Websites and Resources
Conferences and Events
Welcome to lootedart.com
This site contains two fully searchable databases.
The Information Database contains information and documentation from forty nine countries, including laws and policies, reports and publications, archival records and resources, current cases and relevant websites.
The Object Database contains details of over 25,000 objects of all kinds – paintings, drawings, antiquities, Judaica, etc – looted, missing and/or identified from over fifteen countries.
All images on the site are published under fair use conditions for the purpose of criticism and research.
Issued under the current Austrian chairmanship, the newsletter includes a news section, two cases studies, of a Jacobs Lierens claim in the Netherlands and a Josef and Alice Morgenstern recommendation in Austria, an article on provenance research at the V&A Museum, two conference reports and articles on art restitution in the US and tracing of owners of looted artworks in Austria. To read the newsletter, click here.
ZADIK, the Central Archive for German and International Art Market Research, is the world's only specialized archive on the history of the art market. It was founded in 1992 as the central archive of the German and international art trade by the Federal Association of German Galleries and Art Dealers BVDG as a non-profit association. At the end of 2014, ZADIK became an affiliated institute of the Philosophical Department of the University of Cologne. Now ZADIK has been incorporated into the University of Cologne as an independent research institute of the Faculty of Philosophy. To read the University of Cologne Press Release, click here.
This project interrogates the Jewish contribution to the making of the National Gallery. Despite the importance of many Jewish collectors associated with the Gallery – including Alfred de Rothschild, Ludwig Mond, Walter Samuel, 2nd Viscount Bearsted – these men and women have never been studied as a group in relation to the growth of the institution. Focusing on the period from the foundation of the National Gallery (1824) to the end of the Second World (1945), this project will investigate the role of Jewish donors, dealers and trustees in constructing the collections and in administering the institution. The project will consider what, if anything, was distinctive about Jewish taste in painting, and uncover the motivations behind acts of philanthropy on the part of this cultural minority. It will reconstruct the Jewish presence within networks of kinship, business and sociability that sustained the National Gallery in an era of dramatic expansion yet economic hardship and analyse the dynamics which resulted in paintings owned by eminent Jewish collectors entering the public domain in the era before the Holocaust. The project ‘Jewish Collectors and Donors at the National Gallery (c.1830-1945)’ will provide an opportunity to research a fascinating chapter in Jewish history and the history of collecting and allow the student to receive supervision and training across two outstanding institutions. Full details available here.
Application deadline: 8 June 2020
Start date: 1 October 2020
The Munich Central Collecting Point (CCP) database is back online, though with limited functionality. There are limitations in the extended search via the list function, such as the link to the database of the Linz collection. But searches via the Munich and Linz numbers work now, as do searches for single criteria in the advanced search.
The German Historical Museum (DHM, Deutsches Historisches Museum) hosts databases of the records of the Munich Central Collecting Point, the Linz and Göring collections but the site has been down since the beginning of March and there is no imminent prospect of repair. There are two alternative locations for the records. One is Fold 3, which has the property cards, scanned and available, sourced from the US National Archives; the second is the Bundesarchiv where new high-resolution colour scans of the property cards are also available online at https://invenio.bundesarchiv.de (subject to registration) through the following search sequence:
- Bundesrepublik Deutschland mit westalliierten Besatzungszonen (1945 ff)
- Bundesrepublik Deutschland (1949 ff)
- Finanzen, Wirtschaft
- B 323 Treuhandverwaltung von Kulturgut bei der
- 5 Restitution von Kunstwerken
- 5.3 Restitutionsnachweise
- B 323/647 bis B 323/694
The recently founded Schweizerischer Arbeitskreis Provenienzforschung (Swiss Association for Provenance Research) has just launched its website and is now open for membership applications. The Association supports the establishment of provenance research and provides a network for provenance researchers in Switzerland. It also encourages the study of the art market and of exhibition and museum history. Details of the association and its board can be found at provenienzforschung.ch (in German and French).
James D. Bindenagel, US Ambassador and Special Envoy for Holocaust Issues from 1998-2002, and Conference Director for the 1998 Washington Conference on Nazi-Confiscated Art, has filed an amicus curiae brief in support of the petition for a hearing by the US Supreme Court by the heirs of Paul and Alice Leffmann in respect of their claim for Picasso's 'The Actor' now in the Metropolitan Museum, New York. Ambassador Bindenagel, now Director of the Center for International Security and Governance at the Rheinische Friedrich-Wilhelms-University in Bonn, Germany, argues ia that an earlier court decision that the heirs had waited too long to file their claim is inconsistent with US policy and the HEAR Act:
'The decision threatens to eviscerate the express will of Congress. By limiting the HEAR Act to one time-based defense, the court below will prevent Holocaust-era art claims from being heard on their merits—the precise result that the HEAR Act seeks to avoid. Given that the HEAR Act was a statute intended to have national reach, this Court’s intervention is warranted to prevent the Act from becoming a dead letter.'
As the persecution and mass murder of European Jews unfolded, and shortly after the liberation, activists set out to document the fate of their communities. Jewish historical committees in several countries collected documents, artifacts and testimonies and brought together a major body of evidence - yet one which was later forgotten or used reluctantly. EHRI (European Holocaust Research Infrastructure) for the first time, brings together samples of early testmonies of Jewish witnesses and survivors taken before the 1960s. The testimonies are all on the site in their original form and langauge, and there is also an English translation of every text. To visit the site, click here.
Launched only in German and in Germany, and aiming to make the content "transparently accessible", the database contains the results of provenance and associated research projects funded by the DZK, the data from which has not previously been transparent or accessible. Search categories include people, businesses, events, collections, provenance information, objects, and further documentary sources, and content includes that of the Lost Art database.
Although the DZK states, in the only English language text about it on the site, that "Proveana provides assistance for those whose cultural assets were seized [and] for their descendants", no part of the database, including the registration to use it and press release about it, are in English, the language most accessible to the victims of the Nazis and their descendants. The DZK English language site makes no reference to Proveana, while the German language site features a number of documents about it. It seems that the DZK has no plans currently to change this.
To read about Proveana and to access the database, click here.
In a letter of 17 December 2019 to Holland's Council for Culture (Raad voor Cultuur), the Culture Minister Ingrid van Engelshoven reminds the Council that 2020 is the 75th anniversary of the start of the Second World War during which large scale looting of cultural property took place from mostly Jewish owners. The current restitution policy was drawn up in 2001 in order to combat the injustice and the restitutions that had not been made by the Netherlands.
While much has been achieved, and amendments made since then, she states that there is much concern about whether the restitution policy in its current form is still adequate. In 2016 her predecessor as minister promised Parliament that the policy would be thoroughly re-evaluated in 2020, and she commands the Council to set up an advisory committee with the following remit:
She states that "In order to carry out this assignment, I expect you to hold discussions with the parties involved" and instructs the Committee 'to include at least the following aspects in its evaluation of the policy:
She writes that she 'would like to receive the Council's advice on restitution policy before 1 October 2020, after which I will submit my response to the House of Representatives'.
To read the letter, in Dutch, click here.
In his editorial, Clemens Jabloner, chair of the Austrian Art Restitution Board and Austrian Federal Minister of Justice, writes:
Further and closer cooperation on different questions can be expected in the future, not least the discussion of comparative law and the various legal solutions. At the conference marking the twentieth anniversary of the CIVS in November, my British counterpart in art restitution, Sir Donnell Deeny, stated publicly: “The particular element that our five committees have in common is that they are all chaired by serving or retired senior judges, and, thus, inherently qualified and disposed to provide to the parties a fair process and independent and impartial adjudication.” I am curious to find out what other similarities and points in common will be identified in the future.
To read the Newsletter, click here.
At the end of December 2019 the Dutch Restitutions Committee published their recommendation of restitution for 107 Meissen objects to the heirs of Dr Franz Oppenheimer. At the beginning of January 2020 they published their recommendation of restituiton for 14 Meissen objects to the heirs of Herbert Gutmann. In the Oppenheimer case the DRC concluded that it was 'highly likely' that Dr Oppenheimer 'lost possession of these objects involuntarily due to circumstances directly related to the Nazi regime' and that they should be restituted even if they were of importance to the Dutch state. In the Gutmann case, the DRC concluded the objects were 'auctioned off involuntarily, under pressure caused by circumstances directly connected with the Nazi regime. On these grounds, the Committee's opinion is that the Applicants' interests in the restitution of the objects must be given greater weight than the State's interests in retaining them'.
All 107 Oppenheimer object groups are currently 'part of the Dutch National Art Collection. Of these, 90 object groups are on loan to the Rijksmuseum. The other seventeen object groups are part of the Netherlands Art Property Collection (the NK collection) and are on loan to the Kunstmuseum Den Haag (thirteen object groups) and Museum Boijmans Van Beuningen (four object groups)'. The 14 Gutmann objects are currently 'in Het Loo Palace, the Rijksmuseum and the Zuiderzeemuseum. All objects are part of the Dutch National Art Collection and are the property of the Dutch State'.
To read the Oppenheimer recommendation, click here. To read the Gutmann recommendation, click here.
To read the Gutmann heirs' press release, click here.
The Zentral- und Landesbibliothek Berlin (ZLB) has now digitised three volumes of the Dietzler Auto-Adressbuch for Grosse-Berlin (Greater Berlin) for the years 1932-1934 and these are freely available to all users at https://digital.zlb.de/viewer/metadata/34280679/1/LOG_0000/
Carel van Lier c. 1930. Looted and
restituted ivory hunting horn
©The Estate of Erwin Blumenfeld
The Lost Music Project seeks to reconstruct the history of musical material culture looted, confiscated, displaced, or otherwise lost during the Nazi era in occupied Europe, and the aftermath. Evolving research regarding musical manuscripts, printed music, music-related books and archives, musical instruments, and other musicalia documented in public and private archives will be posted to the Project website. In addition to new research, a goal of this project is to make both information and copies of primary source historical records accessible to the public for further research efforts and analysis. The project is led by Dr Carla Shapreau, Lecturer in art and cultural property law at the University of California, Berkeley, School of Law, Senior Fellow in the Institute of European Studies, where she is conducting cultural property research, and Curator of the Salz Collection in the Department of Music. For further informaton and to see the website, click here.
The latest Newletter has an editorial by chair of the German Commission, Hans-Jürgen Papier, who writes that the Network is important since "all commissions are dealing with similar problems in the handling of their cases, such as how to deal with gaps in the provenance of an item which, despite intensive research, can not be closed; also dealing with the so-called «Fluchtgut» is one of the aspects that are discussed intensively. For this reason, I am very confident that the network has created another important measure, which will strengthen the work of the commissions in terms of identifying and returning Nazi-looted property and finding fair and just solutions."
Elsewhere in the Newsletter is the 2018 annual report of France's CIVS; advanced notice of a report for the Network by Dr Charlotte Woodhead, to be published in November, on how each committee operates and the differences in approach in determining claims (Recommendation 3 of the 2017 Spoliation Action Plan); a report on the 2011 successful claim by the Budge heirs for three Meissen figures in the Victoria & Albert Museum, London; and the 'presentation' of the Austrian Art Restitution Act and the two bodies created as a result, the Commission for Provenance Research and the Advisory Board.
To read the Newsletter, click here.
The claimants for the Guelph Treasure (Welfenschatz) in the possession of Germany's Prussian Cultural Heritage Foundation (SPK) have filed their opposition to the petition filed by the SPK and the Federal Republic of Germany in September 2019 seeking judicial review of a decision by the US Court of Appeals for the District of Columbia Circuit upholding jurisdiction over the claims. That court rejected in July 2018 and again in June 2019 the appeal by the SPK arguing that the US courts had no jurisdiction over the claim. Germany’s petition to the Supreme Court argues that the allegations concerning the Guelph Treasure were not a taking of property in violation of international law, but rather a question of the Nazis’ taking property from “their own nationals within their own territory.” In response, the claimants argue that the U.S. statute conferring jurisdiction applies to genocidal takings of property in the Holocaust, and that U.S. policy as reflected in the Holocaust Expropriated Art Recovery (HEAR) Act compels hearing the case.
The claimants also filed a request to return Germany to the lawsuit. The same Court of Appeals last year ruled that the commercial activity of the SPK in the United States was insufficient under the law to obtain jurisdiction over Germany. The claimants address their argument that this reading is at odds with the statute’s text. Germany will have the opportunity to respond in the next 30 days.
The Technical University of Berlin in collaboration with the Department of Modern Art History (Prof. Bénédicte Savoy) is undertaking a one-year project dedicated to the systematic examination and research of the Adolph Menzel Collection of the Berlin banker Ludwig Ginsberg (1873-1939). The extensive collection of Menzel's graphic works comprised a large number of rare prints and contained works on paper, some of them of exceptional quality and beauty. It was described in 1930 as the largest Menzel collection ever in private ownership. The Ginsberg Collection was auctioned off in several lots and is largely lost today. So far, works from the collection have appeared in the Kupferstichkabinett Berlin and at the Leopold-Hoesch-Museum in Düren. Both museums will restitute the works that have been added to their collections as a result of persecution.
The project also focuses on research into Ludwig Ginsberg's fate as a persecuted person and the aryanization of the Bank Gebrüder Ginsberg. The TU seeks proactive support for the project, especially from colleagues in provenance research and custodians of graphic collections. The project is funded by the Deutsche Zentrum Kulturgutverluste. Further information about the project and the Ginsberg family can be found here.
A German government funded research project on international practice in the restitution of artworks stolen under the Nazi regime has been established. Led by Prof. Dr. Matthias Weller, the Alfried Krupp von Bohlen und Halbach professor of civil law, art and cultural property law at the University of Bonn, it aims "to provide a comprehensive, comparative analysis of international practice in the restitution of Nazi-looted art [and] to establish a generalized set of rules on how decisions are made based on considerations of fairness and justice. Once established, these rules can be used as guidance and support for those who make decisions and recommendations on matters of restitution."
For full details and to attend the presentation of the project in Bonn on 6 September, click here.
On 18 and 19 November 1938, 43 works from the 'O.' collection of Frankfurt am Main, designated in the auction catalogue as 'non-Aryan' or 'Nichtarischer Besitz', were sold by the Hans Lange auction house in Berlin. They included paintings by Aert van der Neer, Jacob Ruysdael, Thomas Wijck, Franz von Lenbach, Adolf Lier, Caspar Scheuren, Carl Spitzweg and Adolf von Menzel. If anyone has information on the identity of the owner of the 'O' collection, please write to email@example.com. To see the Lange catalogue, click here.
Country-specific information is available on this site for 48 countries, from Albania to Yugoslavia, in the Information by Country section. Details of important, non country-specific, online resources are available in the International section of the site which contains several categories of information. For example:
Restitutions and Case News: provides details of claims and cases ruled on or settled outside the courts with copies of reports and rulings. Full details of a comprehensive range of cases can be found in the News Archive, which is fully searchable by name of family, artwork, museum, city, etc.
Lawsuits: provides details of claims and cases ruled on or being settled in court with copies of court filings and judgements.
Research Resources: provides details of family records, tracing services, art historical resources, texts of post-war reports, and books and publications.
Web Resources: provides details of various online databases of looted paintings, results of provenance research in countries around the world, archival records available online and other research materials.
Seeking Owners of Identified Looted Property: provides lists of names of individuals whose looted property has been identified in institutions in Germany and whose heirs are being sought.
Other categories of information include Governmental Conferences and Hearings, Laws, Policies and Guidelines, Art Trade, and Press, Television, Radio and Film. To explore all these sections, click here.
The site is regularly updated with new resources and developments. To provide details of resources or cases to add to the site, please email firstname.lastname@example.org.