Nederland is met roofkunst op de verkeerde weg - Netherlands on the wrong track with looted art
NRC Handelsblad 15 December 2018
click for story
The National Gallery’s New Artemisia Gentileschi Should Be a Triumph—But Clouds Are Forming Over Its Ownership During WWII
Artnet 12 December 2018
click for story
Fair practices for identifying and recovering art looted during war
European Parliament 11 December 2018
click for story
Bij roofkunst staat belang slachtoffer altijd voorop - With looted art the interest of the victim always comes first
NRC 11 December 2018
click for story
German Museum Discovers It Has Been Displaying Nazi-looted Artworks in Its Collection
DPA 11 December 2018
click for story
NS-Raubkunst: 20 Jahre Washingtoner Erklärung mit durchwachsener Bilanz - Mixed record of 20 years of the Washington Principles
Der Standard 10 december 2018
click for story
Federal Lawsuit Seeks To Recover Art Lost During Nazi Occupation Of Netherlands
Forbes 10 December 2018
click for story
Dutch Art Panel’s Decision on Kandinsky Painting Creates International Uproar
Blouin 9 December 2018
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Looted Art in Hungary
New York Times 9 December 2018
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Spain Slammed by US official for making ‘no effort’ to return Nazi-looted art from WW2
The Olive Press 8 December 2018
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Schande dat deze roofkunst in het museum mag blijven hangen - It is shameful that looted art can remain in the museums
NRC Handelsblad 8 December 2018
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Auction houses play key role in returning war spoils
AFP 7 December 2018
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'A moment of total crisis in Europe' prompted Edmund de Waal to sell his prized netsuke collection
The Art Newspaper 6 December 2018
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Museum gibt Raubkunst zurück - Museum gives painting back
Rheinische Post 5 December 2018
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Dutch art panel's ruling against Jewish family criticised as 'step back'
The Guardian 5 December 2018
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Spanish museum, California family spar in court over disputed Nazi-looted art
AP 5 December 2018
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Websites and Resources

Looted Cultural Assets
Four German libraries - the Stiftung Neue Synagoge Berlin – Centrum Judaicum Library, the Freie Universität Berlin University Library, the Potsdam University Library, and the Berlin Central and Regional Library - have created a joint website with the provenance details of over 12,000 books which may be looted. For more information click here.
click to visit
UNESCO Database of National Cultural Heritage Laws
Provides access to national laws currently in force (with translations), import/export certificates, contact details for national authorities and addresses of official national websites dedicated to the protection of the cultural heritage.
click to visit
Dutch Museums Provenance Research
Results of 'Museum Acquisitions from 1933' project showing 41 Dutch museums are in possession of at least 139 items with 'problematic' origins.
click to visit
Swiss Looted Art Portal
Opened in June 2013, this government-run site provides details of museums' provenance research, advice on making enquiries, research and claims and links to relevant databases and archives in Switzerland and beyond.
click to visit
WGA-Files - Akten der Wieder- gutmachungsämter von Berlin - Case Records of the Berlin Restitution Offices
Digitised restitution case records of the Berlin Restitution Offices held in the Landesarchiv Berlin, consisting of the record group B Rep 025, Wiedergutmachungsämter von Berlin, containing more than 800,000 files.
click to visit
European Sales Catalogues 1930-1945 Heidelberg University
3,000 digitised auction catalogues including both German-speaking countries and the countries of occupied Europe - Austria, Belgium, Czech Republic Denmark, France, Germany, Italy, Netherlands, Poland and Switzerland - and including every genre of cultural object, from paintings to tapestries to silver and books. Provides the entire texts of auction catalogues. Searchable by auction house, artist, work of art, etc.
click to visit
German Sales Catalogs 1930–1945 at the Getty
More than 2,000 German language sales catalogues published between 1930 and 1945 including more than 230,000 individual auction sales records for paintings, sculptures, and drawings only. Searchable by artist name and nationality, lot title, buyer or seller’s name, city in which the sale occurred, type of subject matter and other fields. Provides only individual lot details, and links to Heidelberg for the full catalogue.  
click to visit
Hermann Goering Collection
Contains 4,263 paintings, sculptures, furniture, tapestries and other art objects, purchased or acquired from confiscated property, many available for restitution today.
click to visit
International Research Portal for Records Related to Nazi-Era Cultural Property
The Portal provides for the first time digital access to millions of cultural property records from the National Archives of the US, the UK, Germany, Belgium, Ukraine, France and other archival sources.  
click to visit
Polish Wartime Losses
Launched on 2 February 2011 by the Polish Ministry of Culture and National Heritage and including missing paintings from public and private collections by Raphael, Van Dyck, Rubens and others, reflecting the 70% of Poland's art lost to the Nazis.
click to visit
ERR Database
The Nazi records and photographs of the looting of more than 20,000 objects from Jews in France and Belgium. Click here for background details.
click to visit
Galerie Heinemann
c 43,500 paintings and c 13,000 persons and institutions associated with their acquisition or sale by the Munich art dealer Galerie Heinemann from 1890 to 1939.  Click here for the full background.
click to visit
Hungary on Trial: Herzog Collection
The history of the family, a copy of the July 2010 lawsuit filed in New York and photos of the artworks.
click to visit
'Degenerate Art' / Aktion 'Entartete Kunst' website
The fate of more than 21,000 artworks condemned as “degenerate” by the Nazis and seized from German museums in 1937.  Click here for background details. 
click to visit
Central Collecting Point Munich Database
Index cards and photographs of the 170,000 works of art collected up by the Allies at the end of the war and inventoried from 1945 till 1951.
click to visit
Hitler's Linz Collection
A searchable, illustrated catalogue of the 4,731 works of art found by the Allies in the Linz Collection, with provenance details. Click here for detailed information.
click to visit
The Austrian National Fund
Hundreds of looted objects in Austrian public collections available for restitution.
click to visit

Conferences and Events

Boijmans in the War. Art in the Destroyed City, Exhibition, Museum Boijmans Van Beuningen Rotterdam, 13 October 2018 - 27 January 2019

To coincide with the completion of the museum's provenance research project. For full details, click here.

Theft from the Führerbau, Munich, at the end of April 1945 and the fate of the stolen objects, Colloquium and Helbing Lecture, Zentralinstitut für Kunstgeschichte, Munich

On the findings of the four year research project. Details of the project are here.


Warum es nicht funktioniert, keine NS-Provenienzforschung zu betreiben: Ein Bullshit-Bingo anlässlich 20 Jahre Washingtoner Prinzipien und Österreichisches Kunstrückgabegesetz
October 2018
Markus Stumpf . An essay on the 20th anniversary of the Washington Principles and the Austrian art restitution law on the many excuses made by institutions not to carry out Nazi era provenance research, from which the author, Markus Stumpf of the Institut für Zeitgeschichte at the Universität Wien, has devised the game of 'bullshit bingo'.  
read more
Die Affäre Deutsch: Braune Netzwerke hinter dem größten Raubkunst-Skandal
September 2018
Burkhart List. Burkhart List tells the story of Austrian Hans Deutsch (1906-2002), whose career as a leading lawyer representing claimants in post-war Germany was destroyed by the German authorities who arrested him on bogus charges. 
read more
A Lost Inheritance: How 1,500 artworks were stolen after WW2
August 2018
John Buck, illustrator Albert Schaefer-Ast. Inherited by his Jewish kindertransport daughter in 1951, the artworks by German cartoonist Albert Schaefer-Ast disappeared for almost 50 years. But then they began to be offered for sale by two art galleries and an auction house in what had formerly been the communist-controlled German Democratic Republic.
read more
Bells in the Cultural Soundscape: Nazi-Era Plunder, Repatriation, and Campanology
August 2018
Carla Shapreau . An essay by Carla Shapreau, Senior Fellow in the Institute of European Studies, Curator in the Department of Music and Lecturer in the School of Law at the University of California, Berkeley, on how over 175,000 of Europe’s bells were confiscated by the Nazis during World War II. By the war’s end, an estimated 150,000 bells were destroyed, leaving a sonic gap in the European landscape. Bells that remained were repatriated to their countries of origin. Bell losses were remembered at the International Military Tribunal at Nuremberg and remain symbols of community and culture, war and peace.
read more
Hitlers Sonderauftrag Ostmark: Kunstraub und Museumspolitik im Nationalsozialismus - Hitler's Special Mission Austria: Nazi Art Theft and Museum Policy
June 2018
Birgit Schwarz. On Hitler's distribution plan for confiscated Jewish art collections in Austria and the competition between Vienna, the Linz Museum and German museums for the 5,000 most important artworks.
read more
The Obligation of Ownership: An art collection under scrutiny - Provenance Research at the Friedrichshafen Museum
May 2018
Claudia Emmert, Ina Neddermeyer (Editors). Catalogue of the exhibition showing from 4 May 2018 - 3 February 2019 exploring post-war dealers' networks through whom the German museum acquired many works in its collection whose provenances were far from clean.
read more
System und Methode: NS-Raubkunst in deutschen Museen
January 2018
Irena Strelow:. Based on two case studies, Irena Strelow describes the systematic "utilisation" of art collections of Jewish emigrants by the Berlin tax authorities between 1938 and 1945. Both the collection of Marie Busch, née Mendelssohn Bartholdy, and that of department store owner Georg Tietz were, in a perfectly organised bureaucratic process, converted into foreign exchange by the Berlin finance authorities.
read more
Handbook on Judaica Provenance Research: Ceremonial Objects
January 2018
Julie-Marthe Cohen, Felicitas Heimann-Jelinek, and Ruth Jolanda Weinberger. An online Handbook to help museum staff, researchers, auctioneers, collectors, lawyers, private persons, dealers and other interested parties to trace Judaica objects that were looted or displaced during the 20th century, especially during World War II. These objects may be found in Jewish and non-Jewish museum collections; in private collections; in Jewish institutions such as communities, synagogues, seminaries; and on the market.
read more
"Ein Katalog als Erinnerungsort", Kunst und Recht magazine No. 5/6 2017
December 2017
Dr Henning Kahmann. A critical review of the catalogue of the Gurlitt exhibitions in Berne and Bonn, in which Kahmann writes that the catalogue does not clearly define 'looted art' and in so doing contributes to the mistaken idea that the Gurlitt collection is largely comprised of looted art.
read more
The “Legitimate” Plundering of Riga’s Apartments. 1944–1949
December 2017
Jānis Kalnačs. The story of what happened to the abandoned possessions of the thousands of Latvians who fled Riga or were deported to Germany leaving their apartments intact.
read more
Restitution und Prüfprogramm: Worauf es ankommt. Kunstchronik, Heft 12, Dezember 2017
December 2017
Dr Henning Kahmann. A review in the journal Kunstchronik by lawyer Dr Henning Kahmann of Sheila Heidt's recent book Restitutionsbegehren bei NS-Raubkunst which argues that loss of a work of art during the Nazi era by persecutees should be sufficient for its return.
read more
Kunst durch Kredit: Die Berliner Museen und ihre Erwerbungen von der Dresdner Bank 1935 - Art by Credit: The Berlin Museums and their acquisitions from the Dresdner Bank in 1935
November 2017
Lynn Rother. The first in depth study of the purchase by the Prussian State for 7.5million RM on 15 August 1935 of more than 4,000 works of art from the Dresdner Bank taken almost entirely from Jewish collections.
read more
Der Fall Gurlitt: Die wahre Geschichte über Deutschlands größten Kunstskandal
October 2017
Maurice Philip Remy. Remy takes the view that Hildebrand Gurlitt was certainly not a Nazi or an art robber. The accusation that he enriched himself from the plight of the Jews cannot be sustained.  The persecution of his son Cornelius Gurlitt by the authorities was crass injustice. The confiscation of the collection was unlawful.The German government kept this 'scandal' alive for years in order to distract from its own failings.
read more
Feindliche Gewalten: Das Ringen um Gustav Klimts Beethovenfries
October 2017
Sophie Lillie. About the losing battle waged by the Lederer family to recover the Beethoven frieze in Vienna, a monumental cyle of work painted by Klimt in 1902 for the Vienna Secession, seized by the Nazis in 1938.
read more
Notare in der national- sozialistischen "Volksgemeinschaft": Das westfälische Anwaltsnotariat 1933-1945
October 2017
Michael Kißener and Andreas Roth . An analysis of the activities of Westphalian notaries in the Nazi era from a historical and legal perspective with a particular focus on their role in the aryanisation of property of both individuals and businesses.
read more
A Tragic Fate—Law and Ethics in the Battle Over Nazi Looted Art
June 2017
Nicholas O'Donnell. The first comprehensive overview of Nazi-looted art as it has played out in U.S. courtrooms.   
read more
Max J. Friedländer 1867-1958. Aphorismen aus Krieg- und Nachkriegszeit zum 150. Geburtstag
June 2017
A selection from Friedländer’s Aphorismen aus Krieg- und Nachkriegszeit, a collection of notes about topics such as art and connoisseurship, the nature of man and Friedländer’s own personality.
read more
Sprung in den Raum: Skulpturen bei Alfred Flechtheim
May 2017
Ottfried Dascher .
read more
Restitution of Cultural Property: A Hard Case – Theory of Argumentation – Philosophy of Law
April 2017
Kamil Zeidler.
read more

Welcome to

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.

For a list of Essential Website Links, showing all key research sites and resources,click here. For Bibliographies on all aspects of looted art, the art trade, archives and restitution, click here.

For details of the most recent international resources, click here and also see below, Online Resources and Case News.

To subscribe to our looted art newsletter, click here.


27 November 2018 Transcript of Exchange on Dutch Restitution Policy at the Berlin Conference between Alfred Hammerstein, Stuart Eizenstat, Avraham Roet and James Smalhout

Alfred Hammerstein, Chair, Dutch Restitutions Committee:

The Committee follows the Washington Principles and will do that in the future. So, there is no reason to worry about that.  And my third remark is that in the balance of interests, in all cases where we see a Nazi-related confiscation of art, the balance will always be in the favour of the claimant. I'd like to say that today because I heard some remarks otherwise. Thank you very much and thank you for organising this conference.

Ambassador Stuart Eizenstat, Adviser to US State Dept, Negotiator of Washington Principles:

This is to my Dutch colleague. I think that your country has been a model at the outset of following the Washington Principles. Your definitions, the breadth of your research, the comprehensive nature of what you've attempted to do, the transparency of your Commission. But I have to say that the recent, and it's very recent, introduction of the ‘balance of interests’  is totally contrary to the Washington Principles. It's not sufficient to say that where there's a confiscation the balance will always be in the favour. The whole point is that 'just and fair solutions' was not intended to focus on the interest of the museum in keeping collections. It was entirely to focus on the claimants' just solutions. Now, that doesn't mean when a case is brought that the claimant will always be able to prove sufficiently that there was a compensation due or a restitution due or that it was a forced sale. That's a factual situation. But as a matter of policy, respectfully, the balance that you've tried to make of the emotional attachment of the particular claimant to the importance of the museum keeping the painting is completely contrary to our whole intention and it's out of step with the tradition that the Dutch have had in the beginning of the whole process and really up until the last year or so. It's almost unfathomable where this came from, and I would really urge you in the strongest way to try to take a look at this and go back to where you were up to this point. What occasioned this new balance is very hard to say, but it was not the way in which you proceeded and I would simply urge you to continue in the process that you had done so forcefully and been such a leader.

Alfred Hammerstein:

We certainly hear the critics and take that seriously. I don't want to discuss in this forum and on this moment of the day a singular case. So, we disagree about that and the discussion will go further, but I emphasise that we follow the Washington Principles as good as possible.

Avraham Roet, first chair of Israel's Restitution Agency:

I would like to make just one remark for Mr Hammerstein. In the year 2000 we had negotiations about the restitution in Holland, and in these negotiations that were held between the Jewish community in Israel and in Holland and the Dutch government. At this stage, there is no communication between the Dutch Jewish communities and art recovery in Holland and I would like to ask Mr Hammerstein to receive our delegation together with some people of your ministry, to receive a delegation with us and to argue about all what is going on in respect of lost art and heirless art in Holland. Thank you.

James Smalhout, claimant

Thank you. My name is James Smalhout. I am the descendant of Dutch Holocaust victims and I would like to clarify some of the points that have just been made here. There has always been a problem with restitution in the Netherlands and it stems from a misguided legal philosophy which applied a doctrine of voluntary action to property losses as though somehow Jewish persecutees had any say in the matter and there are many cases, some involving property that my family lost, that were adjudicated against us for that very reason. So, this is a longstanding problem in the Netherlands, despite many perceptions to the contrary. 

20 November 2018 European Parliament first reading of a Draft Report on cross-border restitution claims of works of art and cultural goods looted in armed conflicts and wars

The Draft Report, published by the Committee on Legal Affairs on 5 November, noting that 'insufficient attention has been paid at EU level to the restitution of works of art and cultural goods looted in armed conflicts, in particular in the fields of private law, private international law and civil procedure', calls on the European Commission to address a number of central issues. These include protecting cross-border restitution claims, identifying civil law measures to help overcome the problems encountered by individuals seeking the restitution of works of art found on the art market, creating a comprehensive listing of all Jewish-owned cultural objects plundered by the Nazis and their allies, establishing appropriate limitation periods for Nazi-looted art, clarifying the notion of due diligence in relation to good faith, developing common principles for access to public and private archives, and for how ownership or title are established as well as rules on prescription and standards of proof and the concept of looting and art.

To read the Draft Report, click here. Members of the Committee are listed here.

Keynote Speech by Ronald Lauder at the Berlin Conference 26 November 2018

To read the keynote speech given by Ambassador Ronald Lauder on Monday 26 November 2018 at the Berlin conference '20 Years of the Washington Principles: Roadmap to the Future', click here.

26 November 2018: Germany-USA Joint Declaration on the Implementation of the Washington Principles from 1998

The Joint Declaration was signed at the Berlin Conference '20 Years of the Washington Principles' by Monika Grütters and Andreas Goergen for the German government and by Stuart Eizenstat and Thomas Yazdgerdi for the US government.
The Declaration recognises how far both countries 'still have to go to implement the Washington Conference Principles' and urges 'German museums and other collections to expedite the review of their collections' and make 'additional locate heirs'.
The Declaration afffirms that the 1998 Washington Principles and the 2009 Terezin Declaration 'apply to public and private collections' while pointing out that 'the latter represents a particular challenge'. The signatories 'call on art auction houses and other private dealers in each of our countries to adhere to the Washington Principles' and notes that 'Germany has recently enabled private collectors to seek government assistance to check the provenance of works in their collections, provided they agree to uphold the Washington Principles'.
The Declaration sets out a new German policy regarding the referral of cases to the German Advisory (Limbach) Commission which until now has required the consent of both parties to a claim. Under the new policy, 'museums and other institutions possessing cultural property, which are supported by the Federal Government, have to consent to mediation by the Commission upon claimants' requests'.
To read the Declaration in English click here and for the German language version click here. The associated German government press release is here.

UK Spoliation Conference Action Plan agreed by five governments

Following the September 2017 UK Spoliation Conference '70 Years and Counting: The Final Opportunity?', the recommendations that emerged from each panel and which were summarised in the final session, were compiled as an Action Plan and published on the UK Government Spoliation webpage. The governments of the UK, Austria, France, Germany and the Netherlands have agreed the Action Plan as a shared statement of intent. Last month, October 2018, representatives of the five claims panels of those countries met in London and agreed to create a permanent working group to promote closer engagement, improved information sharing and to address the recommendations in the Action Plan. Further details of the working group are to be announced .

The recommendations include establishing common definitions of loss, consistency of criteria, procedure and standards in claims handling, producing best practice guidance and providing central sources of information for claimants in each country. To see the Action Plan, click here.

19 November 2018: Lawsuit filed by heir of Firma D. Katz in South Carolina to recover 143 paintings from the Netherlands

South Carolina resident Bruce Berg, a grandson of the late Benjamin Katz and a great-nephew of the late Nathan Katz, brothers and partners in the Firma D. Katz partnership in the Netherlands, has filed suit in the USA to recover 143 paintings in the possession of the Dutch government or Dutch museums. The paintings were sold or traded under duress by Firma D. Katz to representatives of the Nazi regime between mid-1940 and 1942, during the occupation of the Netherlands, according to the lawsuit. They were returned by the US to Holland at the end of the war for restitution to their original owners. The Dutch government and Restitutions Committee has repeatedly refused to return them despite the undisputable historical facts of duress facing Dutch Jews during the occupation, according to the lawsuit. The Restitution Committee relied on a faulty notion that sales by Jewish art dealers “in principle constituted ordinary sales” because the art trade’s objective is to sell art, ignoring the weight of history and evidence of duress endured by the Katz brothers. After the Committee’s arbitrary denial of the heirs’ claim for restitution, Mr. Berg was left with no choice but to pursue the paintings in United States court, the lawsuit asserts.To read the lawsuit click here.

Documentary film: Die Versteigerer - The Auctioneer


Available online until 20 November, the subject of the 45 minute German language documentary by Jan N. Lorenzen and Michael Schönherr is the auctioneer Hans Klemm of Leipzig, who bought up the property of fleeing or deported Jews between 1933-1944, documenting every item purchased and sold. His lists include beds and sheets, socks and shirts, cupboards, plates, violins, pictures and porcelain.

The eagerness of the auctioneers and the German population to buy this Jewish property and profit from the fate of the Jews is shown in striking photographs and footage of the time, giving the lie to any idea that no one knew what was happening.  The profiteering is shown in the innumerable valuations and invoices listing the items bought from the Jews at minimal prices. Families who still own that Jewish property are interviewed. To watch the film,click here.

Latest Dutch Restitution Decision: Kandinsky 'Painting with Houses: 'Interest of the claimant in restitution does not outweigh the interest of the [Museum] in retaining the work'


In its latest Binding Opinion issued on 1 Novbember 2018 on a claim opened in 2013, the Committee considered the case of a Kandinsky painting acquired at auction in October 1940 from the Lewenstein family by the Amsterdam City Council on behalf of the Stedelijk Museum.

While acknowledging the 1940 sale 'cannot be considered in isolation from the Nazi regime' and that it had not been established that the 'loss of possession of the work was voluntary and that the loss of possession cannot be linked to the Nazi regime', the Committee considered that the sale was also due to pre-existing financial difficulties 'well before the German invasion' [of May 1940].

The Committee wrote that at that time family members had already left Holland or knew they would be subject to persecution there. In the Committee’s view this provided 'a less powerful basis for restitution than a case in which there was theft or confiscation'. 

As regards the museum's acquisition, the Committee stated that 'the mere fact that at a sale in October 1940 the City Council purchased a work that came from a Jewish owner does not mean that this transaction did not take place in good faith'.

Consequently the Committee concluded that  and, as regards the outcome of the claim, 'the determining factor is therefore the weighing up of interests' . This refers to the 'balance of interests test' in which the interest of the two parties in the art work is weighed against each other. In this regard, the claimant wrote, ‘For me, as far as it matters, I think the story simply may not end with people, institutions, governments, or anyone, getting away with what they wrongfully did. This is about more than the painting itself. Returning the ownership of the painting would do justice to the memory of [the family] and to those who stand near them’.

The Committee stated that the Stedelijk museum 'has had the work in its possession since [1940]. Its contention that the work has important art historical value and is an essential link in the limited overview of Kandinsky’s work in the Museum’s collection, has a corresponding place in that collection, and is included in the permanent display has been insufficiently contested by the [claimant] and is in accordance with the Committee’s own opinion. As regards the interests of the [claimant], all that is known is that she is acting as heir [of the owner] without declaring any past emotional or other intense bond with the work.

Taking all this into account, the Committee concludes that the interest of the [claimant] in restitution does not outweigh the interest of the City Council in retaining the work.'

To read the full decision RC 3.141, click here.

22 October 2018 - Mapping the Lives

The biographical details of over 400,000 people from the 1939 German Minority Census

Tracing the Past has announced the launch of their Mapping the Lives site at The details of the over 400,000 individuals taken from the 1939 Census have been expanded with data from the German Federal Archives and other sources and tied in to interactive maps showing where the individuals lived.  The site is and English or German and an introductory video, detailed instructions and a user guide are available.  Tracing the Past is a non-profit organization dedicated to researching and memorializing the persecuted in Europe 1933–1945.

2 October 2018: France creates special restitution unit

The French government issued an order reorganising the administration that deals with claims on art held by museums and public institutions, with the aim of streamlining the process. Going forward, any investigations and proposals for restitution will be done by a special unit created under the authority of the Prime Minister.

Dutch Centre of Expertise for the Restitution of Cultural Goods and the Second World War opens

The independent Centre, whose establishment was announced two years ago by the Dutch government, has now opened under the auspices of the Ministry of Education, Culture and Science (OCW) and the Royal Netherlands Academy of Arts and Sciences (KNAW) and is sited at the NIOD (Institute for War, Holocaust and Genocide Studies) in Amsterdam.  See the NIOD announcement here.

The Centre combines the expertise of the Research Department of the Restitutions Committee and of the Origins Unknown Agency.

The Centre has two purposes as set out in a Decree of the Dutch Government of 20 September 2018:

One purpose is to carry out research for the Dutch Restitution Committee, set up by the government in 2001 to deal with all claims in The Netherlands.

The second and entirely new purpose is to provide an alternative route for decision-making. Rather than having to submit all claims to the Committee, claimants and institutions will now be able to request that the Centre conduct an impartial fact-finding investigation. On the basis of the independent investigation, parties may then arrive at a mutually acceptable solution. If they need additional guidanc or assistance, they may seek mediation or advice in the form they desire, including a recommendation from the Restitutions Committee.

The intention of this new purpose which gives the claimant and the current owner a more central role in the restitution procedure than they had previously, was first set out in a letter of 4 October 2016 from Mrs Bussemaker, the Minister of Culture to the House of Representatives, in which she stated:

“The applicant and the current owner will be given a more central role in the procedure for restituting art stolen by the Nazis than they had previously. They are primarily responsible for finding a mutually satisfactory solution. The parties can decide jointly to submit their case to the Restitutions Committee. However, they can also decide first to commission a factual report from the Centre of Expertise, which they can use to decide whether they can arrive at a solution that is satisfactory to both of them. The factual report gives them initial guidance for making a decision. If they cannot find a mutually satisfactory solution, they can still submit their case to the Restitutions Committee.”

For further details, click here.

October 2018: Provenance Researcher Post in London

The Commission for Looted Art in Europe seeks an experienced German-speaking art historian as a full-time provenance researcher in London. For further details, click here.

Stern Cooperation Project (SCP) at Munich's Central Institute for Art History

The Stern Cooperation Project (SCP), a joint German, Israei and Canadian project based at Munich's Zentralinstitut für Kunstgeschichte (Central Institute for Art History), started work in July 2018. The project deals with the history of the German Jewish art dealer family of Julius, Selma, Max, Hedi and Gerda Stern, and the history of the galleries owned by the Stern family from 1913-1987: Galerie Stern (Dusseldorf), West's Galleries (London ) and Dominion Gallery (Montreal).

This field of research has been studied since 2002 by the Max Stern Art Restitution Project (MSARP) under the direction of Drs Clarence Epstein and Willi Korte. This concentrated on the identification and return of individual stolen art works. SCP is taking a broader approach and, through international and interdisciplinary cooperation, it will try to reconstruct the persecution-related migration history of both the family and their art business.

For full details, click here.

30 July 2018: Ruling of the 9th U.S. Circuit Court of Appeals in the case of Marei von Saher vs the Norton Simon Museum

The 3-0 ruling against the claim for two Cranach paintings depicting Adam and Eve invoked the act of state doctrine, where U.S. courts typically defer to foreign governments’ sovereign actions and avoid interfering with the executive branch’s ability to conduct foreign policy. Judge Margaret McKeown said ruling for von Saher would require nullifying three “official” Dutch government actions: their 1966 sale to George Stroganoff-Scherbatoff, a onetime U.S. Navy commander and descendant of Russian aristocracy who sold the painting to the Norton Simon Museum, a 1999 decision not to restore von Saher’s rights, and a 2006 decision that her claim had been “settled.” “Without question, the Nazi plunder of artwork was a moral atrocity that compels an appropriate governmental response,” McKeown wrote. “But the record ... reveals an official conveyance from the Dutch government to Stroganoff thrice ‘settled’ by Dutch authorities. For all the reasons the doctrine exists, we decline the invitation to invalidate the official actions of the Netherlands.”  To read the ruling, click here.

Kiel Kunsthalle publishes provenance research dossier on 85 paintings and 9 sculptures

The 301-page searchable dossier provides the full results of provenance research into 85 paintings and 9 sculptures, the status of some of which remains questionable.  Only 17 of the paintings are listed on here and with minimal information. The dossier, published as a pdf, can be reviewed here. It contains extensive information on the provenance of and literature on each work of art.

24 June 2018: Online card index of the Central Depot for Confiscated Collections in Vienna


Sourced from the archive of the Kunsthistorisches Museum (KHM) (5,900 file cards) and the Federal Monuments Office (BDA) (5,600 file cards), the two Central Depot card indexes provide a record of objects from private art collections in Vienna confiscated from Jews after March 1938 by the Nazi regime and subsequently dispersed in museums, including the planned Führer Museum in Linz.

The Central Depot for Confiscated Collections was established in autumn 1938 on the first floor of the Neue Burg in Vienna, as a depository for objects from Viennese collections confiscated from Jews by the Nazi regime from mid-March 1938 onwards for subsequent dispersal in various museums. They included artworks belonging to the collectors Emmy Aldor, Bernhard Altmann, Alois Bauer, Leo Fürst, David Goldmann, Rudolf Gutmann, Felix Haas, Felix Kornfeld, Moritz Kuffner, Wally Kulka, Otto Pick, N. Pilzer, Valentin Viktor Rosenfeld, Alphonse Rothschild, Louis Rothschild and Alfons Thorsch, as well as objects of unknown origin.

The Central Depot was initiated by Fritz Dworschak, director of the Kunsthistorisches Museum in Vienna, whose idea was to create a central collection point where the artworks, hitherto stored at different locations, could be united under one roof, his own. Together with the KHM employees Leopold Ruprecht and Karl Pollhammer, who were responsible for cataloguing the objects, and employees of other state museums (Heinrich Leporini, Ignaz Schlosser), Dworschak acted until July 1940 as manager of the depot. At his instigation, Julius Scherb and Paul Frankenstein photographed the most important confiscated objects until late summer 1939. At the start of the war, the first objects were transferred from the Central Depot, and from July 1940 it was managed by the Institute for Monument Protection, the present-day Federal Monuments Office, until the depot was gradually closed in 1941.

To access the site which is now in English and German, click here.

Seeking the owner of the 'O' Collection of Frankfurt am Main, Germany

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 To see the Lange catalogue, click here

Looted Books in the Nuremberg City Library

Leibl Rosenberg, in charge of the project on looted books in the City Library, has, almost single-handedly, over the last few years, identified and effected the return of hundreds of books to their former owners in eleven countries. The most recent list of former owners of looted books still in the library and which come from all over Europe has been published on the Library website and on this website as a searchable list and he writes:

'We ask you once again today to give the victims a little bit of justice after all this time. This project was, is and remains pro bono, there are no costs for the applicants. Please read our latest search list on the homepage of the City Library and make this project known to your friends and partners by publishing this link on your pages. There are still many people waiting for these fragments of memory.'

For information in German on the history of the collection, which originates in the library of Julius Streicher, and details on how to make a claim, click here. For information in English, click here

March 2018: ITS International Campaign to return personal possessions to victims of the Nazis

In the International Tracing Service archive in Bad Arolsen, Germany, there are nearly 3,000 personal effects from concentration camps: pocket watches and wristwatches, engraved wedding rings, wallets, family photos, letters, everyday items such as combs and powder compacts, etc. Often they were the last remaining belongings of the victims of Nazi persecution, the last items they had with them at the time of their detention by the National Socialists. The personal effects are mainly from the concentration camps of Neuengamme and Dachau, Natzweiler and Bergen-Belsen, as well as the transit camps of Amersfoort and Compiègne. In addition there are some from prisoners of the Hamburg Gestapo.

Through an initiative of the Commission for Looted Art in Europe, efforts began by the ITS in 2008 to document and return these effects, and, as a result, several hundred were returned. In 2018, the ITS started an international campaign to return the remaining personal possessions. In January and February 2018 an exhibition #StolenMemory was mounted at UNESCO in Paris showing what it means to people to have back these mementoes and showing objects whose owners the ITS has yet to find.

See the names list here

For further information about the campaign, see the #StolenMemory brochure and the website.


Enhanced International Research Portal for Records Related to Nazi-Era Cultural Property now hosted by EHRI

The International Research Portal for Records Related to Nazi-era Cultural Property, till now hosted by the US National Archives (NARA), is now hosted by the European Holocaust Research Infrastructure (EHRI) as part of the suite of Holocaust-related research resources available through the EHRI website.

The Portal links researchers to archival materials at 22 participating institutions, consisting of descriptions of records and, in many cases, digital images of the records that relate to cultural property that was stolen, looted, seized, forcibly sold, or otherwise lost during the Nazi era.   The International Research Portal is an important resource for provenance, claims, and academic researchers to locate relevant archival materials across institutions.

The Portal was enhanced prior to the move to enable searching simultaneously across many of the resources available through the Portal that previously had to be accessed individually.  This additional capability greatly improves the ability of researchers to access archival materials across multiple institutions while conducting cross-institutional research. A short article outlining the new search features can be found here. For further information about the Portal and the records available, click here.


Museums Online in July 2017

Museums are increasingly putting their collections online, most with images. The Metropolitan Museum in New York has 1.5 million objects of which 447,000 are currently online, 307,000 with images. The Smithsonian Institution in Washington DC which encompasses 19 museums has 154 million objects, 10 million of which are available online, 2.2 million of them with images. The Rijksmuseum in Amsterdam has 1 million objects of which 602,000 are online, all of them with images. The UK has put online the country's 200,000 oil paintings in 3,250 public venues from museums to hospitals and even a lighthouse, all with images, some which had never been photographed before. There are also watercolours and works on paper.  Among the online collections are the following:


ArtUK: 200,000 oil paintings, watercolours and works on paper, all with images
Bavarian State Paintings Collections, Munich (
18 museums): 25,000 works online
Berlin State Museums
(17 collections): 180,000 works online, all with images
- also Ancient Bronzes in Berlin: 8,200 objects online acquired by 1945
British Museum, London
: 4 million works online, 1 million with one or more images
Dresden State Collections:
No information about the number of works online; only published are those with 'cleared' provenances
Louvre, Paris
: 30,000 objects online with images, all are works on display
Metropolitan Museum, New York: 447,000 works online 307,000 with images
Museum of Modern Art (MoMA), New York: 75,000 works online (of 200,000 in total in the collection), 63,000 with images
Prado Museum, Madrid: 3,500 works online with images
Rijksmuseum, Amsterdam: 604,000 works online, all with images
Smithsonian, Washington: 10 million works online, 1.6 million with images
V&A, London: 1.2 million works online, 675,000 with images

Recent Lawsuits

Copies of lawsuits filed in various cases, stages and jurisdictions are provided on this site. Cases with recent filings include the claim on 3 March 2017 by the Lewenstein heirs for the Kandinsky painting owned by Munich's Bavarian Landesbank, the claim by the heirs of Alice Leffmann for the Picasso painting 'The Actor' in the Metropolitan Museum NY, the claim for the Guelph Treasure against the Prussian Cultural Heritage Foundation and the Federal Republic of Germany, and the claim by the heirs of Fritz Grunbaum for a Schiele drawing owned by Richard Nagy. To view the filings, click here.

Online Resources and Case News

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.

: 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

28 June 2016: Commission for Looted Art in Europe (CLAE) calls for three fundamental changes in the way Germany handles research and restitution

On 25 June CLAE published its groundbreaking original research showing that Germany returned Nazi looted artworks to the high-ranking Nazi families who stole it rather than to the families from whom this was taken, and that this remarkable scandal has been covered up by Germany for decades. At the same time, the looted families had their claims thrown out or impossible hurdles created to prevent them recovering their artworks - and this continues today. CLAE is now calling for a full accounting of these shameful transactions with the high-ranking Nazis and the way they have been hidden, as well as for three essential changes in the way Germany handles research and restitution:

1. Lists of all artworks in German collections whose provenance is unclear or problematic must be published so families have a chance of finding their missing paintings; there can be no more waiting for individual item provenance research to be done first;

2. All relevant records must be open and accessible. In particular, the records of the Bavarian Museums must be handed over to the State Archives in accordance with German law;

3. Germany must create a single, fair, transparent and accountable claims process that applies to all collections throughout Germany, at both federal and state level, so that all families can be confident their claims will be dealt with justly.

Germany already made these commitments 18 years ago at the Washington Conference on Holocaust-Era Assets, but has not implemented them. CLAE says that without total transparency and accountability, the victims of the Nazi looting will continue to be denied the justice that is so long overdue.

To read CLAE's press release about its research, click here. To read the full story published over three pages in Sueddeutsche Zeitung in English or German, click here.

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