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Chest of Drawers with Doors

Original Language TitleCommode à vantaux
Artist Adam Weisweiler (German, 1744 - 1820)
Dateca. 1780
MediumEbony, mahogany, Japanese lacquer, varnish and copper alloy with mercury gilding and marble
DimensionsOverall: 38 5/8 × 58 7/8 × 24 inches (98.11 × 149.53 × 60.96 cm)
Credit LinePurchase: the Kenneth A. and Helen F. Spencer Foundation Acquisition Fund
Object numberF70-43 A,B
On View
On view
Gallery Location
  • 123
DescriptionRectangular top of brêche d'Alep marble with rounded corners over a shallow ebony frieze containing three drawers; the front divided into three Japanese lacquer panels and fitted with two doors opening to reveal three mahogany-veneered drawers; the sides inset with similar lacquer panels decorated like the front panels with landscapes in low gold relief and with gold-lacquer borders. On four fluted and tapering legs. Superbly chiselled bronze doré rims, friezes, encadrements and columns with half-figures of boys.Gallery Label
Contrasting cultures and materials were harmoniously orchestrated by Weisweiler to create this chest's eclectic mix of restrained Neoclassical ornament, softened by graceful, Japanese naturalistic scenes. Gilded caryatid figures standing guard in the corners represent a renewed interest in the classical past. The inclusion of the Japanese lacquer panels exhibits Europe's continued fascination with Asian art. Weisweiler's reputation for faultless craftsmanship is reflected in the precision of the gilded architectural moldings framing the landscape. Bordering these panels is French vernis martin lacquer, made to mimic quartz by suspending minute clippings of gold wire or copper crystals in the lacquer.
Provenance

Baron Nathaniel Mayer von Rothschild (1836-1905), Theresianumgasse, Vienna, as by Martin Carlin with mounts by Pierre Gouthière, by 1903-1905 [1];

 

By descent to his nephew, Baron Alphonse Mayer von Rothschild (1878-1942) and his wife, Clarice Adelaide von Rothschild (née Sebag-Montefiore, 1894-1967), Theresianumgasse, Vienna, 1905-1938;

 

Confiscated from the Rothschilds by German National Socialist (Nazi) forces, 1938-May 1945 [2];

 

Recovered by Allied forces, May 1945-August 12, 1947 [3];

 

Returned by Allied forces to Austria, August 12, 1947-October 16, 1947 [4];

 

Restituted by Austria to Clarice Adelaide von Rothschild, New York, October 16, 1947-1967 [5];

 

Purchased from Rothschild’s heirs by Rosenberg and Stiebel, New York, stock no. 5182, by 1970;

 

Purchased from Rosenberg and Stiebel by The Nelson-Atkins Museum of Art, Kansas City, MO, 1970.

 

NOTES:

 

[1] Notizen über einige meiner Kunstgegenstände (1903), 128, no. 317.

 

[2] The collections of Baron Alphonse and Clarice von Rothschild were confiscated by the Nazis soon after the German annexation of Austria in March 1938. This chest 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 244, “Eintürige Kommode mit Schwarzgoldlackeinlagen, reiche Bronzebeschläge, an den Ecken Hermen mit Putti, rotgelbe Marmorplatte, Louis XVI“ (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), 1012). It was intended for Hitler’s planned Führermuseum in Linz and included in an inventory of Linz objects (National Archives and Records Administration, RG 260, Records of the Reparations and Restitutions Branch of the U.S. Allied Commission for Austria Section, General Administrative records, Linzer Kunstmuseum List, Catalog ID 1561451). The chest was transferred to the Nazi repository at the Kremsmünster Abbey, where it was assigned number KKu 887. The chest itself was later moved to the Nazi repository in a salt mine at Alt Aussee, Austria, where it was assigned inventory number lv 1228, while its marble top remained at Kremsmünster. Copies of Allied and German documents describing the chest’s wartime movements are in the NAMA curatorial files.

 

[3] 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.

 

[4] This chest was included in an inventory of Alt Aussee objects to be transferred to the control of the Bundesdenkmalamt, Vienna, July 14, 1947 (National Archives and Records Administration, RG 260, Records of the Reparations and Restitutions Branch of the U.S. Allied Commission for Austria Section, Records Relating to Claims, Austrian Receipts, Catalog ID 1561450).

 

[5] Bundesdenkmalamt Archives, Vienna, Restitution Materials, Sammlung Alphons Rothschild, Kartons 22/1, 53/1, 53/3. Copies of restitution documents provided by Anneliese Schallmeiner, Commission for Provenance Research at the Bundesdenkmalamt; see NAMA curatorial files.

Published References

Notizen über einige meiner Kunstgegenstände (1903), 128.

Gazette Des Beaux-arts, Ser. 6, Vol. 77, No 1225 (February 1971): 84 (repro.).

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), 230 (repro.).

Lemonnier, Patricia, and Maurice. Segoura. Weisweiler / Par Patricia Lemonnier ; [préface De] Maurice Segoura. (Paris: Editions D'art Monelle Hayot : Vilo, 1983), 119 (repro.).


Ellen R. Goheen, The Collections of the Nelson-Atkins Museum of Art (New York: Harry N. Abrams, 1988), 95-96, 96 (repro.).

Roger Ward and Patricia J. Fidler, eds., The Nelson-Atkins Museum of Art: A Handbook of the Collection (New York: Hudson Hills Press, in association with Nelson-Atkins Museum of Art, 1993), 195.

Sophie Lille, Was einmal war: Handbuch der enteigneten Kunstsammlungen Wiens (Vienna: Czernin Verlag, 2003), 1012.

Deborah Emont Scott, ed., The Nelson-Atkins Museum of Art: A Handbook of the Collection, 7th ed. (Kansas City, MO: Nelson-Atkins Museum of Art, 2008), 106 (repro.).

Ross Taggert, “The Charm of Chinoiserie,” Apollo 96, no. 130 (December 1972): 56-60 [repr. in Denys Sutton, ed., William Rockhill Nelson Gallery, Atkins Museum of Fine Arts, Kansas City (London: Apollo Magazine, 1972), 58 (repro.).

Information about a particular artwork or image, including provenance information, is based upon historic information and may not be currently accurate or complete. Research on artwork and images is an ongoing process, and the information about a particular artwork or image may not reflect the most current information available to the Museum. If you notice a mistake or have additional information about a particular artwork or image, please e-mail provenance@nelson-atkins.org.


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