The Cleveland Museum of Art

• Provenance
  Until 1851

  Private collection, Amsterdam

  1851

  (Jeronimo de Vries/Johannes Albertus Brondgeest, Amsterdam, sale, September 15, 1851, no. 198, fl. 40 [with pendant], to Brondgeest [bought in])

  by 1873-1874

  Baron Anselm Mayer von Rothschild (1803–1874), Vienna (inv. AR705), by descent to his son, Baron Albert von Rothschild

  Probably 1874-1911

  Baron Albert von Rothschild (1844-1911), Vienna, by descent to his son, Alphonse von Rothschild

  Probably 1911-1938

  Baron Alphonse von Rothschild (1878-1942), until confiscated by the Nazis in March 1938.

  1938-1945

  In the possession of the Nazis. Apparently intended for the Kunsthistorisches Museum, Vienna, but kept at the Tiroler Landesmuseum Ferdinandeum, Innsbruck. By 1945 stored in the salt mines at Alt Aussee.

  1945-1947

  In possession of the Allies. Restituted to Alphose von Rothschild's widow, Baroness Clarice de Rothschild.

  1947-1948

  Baroness Clarice de Rothschild (1894-1967); sold to Rosenberg & Stiebel, New York

  1948

  (Rosenberg & Stiebel, New York, NY, sold to the Cleveland Museum of Art)

  1948-

  The Cleveland Museum of Art, Cleveland, Ohio

  Provenance Footnotes

  1 The seller of the portrait in the 1851 auction is not identified in the catalogue, but is described as “a diligent art lover in Amsterdam

  2 According to Marieke de Winkel (2012), the two Hals portraits in this sale (“Twee stuks deftige Mans- en Vrouwenportretten; meesterlijk en breed van behandeling”) are likely the two portraits, thought to have been lost, mentioned by Jacob Scheltema in his dictionary of national biography, Staatkundig Nederland (1806)  De Winkel suggests that the female portrait in the sale (73 x 54 cm) is the CMA portrait, despite the discrepancies in dimensions and medium (which de Winkel notes occurred frequently in the nineteenth century).  The painting was bought in, and “Brondgeest” is written in the catalogue as the buyer.  Johannes Brondgeest died in 1849, so the notation likely refers to his firm.  In her article, de Winkel lays out a possible early provenance for this painting.  It is based largely on circumstantial evidence and conjecture, and thus is not included in CMA’s provenance until further research can provide confirmation: Scheltema writes in Staatkundig Nederland (1806): “The original portraits of [Jan de Wael] and his spouse, Aeltje Pater, done by Frans Hals…were still in Kampen in 1802.”  De Winkel maintains that Scheltema would have seen these portraits in the Kampen home of Kornelis Johannes de Vriese [1729-1803] and his son, Cornelis Wilhelmus de Vriese [1768-1813].  Jan de Wael’s niece, Josina de Wael [1637-1677], was married to Abraham de Vriese, Kornelis’s father and Cornelis’s grandfather.   De Winkel speculates that because Jan de Wael and Aeltje Pater did not have any children, their portraits would have been left to their nieces or their descendents – although it is unclear who, specifically, would have inherited the portraits.  There is an inventory dated Jan. 10, 1679 (Noord-Hollands Archief, Haarlem) of the belongings left by Aeltje, but the paintings are not specified.   

  3 The catalogue of an exhibition of Old Master paintings from Viennese private collections held at the Österreichischen Museum in 1873 situates the painting in the collection of Anselm von Rothschild.

  4 This painting was confiscated from the collection of Alphonse Rothschild in March of 1938 and was chosen by Hitler for the Kunsthistorisches Museum in Vienna (Vorschlag zur Verteilung der in Wien beschlagnahmte Gemälde: Für das Kunstmuseum in Linz October 20, 1939. Linz Museum: Consolidated Interrogation Report (CIR) No. 4 (Attachments 56-82). Restitution Research Records. Records of the U.S. Occupation Headquarters, World War II, Record Group 260. National Archives Identifier 3725274. M1946, Roll 139, page 74. Fold3.com, http://www.fold3.com/image/#283755713, retrieved July 15, 2013): here the painting is titled “Damenbildnis” and was listed under inventory no. AR 705 (“AR 705” is inscribed in chalk on the painting’s stretcher and is still visible).  The painting also appears on the “Verzeichnis der von den Staatlichen Kunstsammlungen erbetenen Gemälde aus der Sammlung Alphons Rothschild ” (no. 7), an inventory found in Hitler’s library at Berchtesgaden.  Listed above it is Hals's Portrait of Tieleman Roosterman (AR 866), also in the Cleveland Museum of Art (1999.173).   According to Felicitas Kunth and Sophie Lillie, Portrait of a Woman was kept at the Tiroler Landesmuseum/Innsbruck Ferdinandeum during the war.  It was then moved to the salt mine at Alt Aussee.

  5 The Allies recovered the painting in the salt mines at Alt Aussee, which Alphonse’s widow, Clarice, visited to identify works from her family’s collection.  The painting did not go through the Munich Central Collecting Point, but was returned to Clarice in 1947.
• Citations
  Roos, Cornelis François, and Jeronimo de Vries. Schilderijen, door voorname oude en hedendaagsche meesters. 1851.

  Hofstede de Groot, Cornelis. A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century Based on the Work of John Smith. Vol. 3. London: Macmillan, 1910.

  Roos, Cornelis François, and Jeronimo de Vries. Schilderijen, door voorname oude en hedendaagsche meesters. 1851.

  Marieke de Winkel, “Frans Hals’s Portraits of Michiel de Wael and Cunera van Baersdorp and of Jan de Wael and Aeltje Dircksdr. Pater Identified,” Face book: studies on Dutch and Flemish portraiture of the 16th-18th centuries, eds. Edwin Buijsen, Charles Dumas, and Volker Manuth, Leiden: Primavera Pers, 2012, pp. 141-150.

  null

  Kunth, Felicitas. Die Rothschild'schen Gemäldesammlungen in Wien. Vienna: Böhlau, 2006.

  Lillie, Sophie. Was einmal war: Handbuch der enteigneten Kunstsammlungen Wiens. Vienna: Czernin, 2003.

  Slive, Seymour. Frans Hals. London: Phaidon, 1970.

  Katalog der Gemälde alter Meister aus dem Wiener Privatbesitze, ausgestellt im k.k.Österreichischen Museum August-September 1873. 1873.

  Hofstede de Groot, Cornelis. A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century Based on the Work of John Smith. Vol. 3. London: Macmillan, 1910.

  Slive, Seymour. Frans Hals. London: Phaidon, 1970.

  Slive, Seymour. Frans Hals. London: Phaidon, 1970.

  Kunth, Felicitas. Die Rothschild'schen Gemäldesammlungen in Wien. Vienna: Böhlau, 2006.

  Lillie, Sophie. Was einmal war: Handbuch der enteigneten Kunstsammlungen Wiens. Vienna: Czernin, 2003

  Francis, Henry Sayles, “’Portrait of a Lady in a Ruff,’ by Frans Hals,” The Bulletin of the Cleveland Museum of Art 35:7, Pt. I (Sept. 1948): 163-165, 169-170.

  "A Plan for Loot: Blue-Prints for a New 'House of German Art.' How Hitler Intended to Dispose of the 'Purchased' Rothschild Collections." The Illustrated London News 207, no. 5542 (July 7, 1945): 25

  Kunth, Felicitas. Die Rothschild'schen Gemäldesammlungen in Wien. Vienna: Böhlau, 2006

  Lillie, Sophie. Was einmal war: Handbuch der enteigneten Kunstsammlungen Wiens. Vienna: Czernin, 2003.

  Slive, Seymour. Frans Hals. London: Phaidon, 1970.

  null

  Francis, Henry Sayles, “’Portrait of a Lady in a Ruff,’ by Frans Hals,” The Bulletin of the Cleveland Museum of Art 35:7, Pt. I (Sept. 1948): 163-165, 169-170.

  Kunth, Felicitas. Die Rothschild'schen Gemäldesammlungen in Wien. Vienna: Böhlau, 2006

  Slive, Seymour. Frans Hals. London: Phaidon, 1970.

  Lillie, Sophie. Was einmal war: Handbuch der enteigneten Kunstsammlungen Wiens. Vienna: Czernin, 2003

  Francis, Henry Sayles, “’Portrait of a Lady in a Ruff,’ by Frans Hals,” The Bulletin of the Cleveland Museum of Art 35:7, Pt. I (Sept. 1948): 163-165, 169-170.

  "A Plan for Loot: Blue-Prints for a New 'House of German Art.' How Hitler Intended to Dispose of the 'Purchased' Rothschild Collections." The Illustrated London News 207, no. 5542 (July 7, 1945): 25.

  Slive, Seymour. Frans Hals. London: Phaidon, 1970.

  Katalog der Gemälde alter Meister aus dem Wiener Privatbesitze: ausgestellt im K.K. Österreichischen Museum [für Kunst und Industrie]. Vienna: K.K. Österreichischen Museums, 1873. Mentioned: p. 31, no. 124.

  Moes, E. W., and Jean de Boschère. Frans Hals, sa vie et son œuvre. Brussels: G. van Oest & Cie, 1909. Mentioned: 108, no. 190

  Hofstede de Groot, C. P. A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century. 8 vols Translated and edited by Edward G. Hawke. London: Macmillan and Co, 1907-1927. Mentioned: vol. 3 (1910), p. 114, no. 398

  "A Plan for Loot: Blue-Prints for a New 'House of German Art.' How Hitler Intended to Dispose of the 'Purchased' Rothschild Collections." The Illustrated London News 207, no. 5542 (July 7, 1945), 24-25. Mentioned and reproduced: p. 25

  Francis, Henry S. ""Portrait of a Lady in a Ruff," by Frans Hals." The Bulletin of the Cleveland Museum of Art 35, no. 7 (1948): 163-70. www.jstor.org

  "A French Rococo collection goes to Cleveland." ArtNews 47, no. 5 (September 1948).
  Mentioned: p. 29.

  "Recent Acquisitions." Pictures on Exhibit 11, no. 1 (Oct. 1948).
  Reproduced: p. 2; Mentioned: pp. 3, 48.

  "Trinity of Masterpieces for Cleveland." ArtNews 47, no. 7 (November 1948).
  Mentioned and reproduced: cover, pp. 5, 28.

  “Part II. Annual Report Issue for the Year 1948.” The Bulletin of the Cleveland Museum of Art, vol. 36, no. 6, 1949, pp. 111–142. Mentioned: p. 112 www.jstor.org

  The Cleveland Museum of Art. The Cleveland Museum of Art Handbook. Cleveland, OH: The Cleveland Museum of Art, 1958. Mentioned and Reproduced: cat. no. 449 archive.org

  Milliken, William Mathewson. Great Museums of the World: The Cleveland Museum of Art. New York: H.N. Abrams, 1958. Reproduced: p. 43

  Saisselin, Rémy G. Style, Truth, and the Portrait. Cleveland: Cleveland Museum of Art, 1963. Mentioned and Reproduced: no. 7

  The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1966. Cleveland, OH: The Cleveland Museum of Art, 1966. Reproduced: p. 123 archive.org

  The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1969. Cleveland, OH: The Cleveland Museum of Art, 1969. Reproduced: p. 123 archive.org

  Slive, Seymour. Frans Hals. 3 vols London: Phaidon, 1970-1973. Reproduced: vol. 2, pls. 191, 193; Mentioned: vol. 3, p. 64, no. 121.

  Grimm, Claus. Frans Hals: Entwicklung, Werkanalyse, Gesamtkatalog. Berlin: Mann, 1972. Mentioned: p. 98, no. 91

  Grimm, Claus, and E. C. Montagni. L'Opera completa di Frans Hals. Milan: Rizzoli, 1974. Mentioned and Reproduced: pp. 100-101, no. 129

  The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1978. Cleveland, OH: The Cleveland Museum of Art, 1978. Reproduced: p. 157 archive.org

  The Cleveland Museum of Art. The Cleveland Museum of Art Catalogue of Paintings, Part 3: European Paintings of the 16th, 17th, and 18th Centuries. Cleveland, OH: The Cleveland Museum of Art, 1982. Mentioned: p. 238-240; Reproduced: p. 239

  Grimm, Claus. Frans Hals: the complete work. New York: H.N. Abrams, 1990. Mentioned and reproduced: p. 283, no. 91.

  Lillie, Sophie. Was einmal war: Handbuch der enteigneten Kunstsammlungen Wiens. Vienna: Czernin Verlag, 2003. Mentioned: p. 1027, no. 705

  Kunth, Felicitas. Die Rothschild'schen Gemäldesammlungen in Wien. Vienna: Böhlau, 2006. Mentioned: pp. 192-193

  Winkel, Marieke de. "Frans Hals's Portraits of Michiel de Wael and Cunera van Baersdorp and of Jan de Wael and Aeltje Dircksdr. Pater Identified." pp. 141-150. In Face book: studies on Dutch and Flemish portraiture of the 16th-18th centuries. Ed. Edwin Buijsen, Charles Dumas, and Volker Manuth. Leiden: Primavera Pers, 2012. Reproduced: p. 144, fig. 5

  Dudok van Heel, Sebastien A. C., and Marten Jan Bok. 'Frans Halsen' aan de muur: omgang met familieportretten in Haarlem: Voocht--Olycan--Van der Meer. The Hague: Koninklijk Nederlandsch GEnootschap voor Geslacht- en Wapenkunde, 2013. Mentioned: p. 14, 16; Reproduced: p. 17, fig. 7d

  Paintings in the Cleveland Museum of Art: Picture Book No. 4 . [Cleveland]: The Cleveland Museum of Art, 1952. Reproduced: p. 26 undefined

  Provenance Footnotes

  1 The seller of the portrait in the 1851 auction is not identified in the catalogue, but is described as “a diligent art lover in Amsterdam

  2 According to Marieke de Winkel (2012), the two Hals portraits in this sale (“Twee stuks deftige Mans- en Vrouwenportretten; meesterlijk en breed van behandeling”) are likely the two portraits, thought to have been lost, mentioned by Jacob Scheltema in his dictionary of national biography, Staatkundig Nederland (1806)  De Winkel suggests that the female portrait in the sale (73 x 54 cm) is the CMA portrait, despite the discrepancies in dimensions and medium (which de Winkel notes occurred frequently in the nineteenth century).  The painting was bought in, and “Brondgeest” is written in the catalogue as the buyer.  Johannes Brondgeest died in 1849, so the notation likely refers to his firm.  In her article, de Winkel lays out a possible early provenance for this painting.  It is based largely on circumstantial evidence and conjecture, and thus is not included in CMA’s provenance until further research can provide confirmation: Scheltema writes in Staatkundig Nederland (1806): “The original portraits of [Jan de Wael] and his spouse, Aeltje Pater, done by Frans Hals…were still in Kampen in 1802.”  De Winkel maintains that Scheltema would have seen these portraits in the Kampen home of Kornelis Johannes de Vriese [1729-1803] and his son, Cornelis Wilhelmus de Vriese [1768-1813].  Jan de Wael’s niece, Josina de Wael [1637-1677], was married to Abraham de Vriese, Kornelis’s father and Cornelis’s grandfather.   De Winkel speculates that because Jan de Wael and Aeltje Pater did not have any children, their portraits would have been left to their nieces or their descendents – although it is unclear who, specifically, would have inherited the portraits.  There is an inventory dated Jan. 10, 1679 (Noord-Hollands Archief, Haarlem) of the belongings left by Aeltje, but the paintings are not specified.   

  3 The catalogue of an exhibition of Old Master paintings from Viennese private collections held at the Österreichischen Museum in 1873 situates the painting in the collection of Anselm von Rothschild.

  4 This painting was confiscated from the collection of Alphonse Rothschild in March of 1938 and was chosen by Hitler for the Kunsthistorisches Museum in Vienna (Vorschlag zur Verteilung der in Wien beschlagnahmte Gemälde: Für das Kunstmuseum in Linz October 20, 1939. Linz Museum: Consolidated Interrogation Report (CIR) No. 4 (Attachments 56-82). Restitution Research Records. Records of the U.S. Occupation Headquarters, World War II, Record Group 260. National Archives Identifier 3725274. M1946, Roll 139, page 74. Fold3.com, http://www.fold3.com/image/#283755713, retrieved July 15, 2013): here the painting is titled “Damenbildnis” and was listed under inventory no. AR 705 (“AR 705” is inscribed in chalk on the painting’s stretcher and is still visible).  The painting also appears on the “Verzeichnis der von den Staatlichen Kunstsammlungen erbetenen Gemälde aus der Sammlung Alphons Rothschild ” (no. 7), an inventory found in Hitler’s library at Berchtesgaden.  Listed above it is Hals's Portrait of Tieleman Roosterman (AR 866), also in the Cleveland Museum of Art (1999.173).   According to Felicitas Kunth and Sophie Lillie, Portrait of a Woman was kept at the Tiroler Landesmuseum/Innsbruck Ferdinandeum during the war.  It was then moved to the salt mine at Alt Aussee.

  5 The Allies recovered the painting in the salt mines at Alt Aussee, which Alphonse’s widow, Clarice, visited to identify works from her family’s collection.  The painting did not go through the Munich Central Collecting Point, but was returned to Clarice in 1947.
• Exhibition History
  Portraiture: The Image of the Individual. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 22, 1983-January 22, 1984).

  Dutch Art and Life in the Seventeenth Century. The Cleveland Museum of Art, Cleveland, OH (July 10-September 2, 1973).

  Ausstellung alter Gemalde aus Wiener Privatbesitz. Vienna, Oesterrreichisches museum für Kunst und industrie (August - September 1873), cat. no. 124.

  Style, Truth and the Portrait. The Cleveland Museum of Art, Cleveland, OH (October 1-November 19, 1963).

  Dutch Painting, The Golden Age. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 5-February 27, 1955).

  Provenance Footnotes

  1 The seller of the portrait in the 1851 auction is not identified in the catalogue, but is described as “a diligent art lover in Amsterdam

  2 According to Marieke de Winkel (2012), the two Hals portraits in this sale (“Twee stuks deftige Mans- en Vrouwenportretten; meesterlijk en breed van behandeling”) are likely the two portraits, thought to have been lost, mentioned by Jacob Scheltema in his dictionary of national biography, Staatkundig Nederland (1806)  De Winkel suggests that the female portrait in the sale (73 x 54 cm) is the CMA portrait, despite the discrepancies in dimensions and medium (which de Winkel notes occurred frequently in the nineteenth century).  The painting was bought in, and “Brondgeest” is written in the catalogue as the buyer.  Johannes Brondgeest died in 1849, so the notation likely refers to his firm.  In her article, de Winkel lays out a possible early provenance for this painting.  It is based largely on circumstantial evidence and conjecture, and thus is not included in CMA’s provenance until further research can provide confirmation: Scheltema writes in Staatkundig Nederland (1806): “The original portraits of [Jan de Wael] and his spouse, Aeltje Pater, done by Frans Hals…were still in Kampen in 1802.”  De Winkel maintains that Scheltema would have seen these portraits in the Kampen home of Kornelis Johannes de Vriese [1729-1803] and his son, Cornelis Wilhelmus de Vriese [1768-1813].  Jan de Wael’s niece, Josina de Wael [1637-1677], was married to Abraham de Vriese, Kornelis’s father and Cornelis’s grandfather.   De Winkel speculates that because Jan de Wael and Aeltje Pater did not have any children, their portraits would have been left to their nieces or their descendents – although it is unclear who, specifically, would have inherited the portraits.  There is an inventory dated Jan. 10, 1679 (Noord-Hollands Archief, Haarlem) of the belongings left by Aeltje, but the paintings are not specified.   

  3 The catalogue of an exhibition of Old Master paintings from Viennese private collections held at the Österreichischen Museum in 1873 situates the painting in the collection of Anselm von Rothschild.

  4 This painting was confiscated from the collection of Alphonse Rothschild in March of 1938 and was chosen by Hitler for the Kunsthistorisches Museum in Vienna (Vorschlag zur Verteilung der in Wien beschlagnahmte Gemälde: Für das Kunstmuseum in Linz October 20, 1939. Linz Museum: Consolidated Interrogation Report (CIR) No. 4 (Attachments 56-82). Restitution Research Records. Records of the U.S. Occupation Headquarters, World War II, Record Group 260. National Archives Identifier 3725274. M1946, Roll 139, page 74. Fold3.com, http://www.fold3.com/image/#283755713, retrieved July 15, 2013): here the painting is titled “Damenbildnis” and was listed under inventory no. AR 705 (“AR 705” is inscribed in chalk on the painting’s stretcher and is still visible).  The painting also appears on the “Verzeichnis der von den Staatlichen Kunstsammlungen erbetenen Gemälde aus der Sammlung Alphons Rothschild ” (no. 7), an inventory found in Hitler’s library at Berchtesgaden.  Listed above it is Hals's Portrait of Tieleman Roosterman (AR 866), also in the Cleveland Museum of Art (1999.173).   According to Felicitas Kunth and Sophie Lillie, Portrait of a Woman was kept at the Tiroler Landesmuseum/Innsbruck Ferdinandeum during the war.  It was then moved to the salt mine at Alt Aussee.

  5 The Allies recovered the painting in the salt mines at Alt Aussee, which Alphonse’s widow, Clarice, visited to identify works from her family’s collection.  The painting did not go through the Munich Central Collecting Point, but was returned to Clarice in 1947.
• Cite this Page
  {{cite web|title=Portrait of a Woman, probably Aeltje Dircksdr. Pater|url=false|author=Frans Hals|year=1638|access-date=13 April 2024|publisher=Cleveland Museum of Art}}

  Provenance Footnotes

  1 The seller of the portrait in the 1851 auction is not identified in the catalogue, but is described as “a diligent art lover in Amsterdam

  2 According to Marieke de Winkel (2012), the two Hals portraits in this sale (“Twee stuks deftige Mans- en Vrouwenportretten; meesterlijk en breed van behandeling”) are likely the two portraits, thought to have been lost, mentioned by Jacob Scheltema in his dictionary of national biography, Staatkundig Nederland (1806)  De Winkel suggests that the female portrait in the sale (73 x 54 cm) is the CMA portrait, despite the discrepancies in dimensions and medium (which de Winkel notes occurred frequently in the nineteenth century).  The painting was bought in, and “Brondgeest” is written in the catalogue as the buyer.  Johannes Brondgeest died in 1849, so the notation likely refers to his firm.  In her article, de Winkel lays out a possible early provenance for this painting.  It is based largely on circumstantial evidence and conjecture, and thus is not included in CMA’s provenance until further research can provide confirmation: Scheltema writes in Staatkundig Nederland (1806): “The original portraits of [Jan de Wael] and his spouse, Aeltje Pater, done by Frans Hals…were still in Kampen in 1802.”  De Winkel maintains that Scheltema would have seen these portraits in the Kampen home of Kornelis Johannes de Vriese [1729-1803] and his son, Cornelis Wilhelmus de Vriese [1768-1813].  Jan de Wael’s niece, Josina de Wael [1637-1677], was married to Abraham de Vriese, Kornelis’s father and Cornelis’s grandfather.   De Winkel speculates that because Jan de Wael and Aeltje Pater did not have any children, their portraits would have been left to their nieces or their descendents – although it is unclear who, specifically, would have inherited the portraits.  There is an inventory dated Jan. 10, 1679 (Noord-Hollands Archief, Haarlem) of the belongings left by Aeltje, but the paintings are not specified.   

  3 The catalogue of an exhibition of Old Master paintings from Viennese private collections held at the Österreichischen Museum in 1873 situates the painting in the collection of Anselm von Rothschild.

  4 This painting was confiscated from the collection of Alphonse Rothschild in March of 1938 and was chosen by Hitler for the Kunsthistorisches Museum in Vienna (Vorschlag zur Verteilung der in Wien beschlagnahmte Gemälde: Für das Kunstmuseum in Linz October 20, 1939. Linz Museum: Consolidated Interrogation Report (CIR) No. 4 (Attachments 56-82). Restitution Research Records. Records of the U.S. Occupation Headquarters, World War II, Record Group 260. National Archives Identifier 3725274. M1946, Roll 139, page 74. Fold3.com, http://www.fold3.com/image/#283755713, retrieved July 15, 2013): here the painting is titled “Damenbildnis” and was listed under inventory no. AR 705 (“AR 705” is inscribed in chalk on the painting’s stretcher and is still visible).  The painting also appears on the “Verzeichnis der von den Staatlichen Kunstsammlungen erbetenen Gemälde aus der Sammlung Alphons Rothschild ” (no. 7), an inventory found in Hitler’s library at Berchtesgaden.  Listed above it is Hals's Portrait of Tieleman Roosterman (AR 866), also in the Cleveland Museum of Art (1999.173).   According to Felicitas Kunth and Sophie Lillie, Portrait of a Woman was kept at the Tiroler Landesmuseum/Innsbruck Ferdinandeum during the war.  It was then moved to the salt mine at Alt Aussee.

  5 The Allies recovered the painting in the salt mines at Alt Aussee, which Alphonse’s widow, Clarice, visited to identify works from her family’s collection.  The painting did not go through the Munich Central Collecting Point, but was returned to Clarice in 1947.