Provenance refers to the ownership history of a painting — who owned it and when, from the time of its creation to the present.
The study of provenance is a traditional part of art historical research and helps us to better understand the artwork — its function, condition, authenticity and its place in historical collecting practices. The AGO is committed to investigating the provenance or history of ownership of works in the AGO Collection its collection as they are acquired, for art historical as well as legal and ethical reasons.
The AGO believes stolen or looted objects have no place in a public museum. Having a complete provenance for a given work of art is often difficult if not impossible to establish and does not mean that the work was looted or stolen, only that the complete ownership history cannot be reconstructed today. Research into artworks is ever-evolving as resources and archives become available.
Established in , and operating in accord with national law, international conventions and principles, the Committee assesses all collecting areas, with focussed attention on Indigenous and African works as well as works that may have been in Europe during the Nazi regime The committee can suggest repatriation in response to requests received from First Nations, or have materials designated as needing repatriation.
If a work in the AGO Collection is determined to have been confiscated or sold under duress, the committee will work to identify the rightful owner or heir and restitute the work of art. Gift of Mr. Henry F. Davis, in memory of his mother, Hans A. Wetzlar of Amsterdam; His sale at Hans W. Heidelberg, Germany d. Marylebone, London, [2]. Galveston Fine Arts Associated, S. The convent was closed in This painting was donated to the AGO in In , heirs of art collector Adolfo Marx contacted the gallery to indicated that Marx had owned the painting in Spain during the s and s, and then lost possession sometime after fleeing to England in amidst rising fascism.
