A grande entrée in a small studio: an artist has adopted a confident air and a Bohemian attitude as he sits for his portrait in the sparsely furnished room. The painting of his right hand is incomplete. Hanging on the wall like the coat of arms of a guild is a palette. Two colleagues are meeting here as equals: the unknown man being portrayed and the female artist painting him. At the age of twenty-two, the painter Ottilie Roederstein travelled, like many artists of her time, to Paris, where she succeeded in asserting herself in the male-dominated art scene. She took lessons from portraitists such as Jean-Jacques Henner and exhibited works at the Paris Salon.
Since 2001, the Städel Museum has systematically been researching the provenance of all objects that were acquired during the National Socialist period, or that changed owners or could have changed owners during those years. The basis for this research is the “Washington Declaration”, also known as the “Washington Conference Principles”, formulated at the 1998 “Conference on Holocaust-Era Assets” and the subsequent “Joint Declaration”.
The provenance information is based on the sources researched at the time they were published digitally. However, this information can change at any time when new sources are discovered. Provenance research is therefore a continuous process and one that is updated at regular intervals.
Ideally, the provenance information documents an object’s origins from the time it was created until the date when it found its way into the collection. It contains the following details, provided they are known:
The successive ownership records are separated from each other by a semicolon.
Gaps in the record of a provenance are indicated by the placeholder “…”. Unsupported information is listed in square brackets.
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