DOCSLIB.ORG

FOLLOWER of OSIAS BEERT I (Circa 1605-1630) Almonds

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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. Hoogendijk & Co., Catalogus van schilderijen van weinig bekende meesters uit de zeventiende eeuw, June 15 - July 15, 1932, no. 39 (as David de Heem) Amsterdam, Kunsthandel J. Goudstikker, Het Stilleven, February 18 - March 26, 1933, no. 138 (as David de Heem) The Hague, Kunsthandel G.J. Nieuwenhuizen Segaar, Oude Kunst, October 20 – November 17, 1934, no. 16 (as David de Heem) LITERATURE H. P. Bremmer, Beeldende Kunst, no. 43, jaargang 18, W. Scherjon, Utrecht, 1931, illustrated (as D. de Heem) Catalogus van schilderijen van weinig bekende meesters uit de zeventiende eeuw, D.A. Hoogendijk & Co., Amsterdam, June 15 – July 15, 1932, no. 39 (as David de Heem) Het Stilleven, exhibition catalog, Kunsthandel J. Goudstikker, Amsterdam, February 18- March 26, 1933, no. 138, unpaginated (as David de Heem) George Isarlov, “L’Exposition de la Nature Morte à Amsterdam” in Formes, no. 32, Editions des Quatre Chemins, Paris, Summer 1933, p. 361, fn. 5, illustrated (as David de Heem I) Oude Kunst, Kunsthandel G.J. Nieuwenhuizen Segaar, The Hague, October 20 - November 17, 1934, no. 16, unpaginated. (as David de Heem) W. Jos de Gruyter, Het Vaderland, Novmber 10, 1934 (as David de Heem) Art and Auctions, volume I, no. 12, Van Kouteren’s Publishing Co., Ltd., Rotterdam, July 1957, p. 341, illustrated (as Osias Beert) A.P. de Mirimonde, “Musique et symbolisme chez Jan-Davidszoon de Heem, Cornelis- Janszoon et Jan II Janszoon de Heem” in Jaarboek van het Koninklijk Museum voor Schone Kunsten, Antwerp, 1969, p. 245 (as one of three known works signed by David de Heem) Sam Segal, A Prosperous Past, The Sumptuous Still Life in the Netherlands 1600-1700, SDU Publishers, The Hague, 1988, p. 229 (as another version of Still Life with the Rich Man and Poor Lazarus by Osias Beert I) “De 14 nooit geveilde werken van Goudstikker-erfgename Marei von Saher” in NRC.NL>in beeld, May 7, 2015, p. 6, illustrated (as Osias Beert I) The depiction of this sumptuous still life derives from imagery used by Osias Beert I and Frans Francken I to illustrate the story The Rich Man and Poor Lazarus, a parable of greed and deprivation. A direct reflection of this tale can be found in the remarkable history of this panel during the course of the twentieth century. The earliest known provenance for this tempting array of painted delights is the Arot Collection, which encompassed a distinguished group of European paintings that ranged from the fifteenth to twentieth centuries. The collection was sold by Galerie Fievez, Brussels, on October 29, 1928. Misinterpreting the David de Heem signature, the panel was catalogued as by Jean-David de Heem. By 1932 the painting was with D.A. Hoogendijk & Co., a gallery which ranked among the top old master dealers in Amsterdam. It was included in their 1932 exhibition of seventeenth century masters as the work of David de Heem.1 The next recorded owner is Duits, Ltd., a firm that specialized in Dutch and Flemish old master paintings. It first opened in Dordrecht in 1836 and then relocated to Amsterdam in 1875, later opening a branch in London in 1920. By 1933 Jacques Goudstikker had purchased the work from Duits and recorded the transaction in pounds in his inventory book under no. 2567. Goudstikker was one of the most important Dutch art dealers of the period. His firm Kunsthandel J. Goudstikker was located in a seventeenth century canal house on the Herengracht in Amsterdam. His interest in old masters ranged from Italian gold ground and Renaissance works to early Netherlandish and German paintings, Dutch and Flemish seventeenth century paintings, to the French and Italian Rococo. He mounted extraordinary shows in the 1930s, innovatively focusing on thematic exhibitions,2 such as the wide-ranging Het Stilleven that included our panel (no.138, as by David de Heem). 1 David de Heem was traditionally believed to have been born in Utrecht, possibly in 1570, and to have died in Antwerp, perhaps in 1632. He was categorized as a “still-life painter of distinction”. – See John Denison Champlin, Jr. & Charles C. Perkins, eds., “David de Heem” in Cyclopedia of Painters and Paintings, volume II, Charles Scribner’s Sons, New York, 1900, p. 222. Although the father of Jan Davidsz. de Heem is often recorded as David de Heem I, in actuality he was not a painter, and his correct name was David van Antwerpen. Clarification given in a written communication from Fred G. Meijer of the Rijksbureau voor Kunsthistorische Documentatie, The Hague, dated December 28, 2015. 2 Peter Sutton, “Director’s Preface” and “Jacques Goudstikker (1891-1940): Art Dealer, Impresario and Tastemaker” in Reclaimed Paintings from the Collection of Jacques Goudstikker, exhibition catalog, Bruce Museum, Greenwich, Connecticut, May 10 - September 7, 2008, and The Jewish Museum, New York, March 12 – August 2, 2009, pp. 10, 25. The show consisted of 362 still lifes dating from the fifteenth to twentieth century. In reviewing the exhibition in Formes, George Isarlov pointed to the so-called David de Heem as representative of a growing international style among such painters as Georg Flegel, Peter Binoit, Louise Moillon, Jacob van Es, Floris van Dijck, and Clara Peeters. The article’s nine illustrations, among which this work was included, were described by Isarlov as the principal works of the show.3 In 1934 the painting was loaned to the exhibition, Oude Kunst, held at Kunsthandel G.J. Nieuwenhuizen Segaar in The Hague. Once again it was singled out, along with a few others, as a highlight of the show. W. Jos de Gruyter, then visual arts editor for Het Vaderland, wrote “Vooral menig stilleven mag hier zonder voorbehoud worden: ... nr.16 van David de Heem ... stuk voor stuk kostelijke schilderijen.” (In particular many still lifes can be lauded here unreservedly: [mentions a few others] no. 16 by David de Heem, ... one after the other splendid paintings.) Goudstikker advised important clients, among them by the early 1930s Baron Heinrich Thyssen-Bornemisza. He sold to major museums including the Rijksmuseum; Mauritshuis; Museum Boijmans Van Beuningen; National Gallery, London; The Metropolitan Museum of Art; National Gallery of Art, Washington, D.C.; and the Art Institute of Chicago. Yet such renowned success served to make Goudstikker a prime target once the Nazis invaded on May 10, 1940. Miraculously, on May 13th, accompanied by his wife Dési and young son Edward, he managed to book passage on the cargo ship SS Bodegraven bound for Dover. As the ship was teeming with fleeing refugees, conditions on board were deplorable. That night, unable to sleep in the airless hold the family had been crammed into, Goudstikker sought relief on the blacked-out deck. In the darkness he fell through an open hatch and was killed. When the body was recovered a small notebook was found containing details on the 1,113 artworks of his inventory. This notebook would come to be known as the Blackbook.4 Two weeks after Goudstikker’s death Reichsmarschall Hermann Goering visited his gallery. Eager to be next in line in the plundering of Goudstikker’s stock after Adolf Hitler had his pick; the curator of the collection at his country estate Carinhall, Walter Andreas Hofer, had already traveled to Holland on May 20th. Shortly thereafter, a sale of the inventory, gallery, and properties was arranged.5 Kajetan Mühlmann, a captain in the SS who also held a Ph.D. in art history, and had been in charge of the Sonderbeauftragten fur die Erfassung der Kunst und Kulturschätze (Special Commission for the Disposition of Art and Cultural Treasures) in Poland, had by the end of May set up an office in The Hague. One of his initial acts was to establish bank accounts for Hitler, Goering, and 3 George Isarlov, op. cit., pp. 360-361. 4 Lynn H. Nicholas, “A Long Odyssey: the Goudstikker Collection” in Important Old Master Paintings from the Collection of Jacques Goudstikker, April 1, 2007, New York, pp. 9-10.; Peter Sutton, op.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Painting in the Dutch Golden
    NATIONAL GALLERY OF ART | DIVISION OF EDUCATION Age Golden Dutch the in Painting DEPARTMENT OF EDUCATION PUBLICATIONS Painting in the Dutch Golden Age Classroom Guide Classroom Guide NATIO N AL GALLERY OF OF GALLERY AL A RT, WASHI RT, NATIONAL GALLERY OF ART NG WASHINGTON TO N Painting in the Dutch Golden Age Classroom Guide NATIONAL GALLERY OF ART, WASHINGTON Contents How to Use This Booklet 1 1 Profile of the Dutch Republic 3 BACKSTORY Topography 4 A Unique Land 5 The Challenges of Water Today 7 BACKSTORY Cities 8 Location, Location, Location 9 BACKSTORY Government 13 A New Republican Government 15 Parallels between Dutch and U.S. Independence 16 Terms, Supplemental Materials, and Other Resources 18 2 A Golden Age for the Arts 21 BACKSTORY 22 What Do You Know and What Can You See? 23 Why Do We Like It? 25 Forged! 27 Where We Look at Art 29 Stories behind the Art 29 Terms, Supplemental Materials, and Other Resources 30 3 Life in the City and Countryside 31 7 Portraiture 59 BACKSTORY 32 BACKSTORY 60 One Skater, Two Skaters... 35 Fashion, Attitude, and Setting — Then and Now 61 Seventeenth-Century Winters 36 What Might Each Picture Tell You about Terms and Other Resources 38 Its Subject? 63 Supplemental Materials and Other Resources 64 4 Landscape Painting 39 BACKSTORY 40 8 History Painting 65 Approaches to Landscape Painting 41 BACKSTORY 66 Narrative and Non-narrative Painting 43 Rembrandt and Biblical Stories 68 Terms and Supplemental Materials 44 Contrasting Narrative Strategies in History Painting 69 5 Genre Painting 45 Picturing the
    [Show full text]
  • A Moral Persuasion: the Nazi-Looted Art Recoveries of the Max Stern Art Restitution Project, 2002-2013
    A MORAL PERSUASION: THE NAZI-LOOTED ART RECOVERIES OF THE MAX STERN ART RESTITUTION PROJECT, 2002-2013 by Sara J. Angel A thesis submitted in conformity with the requirements for the degree of PhD Graduate Department Art University of Toronto © Copyright by Sara J. Angel 2017 PhD Abstract A Moral Persuasion: The Nazi-Looted Art Recoveries of the Max Stern Art Restitution Project, 2002-2013 Sara J. Angel Department of Art University of Toronto Year of convocation: 2017 In 1937, under Gestapo orders, the Nazis forced the Düsseldorf-born Jewish art dealer Max Stern to sell over 200 of his family’s paintings at Lempertz, a Cologne-based auction house. Stern kept this fact a secret for the rest of his life despite escaping from Europe to Montreal, Canada, where he settled and became one of the country’s leading art dealers by the mid-twentieth century. A decade after Stern’s death in 1987, his heirs (McGill University, Concordia University, and The Hebrew University of Jerusalem) discovered the details of what he had lost, and how in the post-war years Stern travelled to Germany in an attempt to reclaim his art. To honour the memory of Max Stern, they founded the Montreal- based Max Stern Art Restitution Project in 2002, dedicated to regaining ownership of his art and to the study of Holocaust-era plunder and recovery. This dissertation presents the histories and circumstances of the first twelve paintings claimed by the organization in the context of the broader history of Nazi-looted art between 1933-2012. Organized into thematic chapters, the dissertation documents how, by following a carefully devised approach of moral persuasion that combines practices like publicity, provenance studies, law enforcement, and legal precedents, the Max Stern Art Restitution Project set international precedents in the return of cultural property.
    [Show full text]
  • Supported by the Vereniging Rembrandt
    FEB.SUP.VerenigingRembrandtB_ma.nov.coop/plaz.pp.corr 16/01/2015 11:55 Page 141 Dutch museum acquisitions (2010–14) supported by the Vereniging Rembrandt IN 1883, A small number of wealthy art lovers helped acquire at auction in Amsterdam some five hundred of the most important drawings from the collection of Jacob de Vos for the print room of the Rijksmuseum. It was a spectacular move, which doubled the number of drawings in the fledgling print room’s collection. It was also the beginning of what was to become an extraordinary story of private support for Dutch public art collections, for the initiative resulted in the estab- lishment of the Vereniging Rembrandt. In 1892, the Vereniging Rembrandt persuaded the state to share in the costs of buying a first Vermeer for the Rijksmus- eum, and in similar fashion it sponsored in 1900 the acquisition of the Rijksmuseum’s first Rembrandt. The early history of the Vereniging Rembrandt is very much about this matching of private and public money to collect the art of the Dutch Golden Age for Holland, but after 1914 its horizon widened to include Western European and Asian art. After 1945, it also opened up to modern art and to other cultures. In 1983, the Vereniging celebrated its centenary by supporting the acquis- ition of two recent works by Willem de Kooning for the I. Interior of the Nieuwe Kerk, Delft, with the memorial tablet of Adriaen Teding van Berk- Stedelijk Museum, Amsterdam. hout (1576–1620), by Hendrick Cornelisz van Vliet. 1661. Oil on canvas, 100 by 112 cm.
    [Show full text]
  • Division, Records of the Cultural Affairs Branch, 1946–1949 108 10.1.5.7
    RECONSTRUCTING THE RECORD OF NAZI CULTURAL PLUNDER A GUIDE TO THE DISPERSED ARCHIVES OF THE EINSATZSTAB REICHSLEITER ROSENBERG (ERR) AND THE POSTWARD RETRIEVAL OF ERR LOOT Patricia Kennedy Grimsted Revised and Updated Edition Chapter 10: United States of America (March 2015) Published on-line with generous support of the Conference on Jewish Material Claims Against Germany (Claims Conference), in association with the International Institute of Social History (IISH/IISG), Amsterdam, and the NIOD Institute for War, Holocaust, and Genocide Studies, Amsterdam, at http://www.errproject.org © Copyright 2015, Patricia Kennedy Grimsted The original volume was initially published as: Reconstructing the Record of Nazi Cultural Plunder: A Survey of the Dispersed Archives of the Einsatzstab Reichsleiter Rosenberg (ERR), IISH Research Paper 47, by the International Institute of Social History (IISH), in association with the NIOD Institute for War, Holocaust and Genocide Studies, Amsterdam, and with generous support of the Conference on Jewish Material Claims Against Germany (Claims Conference), Amsterdam, March 2011 © Patricia Kennedy Grimsted The entire original volume and individual sections are available in a PDF file for free download at: http://socialhistory.org/en/publications/reconstructing-record-nazi-cultural- plunder. Also now available is the updated Introduction: “Alfred Rosenberg and the ERR: The Records of Plunder and the Fate of Its Loot” (last revsied May 2015). Other updated country chapters and a new Israeli chapter will be posted as completed at: http://www.errproject.org. The Einsatzstab Reichsleiter Rosenberg (ERR), the special operational task force headed by Adolf Hitler’s leading ideologue Alfred Rosenberg, was the major NSDAP agency engaged in looting cultural valuables in Nazi-occupied countries during the Second World War.
    [Show full text]
  • Adriaen Thomasz. Key
    adriaen thomasz. key (Antwerp c. 1544 - Antwerp, after 1589) Portrait of a Bearded Gentleman, Bust-Length, in a Black Doublet with a White Lace Ruff, Painted Oval signed ‘ATK’ (in ligature) and dated ‘1574’ (upper left), inscibed ‘AETA: 48’ (upper right) oil on panel 75.6 x 60.3 cm (29¾ x 23¾ in) Provenance: Anonymous sale, J. Fiévez, Brussels, 3-4 July 1919 [=1st day], ‘Catalogue d’une collection importante de tableaux anciens & modernes dessins provenant de la Galerie du vicomte Jacques de la L. et autres provenances’, lot 121, illustrated, as Antonis Mor; where acquired by Jules Porgès (1839-1921), Paris; with Jacques Goudstikker, Amsterdam, by 1925 (where recorded by Max Friedländer), no. 1446, as Antonis Mor; looted by the Nazi authorities, July 1940; recovered by the Allies, 1945; Institute for Cultural Heritage, Netherlands 1946-2006, inv no. NK 1906, as Frans Pourbus the Elder; restituted in February 2006 to the heir of Jacques Goudstikker; their sale, Christie’s, London, 5th July 2007, lot 24, as Frans Pourbus the Elder. Exhibitions: Utrecht, Centraal Museum, Kersttentoonstelling van werken van eenige oude schilderigen uit de collectie Goudstikker, 1925-1926, no. 17. Literature: Christopher Wright, Paintings in Dutch Museums. An Index of Oil Paintings in Public Collections in The Netherlands by Artists born before 1870, (Sotheby Parke Bernet, London, 1980), p. 373, as attributed to Frans Pourbus I; Old Master Paintings: An Illustrated Summary Catalogue, Rijksdienst Beeldende Kunst (The Netherlandish Office for the Fine Arts), The Hague, 1992, p. 243, no. 2106, illustrated, as Frans Pourbus (1); Koenraad Jonckheere, Adriaen Thomasz.
    [Show full text]
  • Mannheimer: an Important Art Collector Reappraised
    Mannheimer: an important art collector reappraised History of ownership from 1920-1952: From Mannheimer to Hitler; recuperation and dispersion in Dutch museums, based on archival documents.1 Main Collection: Rijksmuseum, Amsterdam Kees Kaldenbach (author) Email [email protected] This Word version, 12 November, 2014, 9320 words See http://kalden.home.xs4all.nl/mann/Mannheimer-article.html See the Online Menu of related Mannheimer articles. In the years following World War II, more than 1400 art objects formerly belonging to the German-born banker Fritz Mannheimer (1890-1939) came into the possession of Dutch museums, especially the Amsterdam Rijksmuseum. Highlights of this remarkable collection include top-quality paintings by Rembrandt, Crivelli, Frans van Mieris, and Jan van der Heyden; German applied art objects of the highest quality; master drawings by Fragonard, Watteau, and Boucher; sculptures by Houdon and Falconet; best-of-kind furniture by Röntgen and classic French furniture makers; a world-class array of Meissen porcelain; exquisite silver and gold art objects, ornate snuff boxes and much else. Like many collections belonging to Jews who lived in countries occupied by the Nazis, the Mannheimer art objects were coveted by Adolf Hitler, Hermann Göring, and associated figures from the time of the German invasion of the Netherlands in May 1940. The subsequent ownership history of these extraordinary works of art, both during and after the war, sheds light on the conflicts, greed, breaches of the law, and lingering consequences of that dark and troubled era in world 1 history. The Amsterdam Rijksmuseum had indeed been most enriched in 1952 by receiving the lion’s share of the Mannheimer estate.
    [Show full text]
  • EDWARD DOLNICK for Lynn It Is in the Ability to Deceive Oneself That the Greatest Talent Is Shown
    THE FORGER’S SPELL A True Story of Vermeer, Nazis, and the Greatest Art Hoax of the Twentieths Century EDWARD DOLNICK For Lynn It is in the ability to deceive oneself that the greatest talent is shown. —Anatole France We have here a—I am inclined to say the—masterpiece of Johannes Vermeer. —Abraham Bredius CONTENTS Epigraph iii Preface ix Part One OCCUPIED HOLLAND 1 A Knock on the Door 3 2 Looted Art 6 3 The Outbreak of War 9 4 Quasimodo 14 5 The End of Forgery? 18 6 Forgery 101 22 7 Occupied Holland 26 8 The War Against the Jews 30 9 The Forger’s Challenge 33 10 Bargaining with Vultures 40 11 Van Meegeren’s Tears 44 Part Two HERMANN GOERING AND JOHANNES VERMEER 12 Hermann Goering 51 13 Adolf Hitler 55 vi con t e n t s 14 Chasing Vermeer 57 15 Goering’s Art Collection 62 16 Insights from a Forger 66 17 The Amiable Psychopath 77 18 Goering’s Prize 82 19 Vermeer 85 20 Johannes Vermeer, Superstar 88 21 A Ghost’s Fingerprints 93 Part Three THE SELLING OF CHRIST AT EMM AUS 22 Two Forged Vermeers 105 23 The Expert’s Eye 109 24 A Forger’s Lessons 115 25 Bredius 121 26 “Without Any Doubt!” 127 27 The Uncanny Valley 132 28 Betting the Farm 137 29 Lady and Gentleman at the Harpsichord 139 30 Dirk Hannema 145 31 The Choice 150 32 The Caravaggio Connection 163 33 In the Forger’s Studio 167 34 Christ at Emmaus 170 35 Underground Tremors 173 con t e n t s vii Photographic Insert 36 The Summer of 1937 179 37 The Lamb at the Bank 186 38 “Every Inch a Vermeer” 192 39 Two Weeks and Counting 198 40 Too Late! 201 41 The Last Hurdle 203 42 The Unveiling 207
    [Show full text]
  • War Crimes Records Pp.77-83 National Archives Collection of World War II War Crimes Records (RG 238)
    1 First Supplement to the Appendix U.S. and Allied Efforts To Recover and Restore Gold and Other Assets Stolen or Hidden by Germany During World War II Finding Aid to Records at the National Archives at College Park Prepared by Dr. Greg Bradsher National Archives and Records Administration College Park, Maryland October 1997 2 Table of Contents pp.2-3 Table of Contents p.4 Preface Military Records pp.5-13 Records of the Office of Strategic Services (RG 226) pp.13-15 Records of the Office of the Secretary of War (RG 107) pp.15-22 Records of the War Department General and Special Staffs (RG 165) pp.22-74 Records of the United States Occupation Headquarters, World War II (RG 260) pp.22-72 Records of the Office of the Military Governor, United States OMGUS pp.72-74 Records of the U.S. Allied Commission for Austria (USACA) Section of Headquarters, U.S. Forces in Austria Captured Records pp.75-77 National Archives Collection of Foreign Seized Records (RG 242) War Crimes Records pp.77-83 National Archives Collection of World War II War Crimes Records (RG 238) Civilian Agency Records pp.84-88 General Records of the Department of State (RG 59) pp.84-86 Central File Records pp.86-88 Decentralized Office of “Lot Files” pp.88-179 Records of the Foreign Service Posts of the Department of State (RG 84) pp.88-89 Argentina pp.89-93 Austria pp.94-95 France pp.95-106 Germany pp.106-111 Great Britain pp.111-114 Hungary pp.114-117 Italy pp.117-124 Portugal pp.125-129 Spain pp.129-135 Sweden pp.135-178 Switzerland 3 pp.178-179 Turkey pp.179-223 Records of the American Commission for the Protectection and Salvage of Artistic and Historic Monumnts in War Areas (RG 239) pp.223-243 Records of the Foreign Economic Administration (RG 169) pp.243-244 Records of the High Commissioner for Germany (RG 466) pp.244-246 Records of the U.S.
    [Show full text]
  • The Troublesome Legacy of a Dutch Art Dealer The
    THE THIRD TIME IS NOT ALWAYS A CHARM: THE TROUBLESOME LEGACY OF A DUTCH ART DEALER THE LIMITATION AND ACT OF STATE DEFENSES ♦ IN LOOTED ART CASES ∗ BERT DEMARSIN INTRODUCTION ................................................................................. 256 I. THE LAW PRIOR TO VON SAHER ..................................................... 258 A. From Adverse Possession to the Discovery Rule ............ 261 1. The Doctrines of Adverse Possession and Fraudulent Concealment ............................................................. 261 2. The Emergence of the Discovery Rule ....................... 264 3. The Proliferation of the Discovery Rule .................... 266 B. California’s Complex Limitation Rules........................... 271 II. THE LIMITATION DEFENSE IN VON SAHER ..................................... 275 A. Factual Background ......................................................... 276 1. Wartime Looting and Early Restitution in the Netherlands ............................................................... 276 2. The Cranach Paintings in the Norton Simon Museum at Pasadena ................................................................ 279 B. Statute of Limitations ...................................................... 281 1. The District Court for the Central District of California .................................................................. 281 2. The Court of Appeals for the Ninth Circuit................ 282 3. The Constitutionality of California’s Holocaust-Era Claims Provision ......................................................
    [Show full text]
  • Petitioner, V
    No. 18-____ IN THE Supreme Court of the United States ———— MAREI VON SAHER, Petitioner, v. NORTON SIMON MUSEUM OF ART AT PASADENA AND NORTON SIMON ART FOUNDATION, Respondents. ———— On Petition for a Writ of Certiorari to the United States Court of Appeals for the Ninth Circuit ———— PETITION FOR A WRIT OF CERTIORARI ———— LAWRENCE M. KAYE SAMUEL ISSACHAROFF HOWARD N. SPIEGLER Counsel of Record DARLENE FAIRMAN 40 Washington Square FRANK K. LORD IV South, 411J HERRICK, FEINSTEIN LLP New York, NY 10012 Two Park Avenue (212) 998-6580 New York, NY 10016 [email protected] ALAN DERSHOWITZ 1525 Massachusetts Avenue Cambridge, MA 02138 Counsel for Petitioner February 8, 2019 WILSON-EPES PRINTING CO., INC. – (202) 789-0096 – WASHINGTON, D. C. 20002 QUESTIONS PRESENTED Where artworks were forcibly confiscated from their Jewish owner by Nazi Reichsmarschall Hermann Göring, then recovered by the Dutch government after WWII, and are now in private hands in the U.S., and their ownership is now disputed between U.S. citizens, 1. May a court invoke the act of state doctrine to refuse to adjudicate true title based on Dutch proceedings when the Netherlands eschews any sovereign interest in the resolution of the dispute? And, 2. May a court invoke the act of state doctrine to refuse to adjudicate true title when such refusal is contrary to the express foreign policy of the United States concerning the recovery of looted Holocaust assets? (i) ii PARTIES TO THE PROCEEDINGS AND RULE 29.6 STATEMENT Petitioner, who was Plaintiff-Appellant in the court below, is Marei von Saher.
    [Show full text]
  • Salomon Van Ruysdael Masterpiece and Renowned Wolfgang Ratjen Collection Are Among Late 2007 Acquisitions by National Gallery of Art
    Office of Press and Public Information Fourth Street and Constitution Av enue NW Washington, DC Phone: 202-842-6353 Fax: 202-789-3044 www.nga.gov/press Release Date: January 18, 2008 Salomon Van Ruysdael Masterpiece and Renowned Wolfgang Ratjen Collection are Among Late 2007 Acquisitions by National Gallery of Art Salomon van Ruysdael (1600/03–1670) Ferry on a River, 1649 oil on canv as National Gallery of Art, Washington Patrons' Permanent Fund and the Lee and Juliet Folger Fund. This acquisition was made possible through the generosity of the f amily of Jacques Goudstikker, in his memory . Washington, DC—A landmark of Dutch landscapes, Ferry on a River (1649) by Salomon van Ruysdael (1603–1670), and one of the finest private European holdings of old master drawings—the Wolfgang Ratjen collection of 185 Italian and German drawings—were acquired by the National Gallery of Art in late 2007. Salomon van Ruysdael’s masterpiece will go on view in the West Building Dutch galleries on January 18, 2008. The Gallery plans an exhibition of the Ratjen Collection accompanied by a complete scholarly catalogue, within the next two years. Until then, works may be viewed by appointment by calling (202) 842-6380. “We are extremely pleased to add these important works to our collection,” said Earl A. Powell III, director, National Gallery of Art. “Ferry on a River sets a standard in landscape painting and becomes our first Salomon van Ruysdael. The Ratjen Collection is a monument to a sophisticated connoisseur’s exquisite taste and his intense desire to continually refine his holdings.” Van Ruysdael’s Masterpiece Salomon van Ruysdael, one of the leading landscape painters of his generation, was renowned for the atmospheric effects he created in his images of life along peaceful Dutch waterways.
    [Show full text]