European Art
Artist: Salomon van Ruysdael, Dutch, 1600/1603–1670

View of Alkmaar

ca. 1650

Oil on panel

unframed: 36 × 52 cm (14 3/16 × 20 1/2 in.)
Katharine Ordway Collection
On view
17th century

Charles Sedelmeyer (1837-1925), Vienna; Sale, Gemälde moderner und alter Meister, Künstlerhaus Vienna, December 20-21, 1872, lot 147; The Paterno Collection; Pierre-Eugène Secrétan (1836-1899), Paris, by 1889. Monsieur Adolphe (1842-1910) and Madame Mathilde Lucie Schloss (née Haas) (1858-1938), Paris [see note 1]; by descent to their children Marguerite Schloss (1879-1959), Henry Schloss (1882-1964), Juliette Weil (b.1885) and Lucien Schloss (1881-1962); confiscated by the ‘Schutzstaffel’ (SS) and French auxiliaries of the Gestapo at Château de Chambon, Laguenne, Corrèze, April 13, 1943 [see note 2]; transferred to the Dreyfus Bank, Paris; transferred to the Jeu de Paume (ERR inv. no. Schloss 192) [see note 3]; transferred to the Führerbau, Munich, November 27, 1943 (Kiste Nr. München Fuhrerbau 15) [see note 4]; stolen by Josef Karl, Munich; Central Collecting Point, Munich, October 25, 1948 (MCCP no. 48076) [see note 4]; repatriated to France, December 3, 1948; restituted to the Schloss Collection May 31, 1949; sale, Collection de feu M. Adolphe Schloss, Galerie Charpentier, Paris, December 5, 1951, lot 49; The Brod Gallery, London; sold to Katherine Ordway (1899-1979), November 1, 1972; bequeathed to the Yale University Art Gallery, New Haven, Conn., 1980

Note 1: Adolphe Schloss was a German born Jewish art collector. He and his wife Mathilde collected 333 works of Netherlandish art, which they exhibited at Salon Adolphe Schloss, residence 38, Avenue Henri Martin, Paris.

Note 2: In 1939, with the outbreak of WWII and in fear of bombing, the family relocated the paintings to Château de Chambon. Given the collection's widespread fame, German units had already been searching for it following the 1940 occupation. The SS was a paramilitary unit within Nazi Germany and occupied Europe; the Gestapo was the secret police.

Note 3: The collection was taken to Paris and stored in the Dreyfus Bank where an inventory and valuation was drawn up by police and government officials with curators from the Louvre Museum. Forty-nine paintings were sent to the Louvre, while the remainder were transferred to the Jeu de Paume Museum, a depot used for sorting and cataloguing collections confiscated by the Nazis. The paintings were earmarked for Hitler’s Linz Museum, a gallery intended to showcase the best of Western artistic production.

Note 4: The Fuhrerbau was the central headquarters of Adolf Hitler. At the end of April 1945, before allied forces entered Munich, a civilian mob broke into the building and looted the contents including liquor, furnishings, and art collections in storage.

Note 5: The Central Collecting Point, Munich, was a depot used by the allied forces to process and redistribute cultural property confiscated by the Nazis. Karl Josef, a German civilian and steelworker, who had stolen two other paintings and traded them for food and clothing, relinquished the Ruysdael in 1948. (National Archives and Records Administration, College Park, Maryland M1946 260)


Lesley K. Baier, The Katharine Ordway Collection, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1983), 110–11, no. 80.

Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of such records is ongoing.