Augustus the Strong, Elector of Saxony and King of Poland
- 118
The Century of Mozart, The Nelson-Atkins Museum of Art, Kansas City, MO, January 15–March 4, 1956, no. 64, as Augustus the Strong, Elector of Saxony, King of Poland.
Homage to Mozart: A Loan Exhibition of European Painting, 1750–1800, Honoring the 200th Anniversary of Mozart’s Birth, Wadsworth Atheneum, Hartford, CT, March 22–April 29, 1956, no. 30, as Portrait of Augustus the Strong, Elector of Saxony, King of Poland.
Largillière and the Eighteenth-Century Portrait, The Montreal Museum of Fine Arts, September 19–November 15, 1981, no. 61, as Portrait of Elector Frederick Augustus I of Saxony (1670–1733), and as Augustus II, King of Poland (1697–1704, 1709–1733).
The Arnhold Collection of Meissen Porcelain (1710–50), The Frick Collection, New York, March 25–June 29, 2008, hors cat.
Discriminating Thieves: Nazi-Looted Art and Restitution, The Nelson-Atkins Museum of Art, Kansas City, MO, January 26, 2019–January 2, 2020, no cat.
Possibly commissioned from the artist by the sitter’s son, Crown Prince Frederick Augustus of Saxony (1696–1763), Paris, ca. 1715 [1];
Count Sámuel Festetics de Tolna (1806–1862), Vienna, by March 6, 1859;
Purchased from Festetics by Anselm Salomon von Rothschild (1803–1874), Baron Rothschild, Theresianumgasse, Vienna, as Porträt August des Starken, Königs von Polen , before March 6, 1859–1874 [2];
By descent to his son, Nathaniel Mayer von Rothschild (1836–1905), Theresianumgasse, Vienna, July 27, 1874–1905 [3];
By descent to Nathaniel’s nephew, Baron Alphonse Mayer von Rothschild (1878–1942) and his wife, Clarice Adelaide von Rothschild (née Sebag-Montefiore, 1894–1967), Theresianumgasse, Vienna, June 16, 1905–1938;
Confiscated from the Rothschilds by German National Socialist (Nazi) forces, 1938–May 1945 [4];
Recovered by Allied forces, May 1945–May 16, 1946 [5];
Returned by Allied forces to Austria, May 16, 1946–September 24, 1947;
Restituted by Austria to Clarice Adelaide von Rothschild, New York, September 24, 1947–February 9, 1954 [6];
Purchased from Rothschild by Rosenberg and Stiebel, New York, no. 2656, February 9–June 15, 1954 [7];
Purchased from Rosenberg and Stiebel by The Nelson-Atkins Museum of Art, Kansas City, MO, 1954.
NOTES:
[1] It is possible this portrait was commissioned during Crown Prince Friedrich August’s sojourn in Paris in 1714, either by the Crown Prince himself or a member of his party, as was a portrait of the Crown Prince by the artist Hyacinthe Rigaud, which is today in the Staatliche Kunstsammlungen Dresden, Gemäldegalerie Alte Meister. The Rigaud painting was sent directly to the Dresden court by the artist after its completion. However, since neither the Nelson-Atkins portrait, nor its two possible pendant portraits of the Crown Prince, were ever part of the Saxon royal collection, if they were commissioned in Paris it may
have been with the intent for them to remain in France. See correspondence between Carina Merseburger, Wissenschaftliche Mitarbeiterin (Daphne-Projekt), Staatliche Kunstsammlungen Dresden, and MacKenzie Mallon, Specialist, Provenance, May 3, 2022, NAMA curatorial file.
[2] In Nathaniel von Rothschild, Notizen über Einige Meiner Kunstgegenstände (n.p.: 1903), p. 30, no. 51, this painting is described as having been acquired at the “Versteigerung Festetits [sic]” [Festetics auction]. It had been planned for offer at Der auserlesenen Gemälde-Sammlung alter Meister der italienischen, niederländischen und altdeutschen Schule, nebst einer grossen Sammlung von Original-handzeichnungen der berümtesten Meister, Kupferstiche, (besonders Portraite) und Lithgraphien des Herrn Samuel Grafen von Festetits [sic], Artaria und Altmann, Vienna, March 7 and April 11, 1859, lot 59, as Porträt August des Starken, Königs von Polen. The March 7 date was postponed at the last minute, and the catalogue was reprinted with new sale dates–April 11 and May 2, 1859–and with seven fewer lots. Lot 59 was one of these missing lots in the second catalogue printing, because it had already been purchased privately by Rothschild. According to Johann Barkoczy, Samuel von Festetics de Tolna’s brother-in-law (husband of his sister Antonia), in a letter to Atanazy Raczyński, Samuel von Festetics’ father-in-law, March 6, 1859, “Das Bild von Rigaud (Portrait des Gr. Zinsendorf) ist bereits vor längerer Zeit von Rothschild erstanden worden, samt einem großen Teniers (Atelier) und N r 59 Largiliere” (The painting by Rigaud [Portrait of Gr. Zinsendorf] was already acquired a long time ago by Rothschild, along with a large Teniers [Studio] and Nr. 59 Largillierre). This correspondence is transcribed in Kamila Kłudkiewicz, ed., Libri Veritatis Atanazego Raczyńskiego/von Athanasius Raczyński. Supplement (Poznań: Uniwersytet Im. Adama Mickiewicza W Poznaniu, 2019), 495–96.
The April 11 and May 2 Festetics sales were both eventually cancelled (as announced in “Licitations-Widerruf,” Wiener Zeitung (April 10, 1859): 1623) when the majority of the remaining lots were purchased ahead of time by dealer Georg Plach, who in turn sold many of the paintings to Viennese collector F. J. Gsell. Theodor von Frimmel, in “Mittheilungen über die Gemäldesammlungen von Alt-Wien,” Berichte und Mittheilungen des Alterthums-Vereines zu Wien 27 (1891): 9, and Lexicon der Wiener Gemäldesammlungen (Munich: George Müller Verlag, 1913), 1:368, describes annotations that supposedly appeared in two separate copies of the Festetics sale catalogue, one belonging to Plach, the other to collector Albert Figdor: “Plach schreibt dazu ‘fehlt.’ Im zweiten Exemplar bei Dr. Figdor steht ‘Rothschild,’ was, wie die meisten Eintragungen jenes Exemplars, unrichtig ist. Denn das hier gemeinte Bild kam an den Grafen Edmund Zichy, nach dessen Tode die Erben es nach Ungarn gebracht haben” (Plach writes that it is missing. In the second copy Dr. Figdor writes ‘Rothschild,’ which like most of the entries in that copy, is incorrect. Because the picture mentioned here came to Count Edmund Zichy, after whose death his heirs brought it to Hungary).
Although von Frimmel writes that Figdor’s annotation was incorrect, it was von Frimmel himself who was in error, having confused the Nelson-Atkins painting with a similar portrait in the Edmund Zichy collection, which is today in the Museum of Fine Arts, Budapest. Both paintings were attributed to Largillierre and depict the same sitter, but they differ in size and composition. The Nelson-Atkins portrait was in the Festetics collection, but there is no evidence it was ever owned by Plach or Gsell. Contrastingly, the Budapest portrait was not in the Festetics collection but was offered for sale by Plach two years later (Tableaux anciens composant la belle collection de M. P., de Vienne, Hotel des Commissaires-Priseurs, Paris, April 20, 1861, lot 51) and appeared in Gsell’s posthumous sale in 1872, which was conducted by Plach (Versteigerung der Grossen Gallerie und der übrigen Kunst-Sammlungen des am 20. September 1871 verstorbenen Herrn F. J. Gsell, Georg Plach, Sälen des Künstlerhauses, Vienna, March 14, 1872, no. 63). See correspondence between MacKenzie Mallon, Specialist, Provenance, and Julia Tatrai, Head of Department of Old Master Paintings, Museum of Fine Arts, Budapest, September–December 2020, NAMA curatorial file.
Plach’s purchase of a large number of paintings from the Festetics sales has occasionally led to the assumption that he bought all of the Festetics paintings, but this is not the case (for example, Fritz Lugt, in his Les Marques de Collections de Dessins et d’Estampes (Amsterdam: Vereenigde Drukkerijen, 1921), p. 163, no. L.926, wrote it was probable Plach acquired the entire collection). If Plach was involved in the purchase of the Nelson-Atkins portrait from the Festetics collection, it could have been as an agent on behalf of the Rothschild family, rather than as an outright purchaser. Lugt, Les Marques de Collections , 208, no. L.1188, describes Plach as instrumental to the enrichment of the three Rothschild brothers’ collections. However, Plach’s annotation in his copy of the 1859 Festetics sale catalogue (as described by von Frimmel in 1891, the location of which is today unknown) that this painting is “missing” tends to suggest Plach was not involved in its purchase. With thanks to Dr. Orsolya Bubryák, Institute of Art History, Research Centre for the Humanities, Budapest, for her help sorting out the different versions of the Festetics sale catalogue, and to M. Piotr Michałowski, Curator, Galeria Sztuki Europejskiej, Muzeum Narodowe w Poznaniu, for informing us of the Barkoczy-Raczyński correspondence.
[3] The painting is definitively identified in the following Rothschild inventories: Nathaniel von Rothschild, Notizen,30, as Porträt August des Starken; “Inventar über die in den Nathaniel Freiherr von Rothschild’schen Nachlaß gehörigen, in dem in Wien, IV. Bezirk, Theresianumgasse Nr. 14 befindlichen Kunstgegenstände und Einrichtungsstücke,” 1906, Rothschild Archive, London, 000/793, no. 50, as Portrait des Königs August des Starken; and “Palais Inventar,” 1934, Rothschild Archive, London, 000/793, no. 313/50, as Portrait des Königs August des Starken .
[4] The collections of Baron Alphonse and Clarice von Rothschild were confiscated by the Gestapo soon after the German annexation of Austria in March 1938. This painting was taken to the Nazi depot for confiscated art objects at the Kunsthistorisches Museum, Neue Burg, Vienna, in 1939, where it was inventoried as number AR 863, “König Friedrich IV v. Dänemark” (see Katalog beschlagnahmter Sammlungen, inbesondere der Rothschild-Sammlungen in Wien , Verlags–Nr. 4938, Staatsdruckerei Wien, 1939, Privatarchiv, reproduced in Sophie Lille, Was einmal war: Handbuch der enteigneten Kunstsammlungen Wiens (Vienna: Czernin Verlag, 2003), 1031). It was intended for Hitler’s planned Führermuseum in Linz and included in inventories of Linz objects dated October 20, 1939, and July 31, 1940 (National Archives and Records Administration, RG 260, Records Concerning the Central Collecting Points: Munich, Restitution Research Records, Linz Museum: Consolidated Interrogation Report No. 4, Catalog ID 3725274). The painting was transferred to the Nazi repository at the Kremsmünster Abbey, where it was assigned inventory number K976. From there it was moved to the Führerbau in Munich on December 16, 1943, and assigned inventory number 3219 (National Archives and Records Administration, RG 260, Records Concerning the Central Collecting Points: Munich, Restitution Research Records, Reger, Hans: Transport Correspondence and Lists, Catalog ID 3725274). It was subsequently transferred from the Führerbau to the Nazi repository in a salt mine at Alt Aussee, Austria on August 24, 1944 (Bundesarchiv, Koblenz, Germany, B323/6). Copies of Allied and German documents describing the painting’s wartime movements are in the NAMA curatorial files. With thanks to Mag. Leonhard Weidinger, Provenance Researcher, Commission for Provenance Research of the Federal Chancellery, Vienna, for his assistance.
[5] Following the discovery of the art objects in the Alt Aussee salt mine in May 1945, the officers of the U.S. Army’s Monuments, Fine Arts, and Archives Section (the “Monuments Men”) worked to catalog every looted object and return it to its rightful owner. This painting was sent to the Munich Central Collecting Point on July 17, 1945, where it was assigned numbers Aussee 3237 and Mun. 4588 (Bundesarchiv, Koblenz, Germany, B323/656, MCCP Restitution Card File). Upon its transfer to the US Allied Commission of Austria on May 16, 1946, it returned to Kremsmünster from where it was restituted to the Rothschild family (National Archives and Records Administration, RG 260, Records of the Reparations and Restitutions Branch of the USACA Section, General Administrative Records, Stift Kremsmünster, R&R 41, Catalog ID 1561451).
[6] Bundesdenkmalamt Archives, Vienna, Restitution Materials, Sammlung Alphons Rothschild, Kartons 53/1 and 53/3. With thanks to Anneliese Schallmeiner, Commission for Provenance Research at the Bundesdenkmalamt, for providing copies of the restitution documents to the Nelson-Atkins; see NAMA curatorial files. Also Rothschild Archive, London, 000/2135/12.
[7] MS.065, Rosenberg & Stiebel archive, Frick Art Reference Library, Photographs-Card Files and Sales and Inventory Records-Purchases and Sales, 1952-1955, copies in NAMA curatorial files. Rosenberg & Stiebel paid a small commission to Eric de Goldschmidt-Rothschild at the time of the painting’s sale to the Nelson-Atkins. His role in the transaction is currently unclear; research is ongoing.
Katalog der auserlesenen Gemälde-Sammlung alter Meister der italienischen, niederländischen und altdeutschen Schule, nebst einer grossen Sammlung von Original-handzeichnungen der berümtesten Meister, Kupferstiche, (besonders Portraite) und Lithgraphien des Herrn Samuel Grafen von Festetits [sic](Vienna: J. B. Wallishausser, March 7 and April 11, 1859), 11, as Porträt August des Starken, Königs von Polen.
Theodor von Frimmel, “Mittheilungen über die Gemäldesammlungen von Alt-Wien,” Berichte und Mittheilungen des Alterthums-Vereines zu Wien 27 (1891): 9, as Porträt August des Starken, Königs von Polen.
Handbuch der Kunstpflege in Österreich: Auf grund amtlicher quellen herausgegeben im auftrage des Ministeriums für Cultus und Unterricht , 2nd ed. (Vienna: Kaiserlich-Königlichen Schulbücher-Verlage, 1893), 176.
Nathaniel Rothschild, Notizen über Einige Meiner Kunstgegenstände (n.p.: 1903), 30, as Porträt August des Starken.
Theodor von Frimmel, Lexicon der Wiener Gemäldesammlungen (Munich: George Müller Verlag, 1913), 1: 368, as Porträt August des Starken, Königs von Polen .
Victor von Fritsche, Bilder aus dem österreichischen hof– und Gesellschaftsleben (Vienna: Gerlach und Wiedling, 1914), 236, as August des Starken, Königs von Polen .
Winifred Shields, “Painting of Augustus II Acquired by the Nelson Facility Here: Artist Who Did Large Portrait was Largilliere [sic],” Kansas City Star 75, no. 7 (September 24, 1954): 30, (repro.), as Portrait of Augustus II (the Strong) .
“New Acquisition,” Gallery News (The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts) 22, no. 6 (March 1955): unpaginated, (repro.), as August the Strong.
“This Week in Kansas City,” Kansas City Times 118, no. 56 (March 7, 1955): 5, as August the Strong.
“This Week in Kansas City,” Kansas City Times 118, no. 62 (March 14, 1955): 4, as August the Strong.
Winifred Shields, “Among the New Acquisitions of the Nelson Gallery of Art,” Kansas City Star 75, no. 226 (May 1, 1955): F1, (repro.), as Augustus the Strong, Elector of Saxony and King of Poland.
Patrick J. Kelleher, “The Century of Mozart: January 15 through March 4, 1956,” exh. cat., and “Eighteenth Century Acquisitions Recently added to the Nelson Gallery Collection,” Bulletin (The Nelson Gallery and Atkins Museum) 1, no. 1 (January 1956): 9–10, 29, 82–84, (repro.), as Augustus the Strong, Elector of Saxony, King of Poland .
“Special Exhibition: The Century of Mozart,” Gallery News (The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts) 23, no. 5 (February 1956): unpaginated, as August the Strong.
Homage to Mozart: A Loan Exhibition of European Painting, 1750–1800, Honoring the 200th Anniversary of Mozart’s Birth , exh. cat. (Hartford, CT: Wadsworth Atheneum, 1956), 6, 18, as Portrait of Augustus the Strong, Elector of Saxony, King of Poland .
H[enry] A. L[a] F[arge], “Kansas City: Depression-baby 25 years later,” ARTnews 57, no. 9 (January 1959): 5, as Portrait of Augustus the Strong .
Ross E. Taggart, ed., Handbook of the Collections in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts , 4th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1959), 108, 260, (repro.), as Augustus the Strong, Elector of Saxony and King of Poland .
“Treasures of Kansas City,” Connoisseur 145, no. 584 (April 1960): 123, as Portrait of Augustus the Strong.
Ursula Hoff, European Painting and Sculpture before 1800, 3rd ed. (1961; repr., Melbourne: National Gallery of Victoria, 1973), 92, as August the Strong .
Helmut Börsch-Supan, ed., Höfische Bildnisse des Spätbarock, exh. cat. (Berlin: Verwaltung der Staatlichen Schlösser und Gärten, 1966), 96, as Bildnis Augusts des Starken.
Andrzej Ciechanowiecki and Bohdan Olgierd Jeżewski, eds., Polonica na wyspach Brytyjskich; Polonica in the British Isles (London: Taurus, Ltd., 1966), 214–15.
Andrzej Ryszkiewicz,
Francusko-polskie zwia̜zki artystyczne w kre̜gu J.L. Davida
(Warsaw: Artystyczne i Filmore, 1967), 16, 174n46.
French Paintings and Sculptures of the 18th Century: Winter Exhibition , exh. cat. (London: Heim Gallery, Ltd., 1968), 3, as Augustus the Strong.
James Stuart, “Letter from London: A French eighteenth-century portrait for Australia,” Antiques 93, no. 4 (April 1968): 438.
Ralph T. Coe, “The Baroque and Rococo in France and Italy,” Apollo 96, no. 130 (December 1972): 531, 534, 536–37, (repro.), [repr., in Denys Sutton, ed., William Rockhill Nelson Gallery, Atkins Museum of Fine Arts, Kansas City (London: Apollo Magazine, 1972), 63, 66, 68–69, (repro.)], as Augustus the Strong, Elector of Saxony and King of Poland .
Ross E. Taggart and George L. McKenna, eds., Handbook of the Collections in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Missouri , vol. 1, Art of the Occident,5 th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 134, 258, (repro.), as Augustus the Strong, Elector of Saxony and King of Poland .
A[lec] R[eginald] Myers, Parliaments and Estates in Europe to 1789
(London: Thames and Hudson, 1975), 109, (repro.), as
Augustus the Strong, Elector of Saxony and King of Poland
.
Marietta Dunn, “Rigaud to Gallery,” Kansas City Star, 98, no. 130 (January 29, 1978): 3E, as Augustus the Strong, Elector of Saxony, King of Poland .
Georges de Lastic, “Nicolas de Largillierre: documents notaries inédits,” Gazette des Beaux-Arts 98, no. 6 (1981): 9n30.
Myra Nan Rosenfeld,
Largillierre and the Eighteenth-Century Portrait
, exh. cat. (Montreal: Montreal Museum of Fine Arts, 1982), 27, 197n7, 244,
258, 282, 284, 291–94, as
Portrait of Elector Frederick Augustus I of Saxony (1670–1733) and, as
Augustus II, King of Poland (1697–1704, 1709–1733)
.
“Oudry et Largillierre: Notes sur quelques portraits,” Burlington Magazine 125, no. 969 (December 1983): xn24.
Jane Clark, The Great Eighteenth-Century Exhibition in the National Gallery of Victoria , exh. cat. (Melbourne: National Gallery of Victoria, 1983), 141.
Important Old Master Paintings (New York: Sotheby Parke Bernet, January 19, 1984), unpaginated.
Important Old Master Pictures (London: Christie, Manson, and Woods, April 10, 1987), 78.
Harald Marx, “Barocke Bildnismalerei in Dresden: Von der Mitte des 17. Jahrhunderts bis zum Ende der ‘augusteischen’ Zeit,” Jahrbuch der Staatlichen Kunstsammlungen Dresden 17(1985): 57.
Ellen R. Goheen,
The Collections of the Nelson-Atkins Museum of Art
(New York: Harry N. Abrams, 1988), 16, 70–71, 74 (repro.), as
Augustus the Strong, Elector of Saxony and King of Poland
.
Manfred Koch-Hillebrecht, Museen in den USA: Gemälde (Munich: Hirmer Verlag, 1992), 243, as August der Starke.
Roger Ward and Patricia J. Fidler, eds., The Nelson-Atkins Museum of Art: A Handbook of the Collection (New York: Hudson Hills Press, 1993), 180, (repro.), as Augustus the Strong, Elector of Saxony and King of Poland .
Christopher Hartrop, “The Ever-Cheerful Man of Sin,” Christie’s International Magazine 11, no. 6 (October–November 1994): 32, (repro.), as Augustus the Strong .
Ursula Hoff, European Paintings before 1800 in the National Gallery of Victoria , 4th ed. (Melbourne: National Gallery of Victoria, 1995), 181.
Visages du Grand Siècle: Le portrait français sous le règne de Louis XIV, 1660–1715 , exh. cat. (Paris: Somogy éditions d’art, 1997), 153, 216, (repro.), as Auguste Le Fort, roi de Pologne.
European Masterpieces: Six Centuries of Paintings from the National Gallery of Victoria, Australia , exh. cat. (Melbourne: National Gallery of Victoria, 2000), 84.
Jaynie Anderson, Tiepolo’s Cleopatra (Melbourne: Macmillan, 2003), 105.
Richard Beresford, The James Fairfax Collection of Old Master Paintings, Drawings and Prints , exh. cat.(Sydney: Art Gallery of New South Wales, 2003), 112.
Sophie Lille, Was einmal war: Handbuch der enteigneten Kunstsammlungen Wiens (Vienna: Czernin Verlag, 2003), 1031, erroneously as König Friedrich IV v. Dänemark .
Birgit Schwarz, Hitlers Museum: Die Fotoalben Gemäldegalerie Linz: Dokumente zum „Führermuseum“ (Vienna: Böhlau Verlag, 2004), 300, (repro.), as August der Starke .
“Vibrant Galleries Offer Fresh View of European Art,” Member Magazine (The Nelson–Atkins Museum of Art) (Fall 2006): 5, as August the Strong, Elector of Saxony and King of Poland .
Felicitas Kunth, Die Rothschild’schen Gemäldesammlungen in Wien (Vienna: Böhlau Verlag, 2006), 64, 248–49, as August dem Starken.
Harald Marx, Sehnsucht und Wirklichkeit; Wunschbilder: Malerei für Dresden im 18. Jahrhundert, exh. cat. (Cologne: Verlag der Buchhandlung Walther König, 2009), 15–16, 214, (repro.), as Friedrich August I. von Sachsen, als König von Polen August II., Genannt August der Starke .
Frédéric Elsig, ed., De la Renaissance au Romantisme: Peintures françaises et anglaises du Musée cantonal des Beaux-Arts de Lausanne , exh. cat. (Lausanne: Musée cantonal des Beaux-Arts de Lausanne, 2013), 69, (repro.), as Portrait d’Auguste II, roi de Pologne.
“Nelson-Atkins Museum Celebrates Six Real-Life Monuments Men,” Artcentron (January 21, 2014): unpaginated, (repro.), as Augustus the Strong, Elector of Saxony and King of Poland .
Abby Eden, “Portrait in Nelson-Atkins Museum saved by Monuments Men,” Fox 4 KC (January 21, 2014): unpaginated, (repro.), as Augustus the Strong, Elector of Saxony and King of Poland . https://fox4kc.com/news/portrait-in-nelson-atkins-museum-saved-by-monuments-men/
James A. Fussell, “Museum Honors Heroes Who Rescued Art in War,” Kansas City Star 134, no. 127 (January 22, 2014): A1, A6, (repro.), as Augustus the Strong, Elector of Saxony and King of Poland .
“Real-life Monuments Men part of Kansas City’s Nelson-Atkins Museum of Art history,” Artdaily.org (January 29, 2014): unpaginated, http://artdaily.com/news/67790/Real–life–Monuments–Men–part–of–Kansas–City–s–Nelson–Atkins–Museum–of–Art–history?.UukhlT1dUTQ (repro.), as Augustus the Strong, Elector of Saxony and King of Poland .
Laurie E. Barnes, High Tea: Glorious Manifestations East and West, exh. cat. (West Palm Beach, FL: Norton Museum of Art, 2014), 77–79, (repro.), as Augustus the Strong, Elector of Saxony and King of Poland .
Ariane James-Sarazin, Hyacinthe Rigaud 1659–1743, vol. 1, L’homme et son art (Dijon: Éditions Faton, 2016), 558n1248, as Frédéric Auguste 1 er de Saxe et roi de Pologne .
Kamila Kłudkiewicz, ed., Libri Veritatis Atanazego Raczyńskiego/von Athanasius Raczyński. Supplement (Poznań: Uniwersytet Im. Adama Mickiewicza W Poznaniu, 2019), 496, 534–35n128.
“Discriminating Thieves: Nazi-Looted Art and Restitution at The Nelson-Atkins Museum of Art,” artGuidemag.com (ca. January 2019): unpaginated, https://www.artguidemag.com/art–news/discriminating–thieves–nelson–atkins–museum–of–art .
W. A. Demers, “Q&A: MacKenzie Mallon,” Antiques and the Arts Weekly (January 15, 2019): unpaginated, https://www.antiquesandthearts.com/qa–mackenzie–mallon/ .
“‘Discriminating Thieves: Nazi-Looted Art and Restitution’ opens at Nelson-Atkins,” ArtDaily.org (January 27, 2019): unpaginated, http://artdaily.com/news/110834/–Discriminating–Thieves––Nazi–Looted–Art–and–Restitution––opens–at–Nelson–Atkins#.XFB_Ns17laR .
Luke X. Martin, “Meet The Kansas City Gumshoe Who Uncovers The Stories Of The Nelson-Atkins’ Nazi-Looted Art,” KCUR 89.3 (March 17, 2019): unpaginated, https://www.kcur.org/post/meet–kansas–city–gumshoe–who–uncovers–stories–nelson–atkins–nazi–looted–art .
Javier Pes, “With a New Show, the V&A Has Become One of a Handful of Museums Outside of Germany to Address the Legacy of Nazi-Era Loot,” ArtNet.com (August 27, 2019): unpaginated, https://news.artnet.com/art–world/museums–nazi–looted–art–1632652 .
Joseph Baillio, “Nicolas de Largillierre, *Augustus the Strong, Elector of Saxony and King of Poland*, ca. 1715,” catalogue entry in French Paintings, 1600–1945: The Collections of the Nelson-Atkins Museum of Art, ed. Aimee Marcereau DeGalan (Kansas City: The Nelson-Atkins Museum of Art, 2023), https://doi.org/10.37764/78973.5.320.5407.
