The Marriage Contract
Thomas Rowlandson
(English, 1756–1827)
Medium/TechniquePen and black and brown ink and watercolor over graphite
DimensionsSheet: 43.5 x 52.5 cm (17 1/8 x 20 11/16 in.)
Credit LineGift of the heirs of Bettina Looram de Rothschild
Accession number2015.45
On View
Not on viewClassificationsDrawings
Collections
NOTES:
[1] Nathaniel Rothschild, Notizen über einige meiner Kunstgegenstände (Vienna, 1903), p. 15, cat. no. 25; and Inventar über die in den Nathaniel Freiherr von Rothschild'schen Nachlass gehörigen, in dem Palais in Wien, IV. Bezirk, Theresianumgasse Nr. 14 befindlichen Kunstgegenstände und Einrichtungsstücke (Vienna, 1906), p. 403, nos. 179/180.
[2] With the Anschluss, or annexation of Austria to Nazi Germany in March, 1938, the possessions of Alphonse and Clarice de Rothschild were seized and expropriated almost immediately by Nazi forces. This drawing appears in a Nazi-generated inventory of 1939 as no. AR (Alphonse Rothschild) 762: "Rowlandson. Dame mit zwei Herren und Hund. Getuschte Federzeichnung." Katalog beschlagnahmter Sammlungen, inbesondere der Rothschild-Sammlungen in Wien, Verlags-Nr. 4938, Staatsdruckerei Wien, 1939, Privatarchiv, reproduced in Sophie Lillie, "Was einmal war: Handbuch der enteigneten Kunstsammlungen Wiens" (Vienna, 2003), p. 1029.
[3] The Führermuseum, the art museum Adolf Hitler planned to build in Linz, Austria, was given right of first refusal over the confiscated Rothschild collection, and this drawing was selected for inclusion by 1942. Card no. AR 762, Bundesdenkmalamt, Vienna, available on the website of the Zentral Depot Karteien online.
[4] Many works of art stored elsewhere by the Nazis were moved to the abandoned salt mines of Alt Aussee in Austria, to be kept safe from wartime bombing. Allied troops recovered the looted artwork at the end of World War II, and established collecting points where the art could be identified for restitution to its rightful owners. In 1947 Clarice de Rothschild visited the salt mines at Alt Aussee, where she was able to identify the crates of works of art from her family’s collection, facilitating its return shortly thereafter. The date of return is noted on the Central Depot card.
Thomas Rowlandson