Provenance Research

Jean Baptiste Camille Corot (1796-1875)
View of the Cathedral and Bridge at Mantes, with a Goatherd and Fisherman, ca. 1860
Oil on canvas
15 9/16 x 21 1/4 in. (39.5 x 54 cm)
Gift of Emilie L. Heine in memory of Mr.and Mrs. John Hauck, 1940.962

A goatherd stands beside a goat in a landscape. A large tree is to the right. He turns his back to the viewer, looking toward the river in the middle ground. A fisherman sits beside the bank of the river. The ruins of a cathedral and a bridge are visible in the background.

Alternate Titles:
Landscape with Lake and Ruin
Mantes: Pêcheur et Chevrier en vue de la Cathedrale et du Pont


Ca. 1860-1875:   Jean Baptiste Camille Corot, Paris, sold to
1875:   M. Rostand, Administrator of the Comptoir d'Escompte, Paris
1875-?:   (Galerie Georges Petit, Paris)
Until 1908:   Private Collection, Chile, sent to
1908:   Comptoir d'Escompte, Paris
Ca. 1908:   (Herman Schaus [1850-1911] or William Schaus [1858-1942], New York [1])
    (M. Knoedler & Co., New York)
By 1925-January 8, 1926:   C. K. G. Billings [Cornelius Kingsley Garrison Billings, b. 1861], Fort Tryon Hall, New York, sold in Billings sale, American Art Association, New York, January 8, 1926, lot 9, to
January 8, 1926:   Seaman, purchased for
1926-November 23, 1934:   Eli B. Springs, New York and Charleston, sold in Springs sale, American Art Association, New York, November 23, 1934, lot 50, to
November 23, 1934-?:   (Julius Weitzner, New York)
By at least April 13, 1943-1949:   Emilie L. Heine, Cincinnati, given with life interest to [2]
1949-present:   Cincinnati Art Museum

[1] The American Art Association catalogues for both the Billings sale and the Springs sale identify Herman Schaus as the former owner of the painting; however, CAM records name Herman's brother William to be the former owner. In his study Corot à Mantes, Rudolphe Walter states that either Herman or William was the owner. See American Art Association, New York, January 8, 1926, lot 9, and November 23, 1934, lot 50; and Rodolphe Walter, Corot à Mantes, Paris: Editions de l'Amateur, 1997, no. 27, pp. 130-131.

[2] Emilie L. Heine, a collector with a penchant for the Barbizon school, began collecting art around 1912 and continued into the mid-1940s. The majority the paintings were acquired for her Cincinnati home during the 1920s and 1930s, but specific dates of purchase for most are unknown. Heine gave her collection to the CAM with life interest reserved in 1940. This painting was not included in the original list (compiled probably in 1940) but was traded for a painting by Narcisse Virgile Diaz de la Peņa, which was initially intended for the CAM. It is unclear if Heine purchased the Corot at that time or simply changed her mind about which objects she wished to remain with her family. The Heine collection came to the CAM after her death in 1949. See handwritten notation, Schneider-Gabriel booklet, no. 41, Heine collection file.

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