Open Content Program
The Birmingham Museum of art makes available digital images of works in the Museum’s collection believed to be in the public domain. Images are available free of charge for any use, commercial or non-commercial. Users do not need to contact the Museum for authorization to use these images. They are available through the Online Collection at artsbma.org/collection. See detailed instructions for specific work types below.
Identifying Open Content Images
The mission of the Birmingham Museum of Art is to spark the creativity, imagination, and liveliness of Birmingham by connecting all its citizens to the experience, meaning, and joy of art. The Museum understands that by sharing images of works online without restrictions, the BMA collection becomes more accessible to a larger audience.
For objects with images the rights status is displayed in the “credit line” section of the object information. The rights status or rights holder will be indicated. If the work is in the public domain and/or the image may be downloaded, the download icon will appear in the bottom right corner of the image area. To search the collection click here.
Works With Restrictions
For copyright-protected images that have been approved by copyright holders, a presentation-sized image is available, but can not be downloaded. A copyright statement clearly listing the name of the copyright holder is visible in the credit line area when the image is displayed. Thumbnail-sized images of copyrighted works are displayed under fair use.
When the owner of a work is impossible to determine or contact, the work is deemed an orphan work. The Museum will make thumbnails of orphan works available. If you are the representative or rights holder of an orphan work, please contact Rights and Reproductions.
Please use the following source credit when reproducing an Open Content image: Courtesy Birmingham Museum of Art, followed by the credit line provided in the object description.
Although there are no restrictions or conditions of the use of an Open Content image, the BMA would appreciate a gratis copy of any scholarly publication(s) in which the images are reproduced in order to maintain collection bibliography. Copies may be sent to the attention of:
Open Content Program
Digital Media Department
The Birmingham Museum of Art
2000 Rev. Abraham Woods Jr. Blvd
Birmingham, AL 35203
- If an image is not available under Open Content it may be because the work is still under copyright, the work is not owned by the museum, or the work has not yet been photographed to BMA standards.
- Request Images: If an image of a work is not available online or is under copyright, you may submit a request through our online request form. You may also request files in additional sizes or formats. A fee will be charged for this service.
- Our determination of public domain is made in good faith.
- Electronic records are based on historical information and may not be the Museum’s complete or current knowledge about an object. Research is ongoing.
- The ‘On View’ status may be delayed on the website by 24 hours. Please check with our Rights and Registration Office to confirm that a work of art will be on view before traveling to the Museum.
- Titles Les Baigneuses (Female Bathers in a Landscape) (Proper)
- Artist Jean-Baptiste Pater, French, 1695 - 1736
- Medium oil on canvas
- Dimensions 51 1/4 x 38 1/4 in. (130.2 x 97.2 cm) frame: 62 × 49 1/8 × 3 7/8 in. (157.5 × 124.8 × 9.8 cm)
- Credit Line Eugenia Woodward Hitt Collection, 1991.248
- Work Type painting
- Classification Paintings
- Signature Canvas stamp, lower right, between stretcher keys, light blue ink, two circles [illegible]
- Marks Canvas stamp, lower right, between stretcher keys, light blue ink, two circles [illegible]
- Inscription Verso, top stretcher bar, upper left, ink on sticker with red boarder: 15340 Verso, top stretcher bar, upper left, typed label: Rect. #3810-3, 3/26/59 to WILDENSTEIN & CO., INC. / Cat. 26: THE BATH, by Pater / (Hahn: Van I) Verso, top stretcher bar, center, white chalk: WH D ILT [? Illegible] Verso, top stretcher bar, center, black ink: WP09 [? Illegible] Verso, top stretcher bar, upper right, printed blue sticker: NO. / 01 [in graphite] / W. S. BUDWORTH & SON / PACKERS & SHIPPERS / 424 WEST 52ND ST. NEW YORK, N.Y. Verso, right stretcher bar, top right, white chalk: X [encircled, centered on drill hole] Verso, right stretcher bar, bottom right, white chalk: B Verso, right stretcher bar, bottom right, white chalk: BY- [?] Verso, right stretcher bar, bottom right, white chalk: 7A Verso, bottom stretcher bar, left, black marker: 15340 Verso, vertical strainer bar, top, blue crayon: 12[crossed out] / 29 [underlined] Verso, vertical strainer bar, upper center, ink on lined sticker: 3694 / Pater Verso, vertical strainer bar, center, blue crayon: 12[crossed out] Verso, vertical strainer bar, center, red ink on sticker with red boarder: N.Y. v[?]91 [ripped] Verso, vertical strainer bar, lower center, black crayon: Bx5 2 Verso, upper horizontal strainer bar, left center, ink on sticker with red boarder: Pater / "Bathers' Verso, upper horizontal strainer bar, left center, white chalk: D’ 27A [? Faded] Verso, upper horizontal strainer bar, right center, black marker: 15340 Verso, upper horizontal strainer bar, right, typed label: [ripped] & Meyer / Murray & Young Inc. / 304-305-307 East 61st Street / New York, N. Y. / A[ripped] / Piece [ripped] / Packe [ripped]
- Provenance Comte d'Elva. Ferdinand Bischoffsheim (1837-1909); probably inherited by his granddaughter, Marie-Laure Bischoffsheim (1902-1970), Paris [see note 1]; auctioned at Objets d'Art et d'Ameublement… Dépendant de l’ancienne Collection de M. F. B…. Galerie Georges Petit, Paris, May 21, 1926, lot 29 [see note 2]. Dealer Wildenstein and Company, New York, by December 1926 [see note 3]; purchased by Eugenia Woodward Hitt (1905-1990), New York, January 10, 1967; gift to the Birmingham Museum of Art, Alabama, 1991
1. According to Florence Ingersoll-Smouse. Pater: Biographie et Catalogue Critique. Paris: Les Beaux-Arts, 1921, no. 327: “Collection du comte d'Elva. Ferdinand Bischoffsheim. Collection du comte de Noailles.” Marie-Laure Bischoffsheim married Charles de Noailles, Comte de Noailles (1891-1981) in 1923, which could be why his name appeared in Ingersoll-Smouse’s provenance for 1991.248.
2. Marie-Laure Bischoffsheim likely sold the collection under Marie-Laure’s grandfather’s name.
3. Felix Wildenstein is listed as the owner of 1991.248 in the exhibition catalogue for The Fourth Loan Exhibition Old Masters: French Painting of the Eighteenth Century. Detroit Institute of Arts, Michigan, December 2, 1926 - December 20, 1926, no. 44. Felix Wildenstein was president of the New York branch of Wildenstein & Company. Wildenstein & Co. is listed as the lender of 1991.248 to exhibitions in 1935 at the Baltimore Museum of Art, 1946 at the Brooklyn Institute of Art and Sciences, 1951 and 1953 at Wildenstein in London, 1954 at the Isaac Delgado Museum of Art, 1954 at the Carnegie Institute Department of Fine Arts, 1958 at the Munich Residenz, 1959 at the Baltimore Museum of Art, and 1964 at the Nationalmuseum (Stockholm). Wildenstein and Company, New York, is also listed as the owner of 1991.248 in Florence Ingersoll-Smouse. Pater: Biographie et Catalogue Critique. Paris: Les Beaux-Arts, 1928, no. 327.