Artwork 1

The Crucifixion
active 1515–1551
Adriaen Isenbrandt
Flanders

Laminated plywood, glass and metal, c. 1525, oil on panel, 17 11/16 x 13 9/16 in. (44.8 x 34.3 cm), Gift of Jack Linsky, 51.9.


The Cricifixion

Provenance:
Jean Dollfus [1823–1911], Paris (in 1904–1912; his sale, Galerie Petit, April 1–2, 1912, lot 101, sold for 1,450 Ffr);1 to [Kleinberger Gallery, Paris (1912–1913), sold 1913 for 6,000 fr.];2 to Oskar Bondy [d. 1944], Vienna (1913–after 1933).3 Jack Linsky [1897–1980], Kew Gardens, New York (until 1951), gift 1951; to LACMA.4

Notes:

  1. The painting dimly visible on the wall in a photograph of the home of M. Dolfus in Les Arts (Feb. 1904), p. 3. Kleinberger and Wildenstein were the major buyers at the April 1 sale, the third sale of the Dollfus collection. Re. the Dollfus sales, see Der Cicerone IV (1912), pp. 239–41; 367–68.
  2. According to Kleinberger files, Metropolitan Museum of Art, this sale took place June 18, 1913.
  3. Max J. Friedländer, Die Altniederländische Malerei, Berlin, 1933, vol. 11, p. 133, no. 161. Oskar Bondy was a Viennese Jew, whose large and important collection of paintings and medieval and Renaissance works of art was targeted by the Nazis and confiscated by them in 1938. The most valuable items were taken to Bad Aussee, where they remained throughout the war. Oskar Bondy and his family fled Austria via Switzerland to New York, where Oskar Bondy died in 1944. Following the war (1946) Bondy’s widow, Elizabeth Anna, and other members of the family, then citizens of the United States living in New York, sought legal restitution of the collection. Many of the objects were included among the first shipments returned to Austria from the Munich Central Collecting Point, where they had been brought for accounting from Alt Aussee and Kremmunster [NARA, RG 260, USACA-USFA, Box 158]. The objects were later returned by the Austrian government to the family. A major sale of items from the collection took place March 3, 1949, at Kende Gallery, New York. Mrs. Bondy sold other objects privately through Blumka Gallery and Silberman’s, New York. Blumka, Silberman, and Kende were former Viennese dealers. LACMA’s painting by Isenbrandt is one of a group of paintings from the Bondy collection that have not been identified on the lengthy, but partial, inventory of restituted works. It was also not included in the sale at Kende Gallery. Because the painting appears to have been in New York during the late 1940s, it may have been part of the collection returned to the family after the war and sold privately or, because of its small size, carried by the family when they left Austria. A postwar letter in the files of the Chicago Art Institute notes that Mrs. Bondy had returned to Switzerland, where she would check her records. The painting does not appear on the Austrian government’s list of works sought by the Bondy family. The heirs of Oskar Bondy recently succeeded in reclaiming works of art given to the Kunsthistorisches Museum Vienna as payment for the right to export their collection after the war.
  4. Jack Linsky and his wife, Belle Linsky, were major donors to the Metropolitan Museum (see The Jack and Belle Linsky Collection in the Metropolitan Museum of Art [New York: Metropolitan Museum of Art, 1984]). The Linskys, who collected most of their European paintings and works of art following World War II, left no papers concerning their collection. According to the Department of Medieval Art of the Metropolitan Museum of Art, however, Linsky bought works of art from the Bondy collection through Blumka Gallery, New York, as well as directly from Mrs. Bondy.
     

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