Kapitell mit der Darstellung des Sündenfalls

3rd quarter 12th century

not on display

Square capital, on the left the serpent in an ornamental plant loop, Eve in front, Adam on the right, the back without decoration.
The relatively small, high-quality work suggests that it is part of a series of smaller double columns, for example from a cloister, and belongs to the Burgundian Romanesque period. The fan-shaped leaf above Adam can be found in a similar form in Charlieu (courtesy of Klara Thomet, 2006).In: Kunsthaus Zürich. Gesamtkatalog der Gemälde und Skulpturen, Zürcher Kunstgesellschaft (ed.), edited by Christian Klemm, Franziska Lentzsch, Gian Casper Bott et al., Ostfildern, Hatje Cantz Verlag, 2007.

Medium

Limestone

Dimensions

object: 29.5 x 29.5 x 29 cm

Inventory number

1949/0008

Credit line

Kunsthaus Zürich, 1949

Signature

Inscriptions

keine Bezeichnungen

Accession year

1949

Provenance

Unbekannt [Frankreich] (Künstler/-in)
Verbleib unbekannt
wohl spätestens ab 1939 – 1949, Joseph Altounian-Lorbet (*1889, +1953) (Kunsthändler/-in), MâconZKG/KHZ Inventarbuch Slg. und ZKG/KH Inventarbogen/Werkdossier sowie Korrespondenz mit der Direktion, 25.07.1947, Archiv ZKG/KHZ, 10.30.30.700.
ab 1949, Zürcher Kunstgesellschaft | Kunsthaus Zürich (Museum), Zürich, Kauf, 4'500 CHFWie oben Fussnote 3.

Provenance category

indications of being looted art

Provenance category (FOC)

C – The provenance from 1933 to 1945 has not been conclusively clarified; gaps in the ownership history remain. According to current research, there is no evidence of Nazi-looted art. There are, however, implications of Nazi-looted art and / or conspicuous circumstances.

About the provenance

The limestone capital was acquired by the Vereinigung Zürcher Kunstfreunde in 1949 from the art dealer Joseph Altounian-Lorbet of Mâcon, and loaned to the Kunsthaus Zürich. Altounian-Lorbet had held it since 1939. However, there are no indications as to other prior owners. Essentially, it is difficult to identify medieval stone figures and their previous owners if there is no information about the artist and the titles are broadly descriptive. Research into Altounian-Lorbet nevertheless revealed that he was working in Paris between 1933 and 1945, and sold artworks to individuals involved in Nazi looting of art. No concrete indications that the work was confiscated as a result of Nazi persecution have been found, but Altounian-Lorbet’s involvement in Nazi looting gives grounds for suspicion. As the research currently stands, it is not possible to state conclusively whether the work constitutes Nazi-looted art. At present, all the known sources have been exhausted. State of research 30.09.2024 Do you have questions, criticism, suggestions, and further information? Please send us a message to provenienzforschung(at)kunsthaus.ch.

Literature (general)

- Kunsthaus Zürich. Gesamtkatalog der Gemälde und Skulpturen, hrsg. von Zürcher Kunstgesellschaft et al., Sammlungskatalog, Ostfildern: Hatje Cantz, 2007, S. 19.

Object type

sculpture

Classification

A 3[1] sculpture Middle Ages

Keywords