Reconstructing the Record of Nazi Cultural Plunder
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FOLLOWER of OSIAS BEERT I (Circa 1605-1630) Almonds
FOLLOWER OF OSIAS BEERT I (Circa 1605-1630) Almonds, Oysters, Sweets, Chestnuts, and Wine on a Wooden Table bears signature D. D. Heem with the second and third initials conjoined in the lower left foreground oil on panel 1 18 /8 x 25 ¾ inches (46.1 x 68.5 cm.) PROVENANCE Arot Collection M. Arot sale, Galerie Fievez, Brussels, October 29, 1928, lot 52, plate X (as Jean-David de Heem) D.A. Hoogendijk & Co., Amsterdam, 1932 (as David de Heem) Duits Ltd., Amsterdam & London, from whom acquired by Jacques Goudstikker, Amsterdam, by 1933, inventory number 2567 (as David de Heem) Looted by Reichsmarschall Hermann Goering, July 1940, who sold it to Alois Miedel, then owner of Kunsthandel J. Goudstikker, Amsterdam, 1940 Kunsthandel J. Goudstikker-Miedel sale, Hans W. Lange, Berlin, December 3-4, 1940, lot 23, plate 20 (attribution changed by Walther Bernt to Osias Beert II) Anonymous sale, Kunsthaus Lempertz, Cologne, May 22-27, 1957, lot 1182, illustrated (as Osias Beert II) Gemälde-Galerie Abels, Cologne, 1957 Kunsthandlung Julius Böhler, Munich, until December 1957 (as Osias Beert) where purchased by Kunsthandel P. de Boer, Amsterdam (as Osias Beert) who sold it to F. Thornton, Antwerp, February 1958 Private Collection, The Hague, by 1969 Private Collection, France Anonymous sale, Christie’s, London, December 2, 2008, lot 23 (as Follower of Osias Beert I) Anonymous sale, Christie’s, London, October 28, 2009, lot 50 (as Follower of Osias Beert I) Restituted to Marei von Saher, heir to Jacques Goudstikker, March 2012 “Collection of Jacques Goudstikker sale,” Christie’s, New York, June 3, 2015, lot 50 (as Circle of Osias Beert I) EXHIBITED Amsterdam, D.A. -
Wiedergutmachung‹ Für Deutsche Museen? Die Beschlagnahmen ›Entarteter‹ Kunst in Den Bayerischen Staatsgemäldesammlungen 1937/38 Und Deren Entschädigung
Originalveröffentlichung in: Jahresbericht / Bayerische Staatsgemäldesammlungen 2016, S. 136-152 ›Wiedergutmachung‹ für deutsche Museen? Die Beschlagnahmen ›entarteter‹ Kunst in den Bayerischen Staatsgemäldesammlungen 1937/38 und deren Entschädigung Johanna Poltermann »Keines dieser Bilder würde ich gekauft haben, auch wenn Kompensationen analysiert wird. Basis der vorliegenden sie noch so billig zu haben gewesen wären.«1 Mit diesen Untersuchung sind Akten in den Bayerischen Staatsgemälde- vernichtenden Worten charakterisierte der Frankfurter sammlungen, dem Bayerischen Hauptstaatsarchiv, dem Städel-Direktor Alfred Wolters vier Gemälde des 19. Jahr- Bundesarchiv Berlin sowie dem Zentralarchiv der Staatlichen hunderts, die als Sendung des Reichsministeriums für Wis- Museen zu Berlin. Um die geleistete Entschädigung in Re- senschaft, Erziehung und Volksbildung im Frühjahr 1942 lation zu den Verlusten setzen zu können, wird zunächst ein den ›Ersatz‹ für die beschlagnahmten Werke ›entarteter‹ Blick auf die Geschichte der Münchner Sammlung sowie die Kunst darstellten. Die Überweisung älterer Kunstwerke kulturpolitischen Verhältnisse vor und nach 1937 geworfen. an von der Beschlagnahme betroffene Museen war kein Einzelfall.2 Insgesamt 11 Museen erhielten 1942 sowohl diese Form der materiellen Entschädigung3 als auch zu- Die nationalsozialistische Kunst- und sätzlich eine finanzielle Zuweisung.4 Ein kurzer Vergleich Kulturpolitik und ihr Einfluss auf die Bayerischen der Zahlen genügt, um das Missverhältnis von Beschlagnah- Staatsgemäldesammlungen -
Shakespeare First Folio Sells for $8.4M – the Oldest Undergraduate by Alex Capon College for Women in the Western US, Founded in 1852
To print, your print settings should be ‘fit to page size’ or ‘fit to printable area’ or similar. Problems? See our guide: https://atg.news/2zaGmwp ISSUE 2464 | antiquestradegazette.com | 24 October 2020 | UK £4.99 | USA $7.95 | Europe €5.50 koopman rare art antiques trade KOOPMAN (see Client Templates for issue versions) THE ART M ARKET WEEKLY [email protected] +44 (0)20 7242 7624 www.koopman.art Shakespeare first folio sells for $8.4m – the oldest undergraduate by Alex Capon college for women in the western US, founded in 1852. The First An ‘original and complete’ Folio had come to the US in 1961 copy of William Shakespeare’s when it was sold by London First Folio of plays set an dealership Bernard Quaritch to auction record in the the real estate investor Allan Exceptional sale at Christie’s Bluestein. New York. Estimated at $4m-6m, the Fifth copy for US dealer copy drew competition on Loewentheil, whose 19th October 14 from three phone Century Rare Book and bidders. After six minutes it was Photograph Shop in Brooklyn, knocked down to US book New York, bid £1.5m for another dealer Stephan Loewentheil at First Folio at Sotheby’s in 2010, $8.4m (£6.46m), a sum that surpassed the previous auction Continued on page 4 high of $6.16m/£3.73m (including premium) for a First Right: the copy of Folio sold in the same saleroom Shakespeare’s First Folio in October 2001. that sold for a record $8.4m It was consigned by Mills (£6.46m) at Christie’s New College in Oakland, California York on October 14. -
Download 2014 Exhibition Catalog
201BIENNIAL4 department of art faculty exhibition martin museum of art • baylor university January 21–March 7, 2014 Reception for the Faculty thursday, january 23 5:30-7:00 pm Forward & Acknowledgements The 2014 Baylor Art Faculty Exhibition begins a new tradition in the Department of Art. It is the first biennial exhibition and is accompanied by this beautiful, inaugural catalog. The Baylor art faculty are practicing professionals active in their respective fields of specialization. The research activity of the art historians involves worldwide travel and results in published scholarly articles and books. They will be participating in this display of talents by presenting twenty-minute lectures on topics of their choosing on Tuesday, February 25, beginning at 2:00 pm in lecture hall 149. The studio faculty exhibit internationally, nationally, regionally, and locally. They belong to professional societies and organizations. Their works regularly appear in peer-reviewed juried exhibitions, solo exhibitions at museums, galleries, and art centers, as well as in national and international publications. Collectively, this active professional activity adds vitality to the educational mission of the Department and the University. Known for their excellence in the undergraduate classroom and studio, their individual creative and scholarly pursuits are evoked and recorded in this exhibition, catalog, and lecture series. I wish to extend thanks to Virginia Green, Associate Professor of Art, for the design of this catalog, Dr. Karen Pope, Senior Lecturer in Art History, for the editing, Karin Gilliam, Director, Martin Museum of Art and her staff, Adair McGregor, Jennifer Spry, Margaret Hallinan, and Daniel Kleypas. Thanks also for the support from the Virginia Webb Estate Endowment, the Ted and Sue Getterman Endowed Fund, and to the Martin Museum Art Angels. -
Jahresbericht 2016 2016 Bayerische Jahresbericht Staatsgemäldesammlungen Bayerische Staatsgemäldesammlungen
BAYERISCHE STAATSGEMÄLDESAMMLUNGEN JAHRESBERICHT 2016 2016 BAYERISCHE STAATSGEMÄLDESAMMLUNGEN JAHRESBERICHT BAYERISCHE STAATSGEMÄLDESAMMLUNGEN JAHRESBERICHT Inhalt 6 Perspektiven und Projekte: Die Bayerischen Staatsgemäldesammlungen im Jahre 2016 104 06 Fördervereine 105 Pinakotheks-Verein 20 01 Ausstellungen, Projekte, Ereignisse 106 PIN. Freunde der Pinakothek der Moderne / Stiftung Pinakothek der Moderne 21 Ausstellungen 2016 107 International Patrons of the Pinakothek e. V. und American Patrons of the Pinakothek Trust 26 Die Schenkung der Art Mentor Foundation Lucerne an die Bayerische Staatsgemäldesammlung und die Staatliche Graphische Sammlung München 110 07 Stiftungen 38 Schenkung der Max Beckmann-Nachlässe an das Max Beckmann Archiv 111 Stiftung Ann und Jürgen Wilde 41 Sammlung Schack: Wiedereröffnung des zweiten Obergeschosses 112 Fritz-Winter-Stiftung 42 Wiedereröffnung der Staatsgalerie in der Residenz Würzburg 113 Max Beckmann Archiv und Max Beckmann Gesellschaft 45 König Willem-Alexander und Königin Máxima der Niederlande eröffnen ›Holländer-Saal‹ 114 Theo Wormland-Stiftung 46 ›Renaissance & Reformation‹ in Los Angeles. Eine internationale Ausstellungskooperation 115 Olaf Gulbransson Gesellschaft e. V. Tegernsee 48 Bestandskatalog der Florentiner Malerei 49 Das ›Museum Experts Exchange Program‹ (MEEP). Ein chinesisch-deutsches Kooperationsprojekt 2014–2016 118 08 Nachruf 50 Untersuchungen und Bestandsaufnahme von Werken aus der Staatsgalerie Neuburg an der Donau 119 Johann Georg Prinz von Hohenzollern 54 Leihverkehr 121 09 -
Mapping the Limits of Repatriable Cultural Heritage: a Case Study of Stolen Flemish Art in French Museums
_________________ COMMENT _________________ MAPPING THE LIMITS OF REPATRIABLE CULTURAL HERITAGE: A CASE STUDY OF STOLEN FLEMISH ART IN FRENCH MUSEUMS † PAIGE S. GOODWIN INTRODUCTION......................................................................................674 I. THE NAPOLEONIC REVOLUTION AND THE CREATION OF FRANCE’S MUSEUMS ................................................676 A. Napoleon and the Confiscation of Art at Home and Abroad.....677 B. The Second Treaty of Paris ....................................................679 II. DEVELOPMENT OF THE LAW OF RESTITUTION ...............................682 A. Looting and War: From Prize Law to Nationalism and Cultural-Property Internationalism .................................682 B. Methods of Restitution Today: Comparative Examples............685 1. The Elgin Marbles and the Problem of Cultural-Property Internationalism........................687 2. The Italy-Met Accord as a Restitution Blueprint ...689 III. RESTITUTION OF FLEMISH ART AND POSSIBLE SOLUTIONS IN PUBLIC AND PRIVATE LAW .........................................................692 A. Why Should France Return Flemish Art Now?.........................692 1. Nationalism .............................................................692 2. Morality and Legality ..............................................693 3. Universalism............................................................694 † J.D. Candidate, 2009, University of Pennsylvania Law School; A.B., 2006, Duke Uni- versity. Many thanks to Professors Hans J. Van Miegroet -
The Stolen Museum: Have United States Art Museums Become Inadvertent Fences for Stolen Art Works Looted by the Nazis in World War Ii?
Cleveland State University EngagedScholarship@CSU Law Faculty Articles and Essays Faculty Scholarship 1999 The tS olen Museum: Have United States Art Museums Become Inadvertent Fences for Stolen Art Works Looted by the Nazis in Word War II? Barbara Tyler Cleveland State University, [email protected] How does access to this work benefit oy u? Let us know! Publisher's Statement Copyright permission granted by the Rutgers University Law Journal. Follow this and additional works at: https://engagedscholarship.csuohio.edu/fac_articles Part of the Fine Arts Commons, and the Property Law and Real Estate Commons Original Citation Barbara Tyler, The tS olen Museum: Have United States Art Museums Become Inadvertent Fences for Stolen Art Works Looted by the Nazis in Word War II? 30 Rutgers Law Journal 441 (1999) This Article is brought to you for free and open access by the Faculty Scholarship at EngagedScholarship@CSU. It has been accepted for inclusion in Law Faculty Articles and Essays by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. +(,121/,1( Citation: 30 Rutgers L.J. 441 1998-1999 Content downloaded/printed from HeinOnline (http://heinonline.org) Mon May 21 10:04:33 2012 -- Your use of this HeinOnline PDF indicates your acceptance of HeinOnline's Terms and Conditions of the license agreement available at http://heinonline.org/HOL/License -- The search text of this PDF is generated from uncorrected OCR text. -- To obtain permission to use this article beyond the scope of your HeinOnline license, please use: https://www.copyright.com/ccc/basicSearch.do? &operation=go&searchType=0 &lastSearch=simple&all=on&titleOrStdNo=0277-318X THE STOLEN MUSEUM: HAVE UNITED STATES ART MUSEUMS BECOME INADVERTENT FENCES FOR STOLEN ART WORKS LOOTED BY THE NAZIS IN WORLD WAR II? BarbaraJ. -
Lucy S. Dawidowicz and the Restitution of Jewish Cultural Property
/XF\6'DZLGRZLF]DQGWKH5HVWLWXWLRQRI-HZLVK&XOWXUDO 3URSHUW\ 1DQF\6LQNRII American Jewish History, Volume 100, Number 1, January 2016, pp. 117-147 (Article) 3XEOLVKHGE\-RKQV+RSNLQV8QLYHUVLW\3UHVV DOI: 10.1353/ajh.2016.0009 For additional information about this article http://muse.jhu.edu/journals/ajh/summary/v100/100.1.sinkoff.html Access provided by Rutgers University (20 Jan 2016 03:00 GMT) From the Archives: Lucy S. Dawidowicz and the Restitution of Jewish Cultural Property NANCY SINKOFF1 In September of 1946, Lucy Schildkret, who later in life would earn renown under her married name, Lucy S. Dawidowicz,2 as an “inten- tionalist” historian of the Holocaust,3 sailed to Europe to work for the American Jewish Joint Distribution Committee (the JDC, the Joint, or the AJDC) in its overseas educational department among Jewish refugees in displaced persons (DP) camps.4 She later recalled that the journey had filled her with foreboding.5 Schildkret was returning to a Europe 1. I would like to thank David Fishman, Dana Herman, and the anonymous readers of American Jewish History for comments on earlier versions of this article. 2. I use the name Lucy Schildkret for anything she wrote prior to her marriage to Szymon Dawidowicz in January of 1948, Lucy S. Dawidowicz after her marriage, and Libe when she or her correspondents wrote in Yiddish. 3. The literature on “intentionalism” — the view that German antisemitism laid the foundation for Hitler’s early and then inexorable design to exterminate European Jewry — is enormous. See Omer Bartov, Germany’s War and the Holocaust: Disputed Histories (Ithaca, N.Y.: Cornell University Press, 2003), 80–81; Michael R. -
Nazi-Confiscated Art Issues
Nazi-Confiscated Art Issues Dr. Jonathan Petropoulos PROFESSOR, DEPARTMENT OF HISTORY, LOYOLA COLLEGE, MD UNITED STATES Art Looting during the Third Reich: An Overview with Recommendations for Further Research Plenary Session on Nazi-Confiscated Art Issues It is an honor to be here to speak to you today. In many respects it is the highpoint of the over fifteen years I have spent working on this issue of artworks looted by the Nazis. This is a vast topic, too much for any one book, or even any one person to cover. Put simply, the Nazis plundered so many objects over such a large geographical area that it requires a collaborative effort to reconstruct this history. The project of determining what was plundered and what subsequently happened to these objects must be a team effort. And in fact, this is the way the work has proceeded. Many scholars have added pieces to the puzzle, and we are just now starting to assemble a complete picture. In my work I have focused on the Nazi plundering agencies1; Lynn Nicholas and Michael Kurtz have worked on the restitution process2; Hector Feliciano concentrated on specific collections in Western Europe which were 1 Jonathan Petropoulos, Art as Politics in the Third Reich (Chapel Hill: The University of North Carolina Press). Also, The Faustian Bargain: The Art World in Nazi Germany (New York/Oxford: Oxford University Press, forthcoming, 1999). 2 Lynn Nicholas, The Rape of Europa: The Fate of Europe's Treasures in the Third Reich and the Second World War (New York: Alfred Knopf, 1994); and Michael Kurtz, Nazi Contraband: American Policy on the Return of European Cultural Treasures (New York: Garland, 1985). -
Conference on Jewish Material Claims Against Germany
CONFERENCE ON JEWISH MATERIAL CLAIMS AGAINST GERMANY The Conference on Jewish Material Claims Against Germany (Claims Conference) is pleased to participate in the International Research Portal for Records Related to Nazi-Era Cultural Property. Founded in 1951 by 23 major international Jewish organizations, the Claims Conference is the principal negotiator for compensation and restitution for survivors of the Holocaust and heirs of victims. The partner of the State of Israel in founding Yad Vashem, the Claims Conference is the principal supporter of Holocaust-related archives and archival projects generally in the United States and many other countries, and it strives to encourage cooperation among archival institutions in the interests of providing both a measure of justice to victims and their heirs and of furthering Holocaust research, education and documentation. The Claims Conference and the World Jewish Restitution Organization (WJRO) conduct a comprehensive program toward the restitution of Jewish-owned art and cultural property lost and plundered during the Holocaust (see http://www.claimscon.org/art). Regarding archival provenance research, this program aims to reconstruct the historical-archival record so as to: 1. Develop listings of items plundered by the Nazis and their allies 2. Assemble listings of cultural property known to have been restituted; and thereby 3. Produce net listings of outstanding items of cultural property that have yet to be returned. The projects under this initiative form a major part of the records and information being offered through the International Research Portal by a number of participating countries and institutions. In particular, the Claims Conference has made available the following set of interlocking projects regarding the scattered records of the Einsatzstab Reichsleiter Rosenberg (ERR), the largest of the Nazi agencies engaged in the plunder of art, libraries, archives, and Judaica: 1. -
Nazi Looted Art: Setting Precedence for Museum Decisions Erica B
Seton Hall University eRepository @ Seton Hall Theses 2010 Nazi Looted Art: Setting Precedence for Museum Decisions Erica B. Marcus Follow this and additional works at: https://scholarship.shu.edu/theses Recommended Citation Marcus, Erica B., "Nazi Looted Art: Setting Precedence for Museum Decisions" (2010). Theses. 249. https://scholarship.shu.edu/theses/249 Nazi Looted Art: Setting Precedence for Museum Decisions By: Erica B. Marcus Susan K. Leshnoff, Advisor Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Museum Professions Seton Hall University August 2010 Acknowledgments I would like to acknowledge the advice and guidance of Professor Susan K . Leshnoff . Without your assistance. timely and instmctive comments. evaluations at every stage of the thesis process. and motivating me every step of the way this study would not have been possible . Thank you . Table of Contents Introduction ...................................................................................p . 5-9 Chapter I1 Historical Background ...........................................................p. 10-14 Chapter ID Procedures and Policies Washington Conference ..............................................................p . 15-18 ICOM, PCHA, and AAMD Leave Their Mark ..................................p. 18- 19 International Committee of Museums (ICOM) ..................................p. 19-20 Presidential Advisory Committee on Holocaust Assets (PCHA) ..............p. 20-21 American Art Museum Directors (AAMD) ..................................... -
Ursprung Und Entstehung Von NS-Verfolgungsbedingt
Ursprung und Entstehung von NS-verfolgungsbedingt entzogenem Kulturgut, die Anfänge der Restitution und ihre Bearbeitung aus heutiger Sicht am Beispiel der ULB Münster und der USB Köln Bachelorarbeit Studiengang Bibliothekswesen Fakultät für Informations- und Kommunikationswissenschaften Fachhochschule Köln vorgelegt von: Jan-Philipp Hentzschel Starenstr. 26 48607 Ochtrup Matr.Nr.: 11070940 am 01.02.2013 bei Prof. Dr. Haike Meinhardt Abstract (Deutsch) Die vorliegende Arbeit beschäftigt sich mit der Thematik der Restitution von NS- verfolgungsbedingt entzogenem Kulturgut. Während der Zeit des „Dritten Reichs“ pro- fitierten deutsche und österreichische Bibliotheken in hohem Maß von den Kulturgut- raubzügen der diversen NS-Organisationen. Millionen von Büchern gelangten aus dem In- und Ausland unrechtmäßig in ihre Bestände, wo sie lange unbeachtet verblieben. Erst in den 1980er Jahren begann man in Bibliothekskreisen mit einer kritischen Ausei- nandersetzung der NS-Vergangenheit, die in den 90er Jahren durch politische Erklärun- gen und erste Rechercheprojekte weiter forciert wurde. Seitdem wurden die Bemühun- gen, das NS-Raub- und Beutegut aufzuspüren, es an die rechtmäßigen Eigentümer oder Erben zurückzuerstatten und die Projekte umfassend zu dokumentieren, stetig intensi- viert. Dennoch gibt es viele Bibliotheken, die sich an der Suche noch nicht beteiligt ha- ben. Diese Arbeit zeigt die geschichtliche Entwicklung der Thematik von 1930 bis in die heutige Zeit auf und gewährt Einblicke in die Praxis. Angefangen bei der Vorstellung einflussreicher