Collection Policies

The Gallery follows collection policies consistent with the museum’s mission and professional museum standards. The Gallery actively and thoroughly researches the provenance of all works of art in its collection and participates in the provenance guidelines written by the American Alliance of Museums (AAM) and Association of Art Museum Directors (AAMD).

Provenance Policy

Antiquities

The Gallery endorses the AAM’s Code of Ethics for Museums (2000) statement that acquisitions of archaeological materials and ancient art should be “conducted in a manner that respects the protection and preservation of natural and cultural resources and discourages illicit trade in such materials.” The Gallery will acquire only those objects that the Gallery can document as having left their probable country of modern discovery prior to 1970 or were legally exported from their probable country of modern discovery thereafter.

If the curator cannot obtain reliable documentation, the Gallery may exercise its institutional responsibility, as acknowledged by the AAMD in the 2008 revision of the Report of the AAMD Task Force on the Acquisition of Archaeological Materials and Ancient Art, to complete an acquisition based on the Gallery’s informed judgment that the object left its probable country of modern discovery prior to 1970 or was legally exported from the probable country of modern discovery thereafter.

Further, the Gallery may exercise its judgment to acquire an object if public display and publication would increase knowledge and possibly permit the reconstruction of its provenance, thus allowing a possible legitimate claim of ownership to come forward. In such a case, the Gallery shall use its best efforts to construct a complete provenance record after acquisition.

If research does not substantiate that the object was outside its probable country of modern discovery before 1970, or was legally exported from its probable country of modern discovery after 1970, the Gallery shall post identifying information, an image and all facts relevant to the decision to acquire it, including its known provenance, on the AAMD website, as well as the Gallery’s website.

 

Nazi-Era Works

The Gallery respects the right of owners, heirs, or other claimants to pursue restitution claims of objects transferred under duress during the Nazi era. The Gallery participates in the AAMD’s Nazi-Era Provenance Internet Portal (NEPIP) and is in the process of listing collection objects for which gaps in provenance exist during the Nazi years. When considering acquisitions of works of art that were made in/or before 1945 and whose known provenance suggests that they might have been in areas of Europe occupied by the Nazis between 1933 and 1945, curators should research the provenance thoroughly through an NEPIP search and other available means prior to acquisition, and once acquired, such objects should be listed in the NEPIP in addition to the standard disclosure below.

Disclosure

The Gallery will publish acquisitions with unconfirmed or problematic provenance promptly on AAMD and Gallery websites, and in the online edition of the annual Yale University Art Gallery Bulletin. Research is ongoing; this page will be updated as information is found. An inquiry, on behalf of the heirs of A. S. Drey Gallery, Munich, regarding the provenance of Apotheosis of Saint Roch by Giovanni Battista Tiepolo was resolved with documentation that the painting had been purchased by Yale directly from the Paul Drey Gallery in New York in 1937.

Partial List of Artworks with Unconfirmed Provenance

Unknown artist
North Italian(?), 15th century
The Lamentation, ca. 1470
Wood, 48 1/4 x 72 1/8 x 13 1/2 in. (122.6 x 183.2 x 34.3 cm)
Stephen Carlton Clark, B.A. 1903, Fund
 1965.55

Provenance
James Simon, Berlin; Kaiser Friedrich Museum, Berlin, said to have been purchased before the 1927 auction of Simon’s collection; given by the Kaiser Friedrich Museum to Victor Hahn, Berlin, in exchange for paintings; sold at Hahn’s auction, June 27, 1932; probably in the collection of Carl von Weinberg, Frankfurt, 1932–42; Mr. and Mrs. Josef Thorak, 1942–63; Wilhelm Henrich, Frankfurt, 1964-65, from whom acquired

Lucas van Leyden
Netherlandish, 1494–1533
Saint Paul, ca. 1520
Oil on panel, 13 x 9 1/2 x 3/8 in. (33 x 24.1 x 1 cm)
Gift of Chester D. Tripp, B.S. 1903
 1961.52

Provenance
Lijversberg Collection, Cologne, Germany; Dr. Paul Esch Collection, Cologne, Germany, ca. 1923–29; P. de Boer, dealer, Amsterdam, 1936; Mr. and Mrs. Chester Dudley Tripp Collection, Chicago

The Master of Messkirch (possibly Peter Strüb the Younger)
German, ca. 1500–1543
Saint Gangolf, ca. 1535–40
Oil on panel, 26 5/16 x 8 3/16 x 1 in. (66.8 x 20.8 x 2.5 cm)
Gift of Walter Bareiss, B.S. 1940S
 1954.43.1

Provenance
Originally part of a side altar in the Collegiate Church of Messkirch, Baden-Württemberg, Germany, sold late 17th century or removed by Zuge der Barockisierung in 1772; Joseph Otto Entres Collection, Munich; by inheritance to the Dr. Franz Ludwig Baumann Collection, Donaueschingen, Germany, late 1880s; Professor Schleibner Collection, Munich; M. Orterer Collection, Munich; Julius Böhler, dealer, Munich, 1918; Fabrikant Bum Collection, Kottbus, Germany, by 1922; Richard Zinser Collection, New York, by 1942; Parke-Bernet Galleries, New York, November 5, 1942, lot 45; Walter Bareiss Collection, New York

The Master of Messkirch (possibly Peter Strüb the Younger)
German, ca. 1500–1543
Saint Gregory the Great, ca. 1535–40
Oil on panel, 25 5/16 x 10 5/16 x 1/2 in. (64.3 x 26.2 x 1.3 cm)
Gift of Mr. Walter Bareiss, B.S. 1940S
 1954.43.2

Provenance
Originally part of a side altar in the Collegiate Church of Messkirch, Baden-Württemberg, Germany, sold late 17th century or removed by Zuge der Barockisierung in 1772; Joseph Otto Entres Collection, Munich; by inheritance to the Dr. Franz Ludwig Baumann Collection, Donaueschingen, Germany, late 1880s; Professor Schleibner Collection, Munich; M. Orterer Collection, Munich; Julius Böhler, dealer, Munich, 1918; Fabrikant Bum Collection, Kottbus, Germany, by 1922; Richard Zinser Collection, New York, by 1942; Parke-Bernet Galleries, New York, November 5, 1942, lot 45; Walter Bareiss Collection, New York

Jacob Salomonsz. van Ruysdael
Dutch, ca. 1600/1603–1670
Landscape with Waterfalls, ca. 1660–70
Oil on canvas, 23 7/8 x 32 3/4 x 7/8 in. (60.6 x 83.2 x 2.2 cm)
Gift of Judge John F. MacLane
 1952.44.2

Provenance
Braunschweig Collection, Holland, until 1929; Galerie Ferdinand Möller, Berlin, 1929-33; purchased by the Judge John F. MacLane Collection, New York, March 4, 1933

Recent Deaccessions

Four-Post Bed, 19th century
Mahogany
Bequest of Olive Louise Dann
 1962.32.19

Jean de Caumont
Netherlandish, 17th century
Stained and Painted Glass panels of the Abbey of Parc, Heverlee, 1635–44
Pot-metal glass and white glass with silver stain (and enamels?), a: 57 3/4 x 49 in. (146.7 x 124.5 cm), b: 52 1/4 x 49 in. (132.7 x 124.5 cm)
Gift of Mrs. Flora Whitney Miller, Mrs. Barbara Whitney Henry, and Major Cornelius Vanderbilt Whitney, B.A. 1922
 1942.104.2.a–dd

Harry Bertoia, designer
American, born Italy, 1915–1978
Knoll International, incorporated, manufacturer
Small Diamond Chair, designed 1952
Vinyl-coated steel wire, black-painted steel wire, and brown cotton upholstery (Tony Prestini design), 30 1/2 x 33 3/4 x 28 in. (77.5 x 85.7 x 71.1 cm)
Mrs. James C. Greenway Fund
1973.77.3

Vico Magistretti, designer
Italian, born 1920
Artemide, USA, manufacturer
Set of 10 Selene Chairs, designed 1968
Red molded fiberglass, 29 3/4 x 15 5/8 x 18 in. (75.6 x 39.7 x 45.7 cm)
Mabel Brady Garvan Fund
1973.172c–l

Anthony Hernandez
American, born 1947
Six by Six (6 x 6), Set 1, 2010
Set of six artist’s books with six accompanying C-type prints, 14 9/16 x 11 9/16 in. (37 x 29.4 cm)
The Heinz Family Fund
 2010.219.1.1–.6

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