DETAIL : Jacopo di CIONE Italy (Florence) 1320/1330 � 1398/1400 Madonna and Child enthroned with Saints 1367
Introduction | American Art | European Art | Provenance Research
84 works found | displaying 1 to 20 Page 1 of 5 | 1 2 3 4 5  
attributed to the GOULANDRIS MASTER | Female figure | c.2700 BC- 2300 BC
Jacopo di CIONE | Madonna and Child enthroned with Saints | 1367
Artist unknown  | Book of Hours (Sarum use) | mid-15th century
Matteo de' PASTI | Portrait of Sigismondo Pandolfo Malatesta (obverse); Fortitude, seated on two elephants (reverse) | c.1449-55
Antonio PISANELLO | Portrait of Niccolò Piccinino, condottiere (obverse); She-griffin of Perugia suckling children (reverse) | c.1440-41
Giovanni di PAOLO | Crucifixion with donor Jacopo di Bartolomeo | c.1455
Matteo de' PASTI | Portrait of Isotta degli Atti (obverse); Malatesta elephant (reverse) | c.1453-54
Artist unknown  | Pietà | c.1470
Artist unknown  | Madonna dell'Umilità [Madonna of Humility] | c.1470
 Master of the Marble Madonnas | Madonna and Child | c.1480
attributed to Niccolò FIORENTINO | Portrait of Lodovico Luti of Siena (obverse); Fortune with sail on a dolphin, watched by ermine (reverse) | c.1498
attributed to MODERNO | The fall of Phaeton, or The death of Hippolytus | c.1515
 COLOGNE SCHOOL | Virgin and Child with Saints | c.1510-20
attributed to Benvenuto CELLINI | Portrait of Cardinal Pietro Bembo (obverse); Pegasus on the fountain Hippocrene (reverse) | c.1539
Apollonio de' BONFRATELLI | Pietà (recto); Script and music (verso) | c.1545
Jacopo da TREZZO | Portrait of Gianello della Torre of Cremona (obverse); Fountain of the Sciences (reverse) | 1548?
Antonio ABONDIO | Portrait of Faustina Romana (obverse); Leda and the swan (reverse) | 1550s
 GIAMBOLOGNA | Angel | 1596
Peter Paul RUBENS | Self-portrait | 1623
Peter Paul RUBENS | Sketch for The triumphal entry of Henry IV into Paris, 22 May 1594 | 1628
Provenance Project : The question of looted art 1933-1945

As a fundamental part of its mission the National Gallery of Australia researches, documents and publishes information about the works of art in its collection. In keeping with international and national efforts to determine the provenance (the history of ownership) of works of art for the period 1933-1945 and to fulfil its obligations as an ethical member of the museum community, the NGA is investigating the whereabouts and ownership of every work of art in its collection that is presumed to have been in Europe between 1933 and 1945, the years of Nazi rule and occupation. These works of art are listed on this site.

All known provenance information is shown here, although links in the chain of ownership may be unclear or not yet fully documented. As provenance research continues on these works, this site will be updated to reflect new information. The provenance is listed chronologically, from the first known owner. The date of change of ownership is included when it is established. Images are added when available.

Provenance research is intended to establish an unbroken chain of documented ownership from the time of the work's creation to the present. Even with unlimited time and resources, this goal is not easily achieved. There are numerous legitimate reasons for gaps in known provenance during any time period. The historical information simply may not exist. The work being researched may have been in an unknown private collection for decades, never published or exhibited.

There are no claims against any work in the NGA's collection, which is published as widely as possible. Gaps in the provenance do not imply that any work was stolen, merely that it is not known for certain who held it in the years from 1933 to 1945. The National Gallery of Australia will continue to research the provenance of its works of art.

How To Read Provenance Information
A provenance charts the changes in ownership of a work of art. It depends on documents such as wills, archives, receipts, auction sales and dealers' records. Otherwise, the ownership can be discovered by research such as tracking down publication in exhibition or auction catalogues, memoirs of the artist, or the recollections of artlovers. It is extremely rare to find an unbroken chain of possession since, for example, secrecy may be a condition of sale.

Unbroken links between owners are indicated by the terms:
  • by descent = family inheritance
  • by inheritance = bequest of the previous owner
  • when = sold on that date to the new owner
  • from whom = passing directly to the next owner
Other terms include:
  • acquired = either bought by or given to the new owner in unknown circumstances
  • with = in the hands of an art dealer, either deposited for sale on behalf of the owner, or bought by the firm for resale
  • through = a firm was the agent for the sale, but was not necessarily the owner of the work

Enquiries: Please contact Senior Curator, Research, National Gallery of Australia
Parkes Place, PARKES ACT 2601
PO Box 1150, CANBERRA ACT 2601
phone +61 (0)2 6240 6502
fax +61 (0)2 6249 6529

Introduction | American Art | European Art | Provenance Research