[Galerie Bernheim-Jeune, Paris, from 27 January to 9 February 1914].(1) [Max Moos (1880–1976), Galerie Moos, Geneva, from at least February 1920 to 23 March 1935].(2) Mizne-Blumental Collection, from at least 9 June 1978 (sale, London, Sotheby Parke Bernet, 30 March 1982, lot 3, to);(3) A. J. Perenchio (1930–2017), Los Angeles, gifted 2025 to; Los Angeles County Museum of Art
Footnotes
(1) Stock number 20176, inscribed on the stretcher, matches the Bernheim-Jeune stockbook entry for Devant la glace with the dimensions 100 × 81 cm. It was bought by the gallery on 27 January and sold 9 February 1914, the same day the gallery bought cat. 16 (letter from Guy-Patrice Dauberville to Leah Lehmbeck, 2 December 2015). In November 1909 Kees van Dongen signed a seven-year contract with Bernheim-Jeune, although the artist was allowed to continue relations with other dealers, with restrictions. See Anita Hopmans, All Eyes on Kees van Dongen, exh. cat. (Rotterdam: Museum Boijmans Van Beuningen, 2010), 92.
(2) Galerie Moos was one of a number of dealers that also held the occasional auction and produced catalogues for the accompanying sale. This work appears as lot number 33, and is illustrated in the catalogue Tableaux Modernes, Dessins, Aquarelles et Gouaches et 42 Tableaux Importants de Ferdinand Hodler, provenant de la Collection de M. Max Moos, published by Galerie Moos, Geneva, on the occasion of the sale, 23 March 1935.
(3) Markus Mizne (1908–1994) was a Russian artist who befriended van Dongen in Paris. His wife, the Polish-born Felicja Blumental (1918–1991), was a celebrated concert pianist and composer. Together, they immigrated to and became citizens of Brazil to escape growing anti-semitism in Europe.
