About the Jewish art historian and dealer Morton Bernath, who had to liquidate his dealership in Stuttgart in 1933. Parts of his stock were auctioned at Hugo Helbing in July 1934.
Proceedings of the 2017 Lucca conference with papers by Victoria Reed, Gisèle Lévy, Iva Pasini Trzec, Darija Alujevic, Antonija Mlikota, Dario Brasca, Camilla Da Dalt, Cristina Cudicio, Elena Franchi, Gabriele Anderl, Anneliese Schallmeiner, Irene Bolzon, Fabio Verardo, Antonia Bartoli, Francesca Coccolo and Caterina Zaru. Subjects include Jewish collections in Croatia and Trieste, confiscation of Austrian Jewish collections in Trieste, the dispossession of Italian Jews, and collaborators, post-war trials and restitution.
On the fate of the Gurlitt collection and the definitive story of art in the Third Reich and Germany’s ongoing struggle to right the wrongs of the past.
An introduction to the Russian Federation’s cultural property legislation, focusing on the civil and criminal law provisions for cultural property acquisition, commerce, and protection.
An overview of the ongoing challenges to cultural heritage preservation in the EU, focusing on the UK and Italy, and presenting recommendations for improvement, from a non-EU citizen’s perspective.
Lawyer William L. Charron on the recent ruling in Cassirer v Thyssen-Bornemisza Collection Foundation. Charron explores the importance of comity, the facts and outcome in the case, the real question posed by the court whether Spain’s relevant commercial laws are ‘Just and Fair’ and the fairness of the outcome. He concludes that 'a good faith possessor who prevails on the basis of a choice of law ruling and comity, like TBC, succeeds justly. The policy reasons behind such a decision may not accord with sentiments behind the Washington Principles, but those reasons are no less important and worthy.'
The EU's final report on characteristics, criminal justice responses and an analysis of the applicability of technologies in the combat against the trade, available as a PDF on this site.
The Stadtbibliothek (StB) Hannover is currently searching for Nazi-looted property in its collections as part of a provenance research project.While most Nazi-looted research projects at libraries have so far focused on the review of access between 1933 and 1945, the StB follows a newer approach by (also) examining post-war acquisitions. The publication is available on this site.
Frankfurt in the 1920s was a pulsating city of art and culture, where numerous art collectors and large museums promoted a flourishing art trade. The National Socialists put an abrupt end to this heyday from 1933 onwards. The Nazi regime created a new art business that radically excluded Jewish artists, collectors and dealers and thus produced a gap for profiteers. 16 authors illuminate both central aspects of the robbery and forced expropriation during the Nazi regime and the special role of individuals and museums, including the Städel Museum and Liebieghaus.
The author argues that the emergence in the 1990s of a second wave of Holocaust-era restitution claims was not the result of a shift in mentalities leading to the sudden recognition of past wrongs or the surge of repressed memories but rather part of a larger process involving major transformations in global capitalism and property regimes.
An English translation of the 2015 history of the Central Collecting Point with a focus on the stories of the people who worked there at a time of lingering political suspicions; the research, conservation, and restitution process; and how the works of art were returned to their owners
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'.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
The first comprehensive overview of Nazi-looted art as it has played out in U.S. courtrooms.
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.
The clergy of the Catholic Salvatorkirche in Berlin used their connections to the German Society for Christian Art in Munich and the dealer Rudolf Sobczyk when furnishing the church from 1933 to 1945. At first he dealt with objects from emergency sales and later from confiscations and the "property that had fallen to the Reich" of the deported Jews. Sobczyk benefited from the network of the Berlin art trade, which included above all the banned Jewish commission agents and art dealers, whom he specifically sought out
A novel about a Soutine painting linking parents who perished with their child who survived.
The contributors explore the continuities of art dealerships and auction houses from the Nazi period to the Federal Republic and take stock of the present political and cultural debate over the handling of the Gurlitt artwork.
Following the librarians seeking to restore the millions of plundered books to their rightful owners.
A study commissioned and supervised by the European Parliament's Policy Department for Citizens' Rights and Constitutional Affairs at the request of the JURI Committee.
Papers given at the conference organised by the Czech Documentation Centre for Property Transfers of Cultural Assets of WWII Victims.
About the double standard in Poland which urges other countries to undertake research and restitution but avoids this within Poland, although after the war, national institutions and private individuals often became the new owners of objects that had once belonged to private people or organizations persecuted by the Nazis. In the majority of cases, this affected Jewish individuals, Jewish communities and Jewish institutions.
Essays on the difficulties and failings of restitution in Germany from historical, scientific, art historical, legal and political points of view, edited by Barbara Vogel.
Patrick Golenia, Kristina Kratz-Kessemeier and Isabelle Le Masne de Chermont write the biography of Paul Graupe, the Berlin auctioneer who lived between two extremes in Nazi Germany.
A conversation between artists and art historians on the indelible presence of the Gurlitt estate in the history of Germany in the twentieth and twenty-first centuries as an allegory that awaits conclusio and as a changing picture of the processes of revealing and concealing truth as they become visible and comprehensible in the history of art.
A catalogue of the twelve MNR works of art held at the Musée des Beaux-Arts de Rennes in France.
In tracing the origins of the Munich hoard, the book tells of the shady dealings of the Paris art world in the 1940s and recounts political debates in modern-day Berlin, as politicians and lawyers puzzle over the inadequacies of a legal framework that to this day falls short in securing justice for the heirs of those robbed by the Nazis.
How as an "official dealer" for Hitler and Goebbels, Hildebrand Gurlitt became one of the Third Reich's most prolific art looters. Yet he stole from Hitler too, allegedly to save modern art.
As the Emil Bührle collection is now to move into the planned extension at the Kunsthaus Zurich, designed by David Chipperfield, the authors ask: what are the source of the pictures, are any looted or flight assets, what is the source of the arms dealer's wealth, what was his part in the Nazi regime's art looting, and what is the artistic value of the collection.
Together with his family, Simon Goodman initiated the first Nazi looting case to be settled in the United States. Through painstaking detective work across two continents, Simon Goodman has been able to prove that many other works belonged to his grandparents, Fritz and Louise Gutmann, and has successfully secured their return.
The book tells how the vast enterprise of plunder was implemented in the streets of Paris by analyzing images from an album of photographs found in the Federal Archives of Koblenz, brought from Paris in 1945 and catalogued by the staff of the Munich Central Collecting Point. Beyond bearing witness to the petty acts of larceny, these images provide crucial information on how the Germans saw their work.
To read the 2015 report on research and restitution at the Bavarian State Paintings Collections Munich, click here.
A history of French negotiations with Germany between 1944 and 2001 for reparations for deportations, spoliation, war crimes and seized bank accounts.
Ten “forgotten trials” of the Holocaust, selected from the many Nazi trials that have taken place over the course of the last seven decades.
Report by the Conference on Jewish Material Claims Against Germany and World Jewish
A series of essays by American experts, including Nancy Yeide, Christian Huemer and Laurie Stein.
A review of provenance research conducted at the Bayerischen Staatsbibliothek (Bavarian State Library) since 2003.
A study on the displacement and loss of musical instruments and associated items in Austria during the Nazi-era.
The next installment in an ongoing series of posts on real-life Monuments Men.
An updated and revised version of Stefan Koldehoff's 2009 book with a new chapter on the Gurlitt case.
A publication accompanying the exhibition Ravaged at the M - Museum Leuven.
A review of silver objects formerly in Jewish ownership in the holdings of the Münchner Stadtmuseums
The nature and scope of French music-related losses during the Nazi era, the status of post-war recoveries, and what remains missing today.
A legal history study of the Nazi expropriation of art work and its restutition.
On the claim for the Schneersohn ‘Library’ and ‘Archive’ pending in the US courts.
An updated and revised version of Martine Poulain's 2008 book.
On the myriad problems faced by US Occupation Forces in sorting out the riches hidden by the Third Reich.
Motor Vehicles as an Object of "Aryanisation": Provenance Research on the Vehicle Collection at the Deutsches Museum Munich and Research on the Expropriation of Motor Vehicles in Bavaria.
The story of the family of Max Steinthal, director of the Deutsche Bank in Berlin, and his daughter Eva, whose lives and great art collection were devastated by the Nazis.