La torre

inscr. b. r.: G. de Chirico

verso auf Zierrahmen o. l. in Blau: x [hs]; u. l. in Blau: a [hs]; o. r. in Blau: o [hs]; u. r.in Schwarz: 70x [hs]; verso auf Keilrahmen o. l. Zollstempel auf Leinwandresten in Blau: [unleserlich]; o.l. schwarzer Zollstempel: DOUANES FRANCAISES / 03 Nov 1954 [unleserlich] / PONT DE KEHL 5; M. l. weisse Etikette in Schwarz: KESTNER-GESELLSCHAFT HANNOVER / Künstler / de Chirico / Titel: La torre. ca. 1913 / Technik: Öl auf Leinwand / Katalog-Nr.: 8 / Eigentümer: Kunsthaus Zürich [ms]; u. l. in Schwarz: Stempel [unleserlich]; darunter in Schwarz: 8 [hs]; u. l.: weisse vergilbte Etikette mit schwarzem Zierrahmen in Schwarz: INVENTAR / No. 1954/8 [ms]; o. M. weisse KHZ-Etikette; o. r. weisse Etikette in Schwarz: Museum of Modern Art / LOAN / 1982.67 / Kunsthaus / Zurich; o. r. in Blau: 131 [hs]; darunter in Rot: La Torre [hs]; darunter gelbe Etikette: hasenkamp / Ausstellung / DIE STADT […]; M. r. in Schwarz: 7/1 [eingekreist] [hs]

Baldacci/Roos 2022 I.146-148

1954

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

The painting by de Chirico came from the collection of the Jewish banker and art dealer André Level in Paris. In 1927, it was sold in an auction of the collection at the Hôtel Drouot in Paris to the Belgian art dealer Camille Goemans. In 1935 and 1936, it was owned by the artist and art dealer Aram D. Mouradian, before being exhibited in summer 1937 at the Musée du Jeu du Paume in Paris, on loan from the collector Bernard Poissonnier. He held it until it was purchased by the Vereinigung Zürcher Kunstfreunde in 1954. During the Second World War, Poissonnier worked for the art dealer Karl Haberstock, who in 1936 began selling works to Hitler. The circumstances under which it changed hands from Mouradian to Poissonnier have not yet been clarified, but in any event this can be shown to have occurred before France was occupied by the Nazis in 1940. The possibility that it was confiscated as a result of Nazi persecution cannot be ruled out, but there are no grounds for suspecting this. 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.

- Die Meisterwerke, hrsg. von Zürcher Kunstgesellschaft/Christian Klemm, Sammlungskatalog Kunsthaus Zürich, Ostfildern: Hatje Cantz, 2007, S. 235 (ill.). - Kunsthaus Zürich. Gesamtkatalog der Gemälde und Skulpturen, hrsg. von Zürcher Kunstgesellschaft et al., Sammlungskatalog, Ostfildern: Hatje Cantz, 2007, S. 642. - Maurizio Fagiolo Dell'Arco: L'opera completa di De Chirico 1908–1924 (Classici dell'Arte 110), Mailand: Rizzoli Editore, 1984, No. 36. - L'art italien et la Metafisica. Le temps de la mélancolie 1912-1935, hrsg. von Guy Tosatto, Ausst.-Kat. Musée de Grenoble, Arles: Actes Sud, 2005, No. 27, S. 18 (ill.). - Masterpieces from the Kunsthaus Zürich, hrsg. von Detmar Westhoff/Philippe Büttner, Ausst.-Kat. The National Art Center, Tokyo/Kobe City Museum, Tokyo: Asahi Shimbun, 2014, S. 154, 161 (ill.). - Claudio Bruni: Catalogo generale Giorgio de Chirico, Bd. I: Opere dal 1908 al 1930, Bd. 1 von 3, Mailand: Electa, 1971, No. 7. - Die andere Moderne - De Chirico, Savinio, hrsg. von Paolo Baldacci, Ausst.-Kat. Stiftung Kunstsammlung Nordrhein-Westfalen/Städtische Galerie im Lenbachhaus München, Ostfildern-Ruit: Hatje Cantz, 2001, No. 19, S. 207 (ill.).