2017.108

Object Title
Painted Textile
Measurements
approx. 83.8 x 134.6 cm (33 x 53 in.)
Creation Date
c. A.D. 1000
Credit Line
Bequest of Bettina Schwimmer
Country of Origin
Object Type
Materials / Techniques
Object URL
http://www.artic.edu/aic/collections/artwork/237551?search_no=31&index=0
Museum's Definition of Antiquity
Before 1492
Provenance Information
Jean Lions, Lima, Peru, mid- to late 1960s, then St. Tropez, France, by late 1960s; sold to David Bernstein Fine Art, New York, N.Y., 1975 [correspondence in curatorial file]; sold to Bettina Schwimmer, Chicago, IL, 1976 [correspondence in curatorial file]; bequeathed to the Art Institute of Chicago, 2016.
Exhibition Information
none known
Publication Information
none known
Section of the AAMD Guidelines relied upon for the exception to 1970
Informed judgement that works were outside of the country of modern discovery before 1970
Explain why the object fits the exception set forth above
This acquisition falls within two exceptions. First, based on the results of provenance research, the Art Institute of Chicago can make an informed judgment that the object was outside of the country of modern discovery before 1970. In 1975, David Bernstein of David Bernstein Fine Art, N.Y. acquired the object from Jean Lions. According to letters provided by Mr. Bernstein, copies of which are in the curatorial files, Mr. Lions acquired the object by the 1960s while serving in the French diplomatic corps in Lima, Peru; Mr. Lions returned to France by the late 1960s, bringing the object with him. Second, the object was promised to the Art Institute of Chicago prior to 2008. On November 7, 2006, Bettina Schwimmer executed a will that specifically provided for a bequest of the object to the Art Institute of Chicago. A signed and notarized copy of Ms. Schwimmer’s 2006 will is maintained in the curatorial files. The acquisition of this textile is of particular importance as it represents a distinct and unexpected aspect of the ancient Andean textile tradition that is lacking in the Art Institute of Chicago’s permanent collection. Its acquisition allows the museum to present a work to its public that challenges assumptions concerning the nature of ancient Andean textile traditions.

2016.703

Object Title
False Face for Funerary Bundle
Measurements
15 1/2 x 9 in. (39.37 x 22.86 cm)
Creation Date
3rd century B.C.–A.D. 1st century
Credit Line
Gift of Mrs. Lee F. Barash, 2016
Culture
Country of Origin
Object Type
Materials / Techniques
Object URL
http://www.metmuseum.org/art/collection/search/318460
Provenance Information
Collection of Dr. and Mrs. Ernest Barash, by 1985 to 2016; Gift of Dr. and Mrs. Ernest Barash to The Metropolitan Museum of Art, 2016.
Exhibition Information
On loan to The Metropolitan Museum of Art and in display in 1985. The work was subsequently returned to its owner until 1995, when it was exhibited in Ancient Peruvian Mantles, 300 B.C.-A.D. 200, at The Metropolitan Museum of Art, from February 24, 1995 to August 13, 1995. After the exhibition, the work was converted into a long-term loan and has remained on view in Gallery 357.
Publication Information
Frame, Mary. 1995, Ancient Peruvian Mantles, 300 B.C.-A.D. 200. New York, The Metropolitan Museum of Art. Cat. 6.
Section of the AAMD Guidelines relied upon for the exception to 1970
Gift or bequest expected or on loan prior to 2008
Explain why the object fits the exception set forth above
This work has provenance confirmed to 1985, when it was first placed on temporary loan at The Metropolitan Museum of Art. The work was again exhibited, and published, as part of a Metropolitan Museum special exhibition in 1995, and it has remained on long term loan at the Metropolitan since that time. The Metropolitan’s collections are strong in South Coast textiles, both from the Paracas cultures and later Ica featherworks. The Metropolitan has no textile false faces in its collection, and this gift fills an important gap in the Metropolitan’s display of South Coast art.

2014.1115

Object Title
Fragments of a garment
Measurements
30.5 x 4.4 cm (12 x 1 3/4 in.)
Creation Date
6th–7th century A.D.
Credit Line
Gift of the Jick family in memory of Millicent Jick
Culture
Country of Origin
Object Type
Materials / Techniques
Object URL
http://www.mfa.org/collections/object/fragments-of-a-garment-585580
Provenance Information
Probably late 1960s or early 1970s, acquired by Millicent Jick (b. 1928 –d. 2010), Lexington and Chestnut Hill, MA; 2014, gift of the estate of Millicent Jick to the MFA. (Accession Date: September 24, 2014)
Exhibition Information
None known.
Publication Information
None known.
Section of the AAMD Guidelines relied upon for the exception to 1970
Informed judgement that works were outside of the country of modern discovery before 1970
Explain why the object fits the exception set forth above
Because Millicent Jick was acquiring other objects in the 1960s and 1970s, it is very likely that she bought this at that time. Its acquisition in all likelihood pre-dates Egypt's Law No. 117 of 1983.

2014.1105

Object Title
Furnishing textile fragment
Measurements
34.3 x 32.4 cm (13 1/2 x 12 3/4 in.)
Creation Date
Coptic, 6th-7th century A.D.
Credit Line
Gift of the Jick family in memory of Millicent Jick
Culture
Country of Origin
Object Type
Materials / Techniques
Object URL
http://www.mfa.org/collections/object/furnishing-textile-fragment-577130
Provenance Information
Probably late 1960s or early 1970s, acquired by Millicent Jick (b. 1928 –d. 2010), Lexington and Chestnut Hill, MA; 2014, gift of the estate of Millicent Jick to the MFA. (Accession Date: September 24, 2014)
Exhibition Information
None known.
Publication Information
None known.
Section of the AAMD Guidelines relied upon for the exception to 1970
Cumulative facts and circumstances
Explain why the object fits the exception set forth above
Because Millicent Jick was acquiring other objects in the late 1960s and early 1970s, it is likely that she acquired this at that time. Its acquisition in all likelihood pre-dates Egypt's Law No. 117 of 1983.

2014.1104

Object Title
Collar fragment
Measurements
13 x 27.9 cm (5 1/8 x 11 in.)
Creation Date
Coptic, 6th-7th century A.D.
Credit Line
Gift of the Jick family in memory of Millicent Jick
Culture
Country of Origin
Object Type
Materials / Techniques
Object URL
http://www.mfa.org/collections/object/collar-fragment-577129
Provenance Information
Probably late 1960s or early 1970s, acquired by Millicent Jick (b. 1928 –d. 2010), Lexington and Chestnut Hill, MA; 2014, gift of the estate of Millicent Jick to the MFA. (Accession Date: September 24, 2014)
Exhibition Information
None known.
Publication Information
None known.
Section of the AAMD Guidelines relied upon for the exception to 1970
Cumulative facts and circumstances
Explain why the object fits the exception set forth above
Because Millicent Jick was acquiring other objects in the late 1960s and early 1970s, it is very likely that she bought this at that time. Its acquisition in all likelihood pre-dates Egypt's Law No. 117 of 1983.

2014.1103

Object Title
Collar fragment
Measurements
30 x 4.4 cm (11 13/16 x 1 3/4 in.)
Creation Date
Coptic, 6th–7th century A.D.
Credit Line
Gift of the Jick family in memory of Millicent Jick
Culture
Country of Origin
Object Type
Materials / Techniques
Object URL
http://www.mfa.org/collections/object/collar-fragment-577128
Provenance Information
Probably late 1960s or early 1970s, acquired by Millicent Jick (b. 1928 –d. 2010), Lexington and Chestnut Hill, MA; 2014, gift of the estate of Millicent Jick to the MFA. (Accession Date: September 24, 2014)
Exhibition Information
None known.
Publication Information
None known.
Section of the AAMD Guidelines relied upon for the exception to 1970
Cumulative facts and circumstances
Explain why the object fits the exception set forth above
Because Millicent Jick was acquiring other objects in the late 1960s and early 1970s, it is very likely that she bought this at that time. Its acquisition in all likelihood pre-dates Egypt's Law No. 117 of 1983.

2014.1102

Object Title
Furnishing textile fragment
Measurements
60 x 40.6 cm (23 5/8 x 16 in.)
Creation Date
Coptic, 6th-7th century A.D.
Credit Line
Gift of the Jick family in memory of Millicent Jick
Country of Origin
Object Type
Materials / Techniques
Object URL
http://www.mfa.org/collections/object/furnishing-textile-fragment-577127
Provenance Information
Probably late 1960s or early 1970s, acquired by Millicent Jick (b. 1928 –d. 2010), Lexington and Chestnut Hill, MA; 2014, gift of the estate of Millicent Jick to the MFA. (Accession Date: September 24, 2014)
Exhibition Information
None known.
Publication Information
None known.
Section of the AAMD Guidelines relied upon for the exception to 1970
Cumulative facts and circumstances
Explain why the object fits the exception set forth above
Because Millicent Jick was acquiring other objects in the late 1960s and early 1970s, it is very likely that she bought this at that time. Its acquisition in all likelihood pre-dates Egypt's Law No. 117 of 1983.

2013.448

Object Title
Tunic
Measurements
L. 72 in., W. 53 in.
Creation Date
AD 200-500
Credit Line
Gift of Edward and Betty Harris
Culture
Country of Origin
Object Type
Materials / Techniques
Object URL
www.denverartmuseum.org
Museum's Definition of Antiquity
Before 1492
Provenance Information
Before 1975: Jorge Nuñez, la Paz
1975-1990 William Siegal, Santa Fe
1990-2013 Edward Harris, Chicago
Exhibition Information
None known
Publication Information
None known
Section of the AAMD Guidelines relied upon for the exception to 1970
Informed judgement that works were outside of the country of modern discovery before 1970
Explain why the object fits the exception set forth above
The Nunez collection of Bolivia was formed in the 1960's, and therefore the Nasca tunic probably left Peru before 1970.

1960-95-1

Creator
Designed by Antonio Gherardi, Italian, 1644 - 1702, with the collaboration of Lazzaro Baldi, Italian, 1624 - 1703. Woven under the supervision of Maria Maddalena della Riviera, Italian, died 1678, director of the Barberini tapestry factory from 1653.
Object Title
A View of Florence / Allegory of Maffeo Barberini's Florentine Birth (Pilaster termine panel from the Life of Urban VIII)
Measurements
17 feet 8 1/2 inches x 3 feet 11 5/16 inches (539.8 x 120.2 cm)
Credit Line
Gift of Vicomte Charles de Noailles, 1960
Creation Date
1663
Object Type
Object URL
http://www.philamuseum.org/collections/permanent/58384.html?mulR=5409|1

Claim Resolution

Resolution
Agreement reached, museum retained work
Resolution Date
May, 2011
Details of Resolution
In May 2011 the Philadelphia Museum of Art concluded a settlement agreement with the heirs of Jakob and Rosa Oppenheimer by which the Museum was allowed to retain a seventeenth-century Italian tapestry. The tapestry panel was part of a larger series celebrating the life of Pope Urban VIII (Maffeo Barberini, 1568-1644). Provenance research revealed that the tapestry was part of a forced sale in Berlin in 1935 of the inventory of the art dealership Altkunst Antiquitäten, a subsidiary of Margraf and Co., a firm owned by the Oppenheimers. Founded in Berlin in 1912, by 1926 Margraf and Co. had become an umbrella company incorporating four prominent art dealerships. Eight of the Barberini tapestry panels belonged to Margraf and Co. by 1928. The success of the Jewish-owned firm attracted the attention of Nazi officials, who denounced the Oppenheimers as “Jewish capitalists” and promoted an anti-Semitic boycott of the company. The Oppenheimers fled Germany for France on April 1, 1933, shortly before they were to be arrested by the Gestapo. Soon after, the Nazi regime ousted Jakob Oppenheimer from the company management and the authorities appointed an Aryan administrator who was a close associate of Hermann Göring. In 1934 the Nazi regime liquidated the various galleries making up Margraf and Co. and sold off the stock in a series of sales in 1935. The eight Barberini tapestry panels were included in a sale held at Paul Graupe auction house in Berlin on April 26 and 27, 1935. The Oppenheimers were unable to receive any of the proceeds, which most likely went to pay the punitive Jewish flight and property taxes. Jakob Oppenheimer died in France in 1941 following internment at Nice, and Rosa Oppenheimer was murdered at Auschwitz in 1943. The tapestry was a gift to the PMA in 1960 from the Vicomte Charles de Noailles, who said that he purchased it at auction in Paris in the mid-1940’s. The identity of the purchaser at the 1935 auction and the panel’s whereabouts until its acquisition by de Noailles are unknown. In 2010 the PMA was alerted to the tapestry’s World War II history by Victoria Reed, Monica S. Sadler Assistant Curator for Provenance at the Museum of Fine Arts, Boston, which owns four other panels from the series. After the PMA’s research confirmed that the tapestry was part of the group included in the forced sale in 1935, the PMA contacted the Oppenheimer heirs to initiate discussions to resolve the tapestry’s ownership.

2010.562

Object Title
Embroidered Band
Measurements
L. 15 1/4 in., W. 1 1/4 in
Creation Date
About 200 BC-AD 200
Credit Line
Neusteter Textile Collection: Gift of Mr. and Mrs. Morris A. Long
Culture
Country of Origin
Object Type
Materials / Techniques
Object URL
www.denverartmuseum.org
Provenance Information
In the collection of Mr. and Mrs. Morris A. Long of Colorado since the 1980's.
Exhibition Information
None known prior to DAM acquisition.
Publication Information
None known prior to DAM acquisition.
Section of the AAMD Guidelines relied upon for the exception to 1970
Cumulative facts and circumstances
Explain why the object fits the exception set forth above
The Denver Art Museum's encyclopedic pre-Columbian collection includes several Paracas ceramics, but only a few Paracas textiles. This tradition is especially well known for beautifully colored, elaborately embroidered sets of garments, often decorated with images of supernatural beings. Most Paracas textiles entered the market in the first half of the twentieth century, but this specific object cannot be documented before the 1980's. Its acquisition by the Denver Art Museum will help the public appreciate the artistic and technical mastery of the ancient Andean weaving tradition.
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