The Banks of the Oise at Auvers
Framed: 23 1/8 × 34 1/8 × 3 inches (58.75 × 86.69 × 7.62 cm)
- 127
Impressionism and Its Roots , University of Iowa, Iowa City, November 18–December 9, 1964, no. 24, as The Oise River at Auvers.
The Rise of Landscape Painting in France: Corot to Monet , The Currier Gallery of Art, Manchester, NH, January 27–April 29, 1991; IBM Gallery of Science and Art, New York, July 30–September 28, 1991; Dallas Museum of Art, November 3–January 5, 1992; High Museum of Art, Atlanta, January 28–March 29, 1992, no. 58, as The River Oise at Auvers.
Adolphe Benedict Hayum Goldschimdt , Esq. (1838–1918), Suffolk and London, no later than April 6, 1918 [1];
Inherited by his wife, Alice Emma Goldschmidt (née Moses Merton, 1835–1922) , Middlesex County, London, 1918–January 12, 1922;
Trustees of Alice Emma Goldschmidt, London, February 8–May 26, 1922;
Purchased at her posthumous sale, Ancient and Modern Pictures and Drawings of the late A. B. H. Goldschmidt, Esq., Now sold by order of the Trustees owing to the death of Mrs. Goldschmidt, Removed from 14 South Street, Park Lane, W., and Cavenham Park, Suffolk; Pictures by Old Masters: The Property of The Baroness Lucas of Crudwell and Dingwall (Formerly in the Collection of Thomas, 7th Earl Cowper), and from Other Sources , Christie, Manson, and Woods, London, May 26, 1922, by P. and D. Colnaghi and Co., Ltd., London, stock no. A1093, as On the Oise, on behalf of Calouste Sarkis Gulbenkian (1869–1955), Constantinople, London, Paris, and Lisbon, May 27, 1922–March 30, 1931 [1];
Returned by Gulbenkian to P. and D. Colnaghi, London, stock no. A1722, March 30, 1931–May 23, 1933 [2];
Purchased from Colnaghi, through Findlay Galleries, Kansas City, MO, by The Nelson-Atkins Museum of Art, Kansas City, MO, 1933 [3];
NOTES
[1] Ten years prior to Goldschimdt’s death in 1918, a painting with similar dimensions was sold from the collection of George Richards Burnett (1858 –1929), London, at Important Collection of Modern Pictures and Drawings of the English and Continental Schools , Christie, Manson, and Woods, London, April 21, 1908, lot 108, as On the Oise. It was purchased from the sale by dealers Gooden and Fox, London. That painting has not been definitively identified as the one now in the collection of Nelson-Atkins or associated with another known work by Daubigny.
[2] See COL3/1/2, folio 91, Colnaghi Archives, Waddesdon Manor, London.
[3] See COL3/1/2, folio 143, Colnaghi Archives, Waddesdon Manor, London. Special thanks to Ben Taylor, assistant records manager and archivist, Waddesdon Manor, London, and Mafalda Aguiar, Arquivos Gulbenkian, Fundação Calouste Gulbenkian, Lisbon, Portugal.
[4] See Waste Books COL2/2/18-Waste Book 27, folios 167 and 193, Colnaghi Archives, Waddesdon Manor, London. See also “University Trustees Meeting Minutes,” May 19, 24, and June 2, 1933, NAMA Archives, William Rockhill Nelson Trust Office Records (RG 80/05).
Catalogue of Ancient and Modern Pictures and Drawings of the late A. B. H. Goldschmidt, Esq., Now sold by order of the Trustees owing to the death of Mrs. Goldschmidt, Removed from 14 South Street, Park Lane, W., and Cavenham Park, Suffolk; Pictures by Old Masters: The Property of The Baroness Lucas of Crudwell and Dingwall (Formerly in the Collection of Thomas, 7th Earl Cowper), and from Other Sources (London: Christie, Manson, and Woods, May 26, 1922), 4–5, (repro.), as On the Oise.
Le Curieux, “Les Dernières ventes de la Salon,”La Renaissance de l’Art Français, no. 1 (January 1, 1922): 509, as Sur l’Oise.
Exhibition of Paintings by Old Masters , exh. cat. (London: P. and D. Colnaghi., 1932), unpaginated, as On the Oise.
The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Handbook of the William Rockhill Nelson Gallery of Art (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1933), 136, as The Oise River.
“Nelson Gallery of Art Special Number,” Art Digest 8, no. 5 (December 1, 1933): 13, 21, as The Oise River.
Minna K. Powell, “The First Exhibition of the Great Art Treasures: Paintings and Sculpture, Tapestries and Panels, Period Rooms and Beautiful Galleries Are Revealed in the Collections Now Housed in the Nelson-Atkins Museum,” Kansas City Star 54, no. 84 (December 10, 1933): 4C.
“$15,000,000 Nelson Art Gallery Opens: Gift of Kansas City Star Publisher,” Boston Evening Transcript 104, no. 288 (December 11, 1933): 11.
“Art Critics View Nelson Gallery,” New York Times (December 11, 1933): 24L.
“Nelson Gallery of Art Opens,” New York City Editor and Publisher 66, no. 31 (December 16, 1933): 10.
Paul V. Beckley, “Art News,” Kansas City Journal-Post 80, no. 193 (December 17, 1933): 2C, as On the Oise River.
The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, The William Rockhill Nelson Collection, 2nd ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1941), 41.
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), 260, as The Oise River at Auvers.
Impressionism and Its Roots , exh. cat. (Iowa City: University of Iowa Gallery of Art, 1964), 4, 21, (repro.), as The Oise River at Auvers.
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, 5th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 157, (repro.), as The River Oise at Auvers.
Robert Hellebranth, Charles-François Daubigny, 1817 – 1878 (Morges, Switzerland: Matute, 1976), no. 234, p.85, as L’Oise près d’Auvers.
Tom L. Freudenheim, ed., American Museum Guides: Fine Arts; A Critical Handbook to the Finest Collections in the United States (New York: Collier, 1983), 112.
Kermit S. Champa, The Rise of Landscape Painting in France: Corot to Manet, exh. cat. (Manchester, NH: The Currier Gallery of Art, 1991), 48, 154, 228, (repro.), as The River Oise at Auvers.
Nicholas H. J. Hall, ed., Colnaghi in America: A Survey to Commemorate the First Decade of Colnaghi New York (New York: Colnaghi, 1992), 129, as The Oise near Auvers.
Louise d’Argencourt, European Paintings of the 19th Century (Cleveland: Cleveland Museum of Art, 1999), 1:184, 185n1, as The River Oise near Auvers.
Catherine Futter et al., Bloch Galleries: Highlights from the Collection of the Nelson-Atkins Museum of Art (Kansas City, MO: Nelson-Atkins Museum of Art, 2016), 58, (repro.), as The River Oise near Auvers.
Simon Kelly, “Charles François Daubigny, The Banks of the Oise at Auvers, 1874,” catalogue entry in French Paintings and Pastels, 1600–1945: The Collections of the Nelson-Atkins Museum of Art, ed. Aimee Marcereau DeGalan (Kansas City: The Nelson-Atkins Museum of Art, 2024), https://doi.org/10.37764/78973.5.510.5407.
