mythological legacy, suggesting we all have the ability to commune with a higher power and influence our futures.
Curated by Jill Kearney, this exhibition in Frenchtown, NJ amplifies stories both local and universal with work by Willie Cole, Sandra Ramos, sTo Len, and more.
Jack Spicer’s poetry can be deeply funny and playful but it has a consistent undercurrent of sadness.
Belinda Rathbone’s biography traces the sculptor’s embrace of kinetic mechanisms to his work in the Singer Sewing Machine factory.
The first lecture is on the relationship between early portrait photography and diverse notions of US identity during the Gilded Age. Register to attend on January 25.
It’s the first time in the country’s history that objects of this significance are offered for public sale.
Schwartz was at the forefront of computer-generated art before desktops or the kind of software that makes it commonplace today.
Curator La Tanya S. Autry shares a set of crucial questions she considers when curating images of anti-Black violence.