Provenance Research

Jean Baptiste Camille Corot (1796-1875)
The Bend of the Seine at Port-Marly, 1872
Oil on canvas
32 x 51 7/8 in. (81.3 x 131.8 cm)
Gift of John and Bruce Jacobs, 1967.1074

Signed and dated lower right: "a mon ami G. Rodrigues 1872 C. Corot"

Description: A river scene with a barge near the river's bend and a man fishing in a skiff. A turreted building is seen on the hill at the right; in the left background is a row of hills.

Alternate Titles:
El recodo del Sena en Port-Marly
Le Tournant de la Seine a Port Marly
Orillas del Sena


1872-until at least 1907:   Collection Georges Rodrigues-Henriques [1]
1922:   (Galerie Georges Petit, Paris)
1922:   (John Levy Galleries, New York [2])
Possibly ca. 1922,
by at least 1940-1949:
  Emilie L. Heine, Cincinnati, by descent to [3]
1949-?:   Carl M. [d. 1967] and Freida Heine [d. 1963] Jacobs, Cincinnati, by descent to
?-1967:   John and Bruce Jacobs, Cincinnati, given to
1967-present:   Cincinnati Art Museum

[1] The painting was a gift from Corot to Rodrigues-Henriques. Alfred Robaut published it in L'oeuvre de Corot in 1905, no. 2206, as being in Rodrigues' collection. The painting titled Orillas del Sena in a 1907 inventory of the Rodrigues-Henriques collection. See Ronald Pickvance, Corot: El Parque de los Leones en Port-Marly, 1872, exh. cat., Madrid: Museo Thyssen-Bornemisza, 2001, pp. 41 and 60.

[2] Pickvance, p. 41, identifies that the painting was with John Levy Galleries in 1922. Emilie L. Heine often dealt with John Levy Galleries and may have purchased the painting directly from this dealer. An inventory card for the painting is included in the archives of the Schneider-Gabriel Galleries, held at the Archives of American Art, Washington, D. C. Albert Schneider worked as Heine's dealer for many years, first as an employee of John Levy Galleries and later after he and Gilbert Gabriel formed Schneider-Gabriel Galleries in 1938. The inventory card in the archives may indicate that Scheider-Gabriel Galleries owned the painting; however, it may also have been a record carried over from Schneider past employment with John Levy Galleries.

[3] Emile 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 works are unknown. Heine gave her collection to the CAM in 1940 with life interest reserved. Her collection eventually came to the CAM in 1949. The Bend of the Seine at Port-Marly was included in the inventory of works intended for the CAM (compiled probably in 1940), but it was not a part of the gift that actually came to the CAM in 1949. Instead, the painting descended to her daughter, Freida Heine Jacobs.

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