Provenance Research

Thomas Gainsborough (1727-1788)
A Gypsy Scene, ca. 1746-47
Oil on canvas
12 3/8 x 14 1/2 in. (31.4 x 36.8 cm)
Gift of Emilie L. Heine in memory of Mr. and Mrs. John Hauck, 1940.951

Landscape with two figures and a horse to the left. Two figures with horses or donkeys at right. Middle ground is bathed in light.

Alternate Titles:
Gipsies and Donkeys in a Woodland Clearing
Wooded Landscape with Figures and Donkeys
Wooded Landscape-Peasants and Donkeys
A Gypsy Scene-Two Figures and Donkeys


    Joshua Kirby [1716-1774], by descent to
Until March 17, 1860:   Rev. Henry Scott Trimmer, Vicar of Heston [1778-1859], sold in Trimmer sale, Christie's, London, March 17, 1860, lot 45, to
March 17, 1860-May 30-31, 1879:   James Hughes Anderdon, sold in Anderdon sale, Christie's, London, May 30-31, 1879, lot 147, to
May 30-31, 1879-?:   Filpot
By at least 1885-June 20, 1896:   Lord Ronald Sutherland Gower, Gower Lodge, Windsor, sold in Anonymous sale [Gower], Christie's, London, June 29, 1896, lot 127, to
June 20, 1896-October, 1986:   (Agnew's, London, sold to [1])
October 1896-1909:   (Wallis & Son [The French Gallery]), London, sold to
1909-March 19, 1938:   Marie Louise Paterson, sold in Paterson sale, Parke-Bernet, New York, March 17-19, 1938, lot 24, to
    (Frank Schnittjer)
Before 1940:   (Probably John Levy Galleries, New York or Schneider-Gabriel Galleries, New York, probably sold to [2])
By at least 1940-1949:   Emilie L. Heine, Cincinnati, given with life interest to [3]
1949-present:   Cincinnati Art Museum

[1] See correspondence with Agnew's, September 6, 2000.

[2] Albert K. Schneider worked as Emilie L. Heine's dealer for many years. He and Gilbert Gabriel worked with John Levy for approximately twenty-five years before opening their own gallery in 1938. In 1940 Heine gave a collection of paintings to the CAM with life interest reserved. Schneider-Gabriel Galleries was requested by the CAM to send detailed information on the works that Heine acquired through the Schneider-Gabriel Galleries or John Levy Galleries. The provenance information sent by Schneider-Gabriel Galleries does not offer specific dates of sale, nor does it clarify if Heine purchased the paintings from them or from John Levy. See: Art Digest, October 1, 1938, p. 11; correspondence, May 25, 1940, and July 5, 1940, Heine collection file; Schneider-Gabriel Galleries booklet, no. 4, Heine collection file.

[3] Emilie L. Heine, a collector with a penchant for the Barbizon school, began collecting art around 1912 and continued until the mid-1940s. The majority of the paintings were acquired for her Cincinnati home during the 1920s and 1930s, but specific dates of purchase for most are unknown. Heine gave this painting and numerous others to the CAM with life interest reserved in 1940. The Heine collection came to the CAM after her death in 1949.

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