DOCSLIB.ORG

Resolved Stolen Art Claims

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

RESOLVED STOLEN ART CLAIMS CLAIMS FOR ART STOLEN DURING THE NAZI ERA AND WORLD WAR II, INCLUDING NAZI-LOOTED ART AND TROPHY ART* DATE OF RETURN/ CLAIM CLAIM COUNTRY† RESOLUTION MADE BY RECEIVED BY ARTWORK(S) MODE ‡ Australia 2000 Heirs of Johnny van Painting No Litigation Federico Gentili Haeften, British by Cornelius Bega - Monetary di Giuseppe gallery owner settlement1 who sold the painting to Art Gallery of South Australia, Adelaide Austria 2/12/1999 Baroness Austrian National 250 objects, No Litigation Bettina Collection including - Return2 Looram- 31 paintings, Rothschild, 3 of which are by heir of Baron Franz Hals, Alphonse and including Baroness “Portrait of Clarice Tieleman Rothschild, and Roosterman” Baron Louis Rothschild Austria 6/28/1999 Maria Altmann Austrian Culture 16 drawings by No Litigation Ministry (Gehrer Gustav Klimt and - Return3 Committee) 19 porcelain settings * This chart was compiled by the law firm of Herrick, Feinstein LLP from information derived from published news articles and services available mainly in the United States or on the Internet, as well as law journal articles, press releases, and other sources, consulted as of February 20, 2013. As a result, Herrick, Feinstein LLP makes no representations as to the accuracy of any of the information contained in the chart, and the chart necessarily omits resolved claims about which information is not readily available from these sources. Information about any additional claims or corrections to the material presented here would be greatly appreciated and may be sent to the Art Law Group, Herrick, Feinstein LLP, 2 Park Avenue, New York, NY 10016, USA, by fax to +1 (212) 592- 1500, or via email to: [email protected]. Please be sure to include a copy of or reference to the source material from which the information is derived. Also, if you would like to receive periodic updates regarding the resolution of stolen art claims and related information, please submit your name and email address to Herrick, Feinstein LLP and you will be added to the firm‟s Art Law Group mailing list. † The “country” designation relates to the location of the artwork(s) at the time the claim was made. For claims resolved by judicial proceedings, the date given is the date of the decision by the court of first instance; any subsequent proceedings are noted as well. ‡ In the “mode” column, the organization/entity that facilitated the resolution, if known, is noted in parentheses. © 2013 HERRICK, FEINSTEIN LLP All Rights Reserved DATE OF RETURN/ CLAIM CLAIM COUNTRY† RESOLUTION MADE BY RECEIVED BY ARTWORK(S) MODE ‡ Austria 7/1999 Michael Lentos Painting No Litigation Loewenthal, Kunstmuseum, “The Seamstress” (Holocaust heir of Louis Linz by Lesser Ury Claims Loewenthal Processing Office of New York State Banking Department) - Return4 Austria 2001 Heirs of Jenny Austrian National Painting No Litigation Steiner Collection, “Country House on (Austrian State Österreichische the Attersee” Restitution Galerie by Gustav Klimt Panel) Belvedere - Return5 Austria 1/2001 Francis Albertina 8 drawings No Litigation Guttmann and Museum “Studies for a - Return6 his sister, Portrait of Adele heirs of Bloch-Bauer” Ferdinand (1907) Bloch-Bauer by Gustav Klimt Austria 5/2001 Heirs of Austrian National 2 paintings No Litigation Hermine Lasus Collection, “Woman with Hat - Return7 Österreichische and Feather Boa” Galerie (1909) and Belvedere “Farmhouse with Birch Trees” (1900) by Gustav Klimt Austria 3/2003 Heirs of Daisy Neue Galerie, Painting No Litigation Hellmann Linz “Small Town on the (Jewish River (Krumau Community of Landscape)” Vienna) (1916) - Return8 by Egon Schiele Austria 11/21/2003 Heirs of Austrian National Painting No Litigation Bernhard Collection, “Portrait of a (Austrian Art Altmann Österreichische Woman” Restitution Galerie (1898) Board) Belvedere by Gustav Klimt - Return9 Austria 2006 Lilian Fox and Schloß Bruck Painting No Litigation Lisl Wertheim, Museum, Lienz “Totentanz 1809” by - Return10 heirs of Fox Albin Egger-Lienz - 2 - DATE OF RETURN/ CLAIM CLAIM COUNTRY† RESOLUTION MADE BY RECEIVED BY ARTWORK(S) MODE ‡ Austria 1/2006 Maria Altmann Austrian National 5 paintings Litigation and heirs of Collection, “Adele Bloch-Bauer - Return11 Ferdinand Österreichische I”; “Adele Bloch- Bloch-Bauer Galerie Bauer II”; Belvedere “Apfelbaum”; “Buchenwald/Birke nwald”; “Häuser in Unterach am Attersee”, all by Gustav Klimt Austria 2/2006 Maria Altmann Austrian National Painting Litigation and heirs of Collection, “Hafen von Triest” - Return12 Ferdinand Österreichische (1907) by Egon Bloch-Bauer Galerie Schiele Belvedere Austria 4/26/2007 Thomas Weinstadtsmuseu 2 paintings No litigation Selldorff, heir m Krems “St. Florian” and (Arbitration) of Richard “St. Joseph - Return13 Neumann Calasanz” by Johann Martin Schmidt (Kremser Schmidt) Austria 5/9/2007 Marina Mahler, Austrian National Painting No Litigation heir of Alma Collection, “Summer Night on (Austrian State Mahler Österreichische Aasgaardstrand” by Restitution Galerie Edvard Munch Panel) Belvedere - Return14 Austria 6/2007 Maria Altmann Austria 2 sculptures No Litigation and heirs of “Knienden Knaben” (Austrian State Ferdinand by Georges Minne Restitution Bloch-Bauer Panel) - Return15 Austria 10/2008 Marei von Austria Painting No Litigation Saher, “Bildnis eines Herrn -Return heir of Jacques van Schooten” by Goudstikker Philips Koninck Austria 5/12/2009 Heirs of Ignaz City of Vienna Painting No Litigation and Clothilde “Der Liebesbrief” -Return16 Schachter by Johann Nepomuk Austria 7/2010 Heirs of Lea Leopold Painting Litigation Bondi-Jaray Museum, Vienna “Portrait of Wally” - Monetary by Egon Schiele settlement17 Austria 04/2011 Georges Jorisch Museum of Painting No Litigation - Modern Art, “Litzlberg am Return18 Salzburg Attersee” by Gustav Klimt - 3 - DATE OF RETURN/ CLAIM CLAIM COUNTRY† RESOLUTION MADE BY RECEIVED BY ARTWORK(S) MODE ‡ Austria 05/2011 Heirs of Jenny The Leopold Painting Litigation - Steiner Museum, Vienna “Houses by the Sea” Monetary by Egon Schiele Settlement19 Austria 06/2011 Heirs of Moriz The Leopold 2 paintings Litigation - Eisler Museum, Vienna “Greillenstein Monetary Castle” and Settlement20 “Countess Kuefstein at the Easel” by Anton Romako Austria 06/2012 Heirs of Joseph The Belvedere, 2 paintings No Litigation- Blauhorn Vienna "The Magi" by Return21 Leopold Kupelwieser and "The Valley of Chamonix" by Ludwig Ferdinand Schnorr von Carolsfeld Austria 07/2012 Heiress of City of Linz 6 paintings by No Litigation Oskar Reichel Anton Romako -Return22 Austria 06/14/12 Claimants of Leopold Museum Painting, “Houses No Litigation - Jenny Steiner by the Sea” by Egon Monetary Schiele Settlement -Painting remains at museum23 Canada 11/1/1999 Hungary Musée des Painting No Litigation Beaux-Arts de “Marriage Feast at - Return24 Montréal Cana” (16th c.) by Giorgio Vasari Canada 9/24/2003 Heirs of National Gallery Painting No Litigation Jacques Lindon of Canada “Le Salon de - Return25 Madame Aron” (1904, reworked 1934) by Edouard Vuillard Canada 10/19/2006 Beneficiaries of Anonymous Painting No Litigation Max Stern “Aimée, a Young (Holocaust Estate Egyptian” (1869) by Claims Emile Lecomte- Processing Vernet Office of New York State Banking Department) - Return26 - 4 - DATE OF RETURN/ CLAIM CLAIM COUNTRY† RESOLUTION MADE BY RECEIVED BY ARTWORK(S) MODE ‡ Czech 1996 Jiri Waldes, Národní galerie v Collection of Litigation Republic heir of Jindrich Praze paintings, including - Court-ordered Waldes (National Gallery several return27 of Prague) by František Kupka Czech 6/25/2002 Heirs of Národní galerie v Painting No Litigation Republic Adolphe Praze “Le Juif au Bonnet (French Schloss (National Gallery de Fourrure” Government) of Prague) attributed to the - Return28 School of Rembrandt Czech 3/2003 Heirs of Arthur Moravska 135 drawings No Litigation Republic Feldmann Gallerie, Brno (16th - 18th c.) (Commission (Moravian by Dutch, Italian for Looted Art Gallery, Brno) and German artists in Europe) - Return29 Czech 11/12/2007 Heirs of Oskar Plastic Art 21 paintings Litigation Republic Federer Gallery (Ostrava, -Return30 Northern Moravia) and East Bohemian Gallery (Pardubice, CTK) Czech 12/2008 Heirs of Emil Jewish Museum, 32 paintings No Litigation Republic Freund Prague including Paul -13 of the 32 Signac‟s “Riverboat paintings were on Seine” (1901) declared part of and works by André the country‟s Derain and Maurice national Utrillo. heritage by the Czech Culture Ministry and were subsequently purchased by the state.31 Estonia 5/25/2004 Kunsthalle Estonia Art Altarpiece panel No Litigation Bremen, Museum, Tallinn “John the Baptist” - Return32 Germany (1505) by Albrecht Dürer France 11/6/1996 Antoinette French National Drawing No Litigation Carvailho, Collection “Les Glaneuses” - Return33 heir of Levi de (19th c.) Benzion family by Léon Augustin Lhermitte - 5 - DATE OF RETURN/ CLAIM CLAIM COUNTRY† RESOLUTION MADE BY RECEIVED BY ARTWORK(S) MODE ‡ France 7/7/1997 Heirs of French National Painting No Litigation Alphonse Kann Collection, “Landscape” - Return34 Centre Pompidou (1911) by Albert Gleizes France 3/16/1998 Heirs of French National Drawing No Litigation Alphonse Kann Collection, “The Death of - Return35 Musée du Louvre Nicolas Poussin in the Presence of Cardinal Massimo” (1833) by François-Marius Granet France 1/11/1999 Fritz Grünwald, Musée d‟Art Painting Litigation heir of Karl Moderne et “Die Erfüllung” - Court-ordered Grünwald, Contemporain, (1909) return Austrian art Strasbourg by Gustav Klimt - Aff‟d on dealer appeal
Recommended publications
  • The Grim Reaper 47

    The Grim Reaper 47

    46 © 2013 The Center for Christian Ethics at Baylor University Due to copyright restrictions, this image is only available in the print version of Christian Reflection. In Gustav Klimt’s masterwork, the figure of Death gazes toward a vibrant patterning of figure and color which symbolizes, perhaps, not only life but resurrection. Gustav Klimt (1862-1918), DEATH AN D LIFE (1910). Oil on canvas. 70” x 78”. Museum Leopold, Vienna, Austria. Photo: Erich Lessing/Art Resource. Used by permission. The Grim Reaper 47 The Grim Reaper BY HEIDI J. HORNIK lthough inspired by his mother’s death, Gustav Klimt’s painting Death and Life is as much about life as death. The allegorical work Adepicts the Grim Reaper holding a club instead of the usual scythe or hourglass. His dark robes are covered with crosses symbolic of the Church, cemeteries, and death. He gazes across the canvas toward a vibrant patterning of figure and color which symbolizes, perhaps, not only life but resurrection. At least three generations, from infant to grandmother, are depicted with their limbs intertwining and overlapping. It may be possible for death to take individuals from life, but life as a whole will escape and continue to survive. The motif of the dance of death coming to everyone, wealthy or poor, derives from a medieval print tradition.1 Most of the figures have their eyes closed, perhaps in a dream state. This may be an influence of the writings of the artist’s friend, Sigmund Freud. Klimt described this painting, which won first prize in the 1911 International Art Exhibition in Rome, as his most important figurative work.2 For some reason, Klimt reworked Death and Life in 1915 by changing the gold background to grey and adding ornaments and patterning to the figures of death and life.3 Perhaps he wanted to create a more somber overall tone and to increase the contrast between the figures.
  • FOLLOWER of OSIAS BEERT I (Circa 1605-1630) Almonds

    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.
  • How Sullivan & Cromwell's Sharon Levin Built a Book of Business After

    How Sullivan & Cromwell's Sharon Levin Built a Book of Business After

    How Sullivan & Cromwell’s Sharon Levin built a book of business after three decades at DOJ 3/5/21 Jenna Greene’s Legal Action (Reuters) - For all the back-and-forth moves between government and Big Law, there’s a path that’s especially tough to tread: from career prosecutor to successful partner. How does a longtime government lawyer who has never worked in private practice - not even as a summer associate - make the jump to a world where time is billed in six-minute increments and business generation is a must? “I was really nervous about it,” said Sullivan & Cromwell partner Sharon Cohen Levin, who spent 29 years at the Justice Department before making the leap to Big Law. Now, with more than five years of private practice under her belt, the anti-money laundering and asset forfeiture ace shared some of what she’s learned along the way. One top takeaway: “You’ve got to embrace the process. Get out there and let people know who you are.” Our interview itself falls under this category. DOJ keeps a tight lid on its 10,000 or so lawyers, with media access severely curtailed. Unauthorized contact with a reporter is grounds for being fired. After nearly three decades of “no comment,” Levin said the first few times she spoke to journalists after leaving government, she was “scared to say anything.” But now, she’s open and candid, sharing details of her life and career in a wide-ranging conversation. Given her childhood, she seems almost foreordained to have become a successful lawyer.
  • 2017 Abstracts

    2017 Abstracts

    Abstracts for the Annual SECAC Meeting in Columbus, Ohio October 25th-28th, 2017 Conference Chair, Aaron Petten, Columbus College of Art & Design Emma Abercrombie, SCAD Savannah The Millennial and the Millennial Female: Amalia Ulman and ORLAN This paper focuses on Amalia Ulman’s digital performance Excellences and Perfections and places it within the theoretical framework of ORLAN’s surgical performance series The Reincarnation of Saint Orlan. Ulman’s performance occurred over a twenty-one week period on the artist’s Instagram page. She posted a total of 184 photographs over twenty-one weeks. When viewed in their entirety and in relation to one another, the photographs reveal a narrative that can be separated into three distinct episodes in which Ulman performs three different female Instagram archetypes through the use of selfies and common Instagram image tropes. This paper pushes beyond the casual connection that has been suggested, but not explored, by art historians between the two artists and takes the comparison to task. Issues of postmodern identity are explored as they relate to the Internet culture of the 1990s when ORLAN began her surgery series and within the digital landscape of the Web 2.0 age that Ulman works in, where Instagram is the site of her performance and the selfie is a medium of choice. Abercrombie situates Ulman’s “image-body” performance within the critical framework of feminist performance practice, using the postmodern performance of ORLAN as a point of departure. J. Bradley Adams, Berry College Controlled Nature Focused on gardens, Adams’s work takes a range of forms and operates on different scales.
  • The University of Chicago Objects of Veneration

    The University of Chicago Objects of Veneration

    THE UNIVERSITY OF CHICAGO OBJECTS OF VENERATION: MUSIC AND MATERIALITY IN THE COMPOSER-CULTS OF GERMANY AND AUSTRIA, 1870-1930 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY ABIGAIL FINE CHICAGO, ILLINOIS AUGUST 2017 © Copyright Abigail Fine 2017 All rights reserved ii TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES.................................................................. v LIST OF FIGURES.......................................................................................... vi LIST OF TABLES............................................................................................ ix ACKNOWLEDGEMENTS............................................................................. x ABSTRACT....................................................................................................... xiii INTRODUCTION........................................................................................................ 1 CHAPTER 1: Beethoven’s Death and the Physiognomy of Late Style Introduction..................................................................................................... 41 Part I: Material Reception Beethoven’s (Death) Mask............................................................................. 50 The Cult of the Face........................................................................................ 67 Part II: Musical Reception Musical Physiognomies...............................................................................
  • View the Comitati Privati Internazionali Di Venezia Works from 1966 to 2016

    View the Comitati Privati Internazionali Di Venezia Works from 1966 to 2016

    ELENCO DEI LAVORI DEI COMITATI PRIVATI INTERNAZIONALI DI VENEZIA DAL 1966 al 2016 Anonimo frescante del XII secolo, La vergine orante, due 1966 1967 Basilica di San Marco affresco Fondazione Ercole Varzi arcangeli e santi Case in Calle Lanza Italia Nostra con Stato italiano e 1966 1968 Restauro architettura (Dorsoduro 152-158) Consiglio d Europa Chiesa di San Nicolò dei Alvise dal Friso, affreschi dell'abside: Annunciazione ed 1967 1968 affresco Committee to Rescue Italian Art Mendicoli Eterno in Gloria Chiesa di Santa Maria di Domenico e Giuseppe Valeriani, affreschi dell'abside: La 1967 1968 affresco Committee to Rescue Italian Art Nazareth (Scalzi) Trinità in Gloria e le Virtù cardinali Chiesa di Santa Maria di Giambattista Tiepolo, volta affrescata della II cappella a 1967 1968 affresco Association France-Italie Nazareth (Scalzi) destra: Gloria di Santa Teresa Giovanni Battista Pittoni, affreschi della cappella vicina 1967 1968 Chiesa di San Cassiano affresco Association France-Italie alla sacrestia, restia: San Cassiano e Santa Cecilia 1967 1968 Ca' d'Oro anonimo veneto del XV secolo, soffitto edicola architettura Association France-Italie 1967 1968 Ca' d'Oro anonimo veneto del XVI-XVII secolo soffitto IV sala architettura Association France-Italie Antonio Molinari; Jacopo Palma il Giovane; Sante Piatti; 1967 1968 Chiesa di San Moisè Antonio Arrigoni; Jacopo Tintoretto; Maffeo da Verona dipinto Committee to Rescue Italian Art (scuola di)quadri Jacopo Palma il Giovane; Antonio Vassilacchi detto l'Aliense; Bernardo Strozzi (seguace
  • How Republic of Austria V. Altmann and United States V. Portrait of Wally Relay the Past and Forecast the Future of Nazi Looted Art Restitution Litigation Shira T

    How Republic of Austria V. Altmann and United States V. Portrait of Wally Relay the Past and Forecast the Future of Nazi Looted Art Restitution Litigation Shira T

    William Mitchell Law Review Volume 34 | Issue 3 Article 6 2008 How Republic of Austria v. Altmann and United States v. Portrait of Wally Relay the Past and Forecast the Future of Nazi Looted Art Restitution Litigation Shira T. Shapiro Follow this and additional works at: http://open.mitchellhamline.edu/wmlr Recommended Citation Shapiro, Shira T. (2008) "How Republic of Austria v. Altmann and United States v. Portrait of Wally Relay the Past and Forecast the Future of Nazi Looted Art Restitution Litigation," William Mitchell Law Review: Vol. 34: Iss. 3, Article 6. Available at: http://open.mitchellhamline.edu/wmlr/vol34/iss3/6 This Note is brought to you for free and open access by the Law Reviews and Journals at Mitchell Hamline Open Access. It has been accepted for inclusion in William Mitchell Law Review by an authorized administrator of Mitchell Hamline Open Access. For more information, please contact [email protected]. © Mitchell Hamline School of Law Shapiro: How Republic of Austria v. Altmann and United States v. Portrait 5. SHAPIRO - ADC 4/30/2008 3:15:48 PM CASE NOTE: HOW REPUBLIC OF AUSTRIA V. ALTMANN AND UNITED STATES V. PORTRAIT OF WALLY RELAY THE PAST AND FORECAST THE FUTURE OF NAZI LOOTED- ART RESTITUTION LITIGATION Shira T. Shapiro† I. INTRODUCTION....................................................................1148 II. THE BASIS FOR NAZI LOOTED-ART LITIGATION: HITLER’S CULTURAL OBSESSION.........................................................1150 III. THE UNITED STATES V. PORTRAIT OF WALLY, A PAINTING BY EGON SCHIELE LITIGATION ...................................................1154 IV. THE REPUBLIC OF AUSTRIA V. ALTMANN DECISION: RECLAIMING GUSTAV KLIMT................................................1159 A. Initiation of Legal Proceedings........................................
  • Mapping the Limits of Repatriable Cultural Heritage: a Case Study of Stolen Flemish Art in French Museums

    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?

    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.
  • Mattia & Marianovella Romano

    Mattia & Marianovella Romano

    Mattia & MariaNovella Romano A Selection of Master Drawings A Selection of Master Drawings Mattia & Maria Novella Romano A Selection of Drawings are sold mounted but not framed. Master Drawings © Copyright Mattia & Maria Novelaa Romano, 2015 Designed by Mattia & Maria Novella Romano and Saverio Fontini 2015 Mattia & Maria Novella Romano 36, Borgo Ognissanti 50123 Florence – Italy Telephone +39 055 239 60 06 Email: [email protected] www.antiksimoneromanoefigli.com Mattia & Maria Novella Romano A Selection of Master Drawings 2015 F R FRATELLI ROMANO 36, Borgo Ognissanti Florence - Italy Acknowledgements Index of Artists We would like to thank Luisa Berretti, Carlo Falciani, Catherine Gouguel, Martin Hirschoeck, Ellida Minelli, Cristiana Romalli, Annalisa Scarpa and Julien Stock for their help in the preparation of this catalogue. Index of Artists 15 1 3 BARGHEER EDUARD BERTANI GIOVAN BAttISTA BRIZIO FRANCESCO (?) 5 9 7 8 CANTARINI SIMONE CONCA SEBASTIANO DE FERRARI GREGORIO DE MAttEIS PAOLO 12 10 14 6 FISCHEttI FEDELE FONTEBASSO FRANCESCO GEMITO VINCENZO GIORDANO LUCA 2 11 13 4 MARCHEttI MARCO MENESCARDI GIUSTINO SABATELLI LUIGI TASSI AGOSTINO 1. GIOVAN BAttISTA BERTANI Mantua c. 1516 – 1576 Bacchus and Erigone Pen, ink and watercoloured ink on watermarked laid paper squared in chalk 208 x 163 mm. (8 ¼ x 6 ⅜ in.) PROVENANCE Private collection. Giovan Battista Bertani was the successor to Giulio At the centre of the composition a man with long hair Romano in the prestigious work site of the Ducal Palace seems to be holding a woman close to him. She is seen in Mantua.1 His name is first mentioned in documents of from behind, with vines clinging to her; to the sides of 1531 as ‘pictor’, under the direction of the master, during the central group, there are two pairs of little erotes who the construction works of the “Palazzina della Paleologa”, play among themselves, passing bunches of grapes to each which no longer exists, in the Ducal Palace.2 According other.
  • Girl with a Flute

    Girl with a Flute

    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Attributed to Johannes Vermeer Johannes Vermeer Dutch, 1632 - 1675 Girl with a Flute probably 1665/1675 oil on panel painted surface: 20 x 17.8 cm (7 7/8 x 7 in.) framed: 39.7 x 37.5 x 5.1 cm (15 5/8 x 14 3/4 x 2 in.) Widener Collection 1942.9.98 ENTRY In 1906 Abraham Bredius, director of the Mauritshuis in The Hague, traveled to Brussels to examine a collection of drawings owned by the family of Jonkheer Jan de Grez. [1] There he discovered, hanging high on a wall, a small picture that he surmised might be by Vermeer of Delft. Bredius asked for permission to take down the painting, which he exclaimed to be “very beautiful.” He then asked if the painting could be exhibited at the Mauritshuis, which occurred during the summer of 1907. Bredius’ discovery was received with great acclaim. In 1911, after the death of Jonkheer Jan de Grez, the family sold the painting, and it soon entered the distinguished collection of August Janssen in Amsterdam. After this collector’s death in 1918, the painting was acquired by the Amsterdam art dealer Jacques Goudstikker, and then by M. Knoedler & Co., New York, which subsequently sold it to Joseph E. Widener. On March 1, 1923, the Paris art dealer René Gimpel recorded the transaction in his diary, commenting: “It’s truly one of the master’s most beautiful works.” [2] Despite the enthusiastic reception that this painting received after its discovery in the first decade of the twentieth century, the attribution of this work has frequently Girl with a Flute 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century been brought into question by later scholars.
  • The Epistemology of the ABC Method Learning to Draw in Early Modern Italy

    The Epistemology of the ABC Method Learning to Draw in Early Modern Italy

    The Epistemology of the ABC Method Learning to Draw in Early Modern Italy Nino Nanobashvili Even if some northern European drawing books in the tradition of Albrecht Durer started with a dot, a line and geometrical figures (» Fig. 1), the so-called ABC meth- od was the most popular approach in the European manuals between the sixteenth and nineteenth centuries. Thus, these drawing books began by initially presenting the parts of the body in the same order: eyes, noses, mouth, ears, heads, hands, feet and so on, and continued by constructing the whole body. This method was named “ABC“ because of its basic character and because of parallelizing the drawing process of face members with letters.1 Most manuals for beginners from other fields were similarly named in general ABCs.2 Artists had been using the ABC method in their workshops at least since the mid-fifteenth century in Italy, much before the first drawing books were printed. Around 1600 it became so self-evident that a pupil should begin their drawing education with this method that one can recognize the youngest apprentices in programmatic images just by studying eyes and noses.3 Even on the ceiling of Sala del Disegno in the Roman Palazzo Zuccari the youngest student at the left of Pittura presents a piece of paper with a drafted eye, ear and mouth (» Fig. 2).4 What is the reason that the ABC method became so common at least in these three centuries? How could drawing body parts be useful at the beginning of artistic 1 In 1683, Giuseppe Mitelli arranged body parts together with letters in his drawing book Il Alfabeto del Sogno to emphasize this parallel.