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European Art
Artist: Cornelis Engebrechtsz., Netherlandish, 1468–1533

The Deposition

ca. 1510–20

Oil on panel

42.5 × 33.7 cm (16 3/4 × 13 1/4 in.)
Bequest of Dr. Herbert and Monika Schaefer
Made in The Netherlands
On view
15th–16th century

Baron E Etienne-Edmond-Martin de Beurnonville (1825–1906), Paris; sale, Pillet, Paris, May 9, 1881, lot 468; Jean Dollfus (1823–1911), Paris; sale, Lair-Dubreuil, Paris, April 1, 1912, lot 99; Frederik Muller, Amsterdam; Franz Kleinberger, Paris, 1913; Harald Petri (1877–1954), Antwerp; sale, Frederik Muller et Cie, Amsterdam, November 30–December 6, 1926, lot 57. Probably with Maurice Lagrand, Brussels [see note 1]. With Kunsthandel A.G., Lucerne, and ‘Seling,’ March 1973, (jointly owned) and consigned to Julius Böhler (Kunsthandlung Böhler, dealer), Munich, March 1973; sold to Julius Böhler (Kunsthandlung Böhler, dealer), Munich, September, 1973 (Lagerbuch-number 7–73) [see note 2]; sold to Dr. Herbert Schaefer (1910–2011) and Mrs. Monika Schaefer (née Winter) (died 2019) Malaga, Spain, June 1974 (on loan to the Yale University Art Gallery, New Haven, Conn., 1981–2019); bequeathed to the Yale University Art Gallery, New Haven, Conn., 2019

Note 1: According to the ‘Liste des oeuvres d'art volees par les allemands en belgique pendant l'occupation arretee au 15 mars 1947,’ an inventory of objects lost, stolen or removed from Belgium during the German occupation, compiled by the Service de la Recuperation des Oeuvres d’Art, Office de Recuperation Economique (Ministere des Affaires Economiques), the Belgian ministry tasked with recovering cultural property in the post-war period, the painting was formerly with ‘Lagrand a Bruxelles.’ (Bundesarchiv, Koblenz, B323/403)

Lagrand likely refers to Maurice Lagrand, a Belgian art dealer active in Brussels and Paris. In the post-war period, Lagrand was identified as having had close contact with and sold paintings to agents and dealers working on behalf of Adolf Hitler and his second-in-command, Reichsmarschall Hermann Göring. Lagrand’s acquisition and ownership of the Painting is at present unconfirmed, as is the nature of how and when the Painting left Belgium. The Gallery’s research into the ownership history of the Painting is ongoing.

Note 2: According to the Böhler firm archives in Munich, Böhler received the Deposition on commission from the Kunsthandel A.G. Lucerne, a subsidiary of Böhler’s Munich firm. The Deposition had been acquired by Kunsthandel AG in March 1973, jointly owned by ‘Seling.’ In September 1973, Böhler himself acquired the painting (Lagerbuch-number 7-73). The identification of ‘Seling’ is at present unconfirmed.

The Gallery is grateful to Dr. Richard Winkler, Archivist, Bayerisches Wirtschaftsarchiv, Munich, for sharing this information from the Julius Böhler Archives. (correspondence with Dr. Richard Winkler, Bayerisches Wirtschaftsarchiv, curatorial object file, January 2020)

This work appears on our "Artworks with Nazi-Era Provenance Documentation Gaps" page.

Leandre Vaillat, “La peinture hollandaise,” L’Art et les Artistes 15 (April–September 1912): 146, ill.

Walter Cohen, Ulrich Thieme, and Felix Becker, “Engebrechtsz” in Thieme-Becker, Kunstler Lexikon, 10 (Leipzig: E. A. Seemann, 1914), 527, ill.

Nicolaas Beets, “De tentoonstelling 1575,” Onze Kunst 25 (1914): 53, ill.

Paul Wescher, “Zur Chronologie der Gemalde des Cornelis Engelbrechsten,” Zeitschrift fur bildende Kunst 58 (1924): 99, 103, ill.

E´mile Gavelle, Cornelis Engebrechtsz. L’e´cole de peinture de Leyde et le romantisme Hollandais au de´but de la Renaissance (Lille: Raoust, 1929), 292–93, G. 40.

Max J. Friedländer, Die Altniederla¨ndische Malerei, 10 (Berlin: P. Cassirer, 1932), pl. 52, fig. 93.

G. J. Hoogewerff, De Noord-Nederlandsche Schilderkunst, 3 (The Hague: Martinus Nijhoff, 1939), 202–204, fig. 108.

E. Peinck, “Cornelis Engebrechtsz: de herkomst van sijn kunst,” Nederlands Kunsthistorisch Jaarboek (1948–1949): 53, ill.

Office de Re´cupe´ration E´conomique, Re´pertoire d’oeuvres d’art dont la Belgique a e´te´ spolie´e durant la guerre 1939-1945 (Brussels: Royaume de Belgique, 1948), Illus. 25 (Pl. V), fig. 76.

Max J. Friedländer, Early Netherlandish Paintings, 10 (Leiden & Brussels: Foleor Publishers, 1973), 73, 79, fig. 93.

Walter S. Gibson, The Paintings of Cornelis Engebrechtsz, 34 (New York & London: Garland Publishing, 1977), 167–68, 247, fig. 43.

Missing art works of Belgium (Brusells: Ministère des affaires économiques, 1994), 31, fig. 67.

Collection: Dr. Herbert & Monika Schaefer, Selected Works, exh. cat. (New Haven, Conn.: Mountain View Press, 1998), 12–15, ill.

Joachim Pissarro, Saints, Sinners, and Scenery: European Genre and Landscape Paintings from the Collection of Herbert and Monika Schaefer, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1998), 6–7.

Jan Piet Filedt Kok, Walter S. Gibson, and Yvette Bruijnen, Cornelis Engebrechtsz: A Sixteenth-Century Leiden Artist and his Workshop (Turnhout: Brepols, 2014), 126–27, no. 33, fig. 119.

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.