Guide to the Work of the Restitution Committees
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1 1 December 2009 DRAFT Jonathan Petropoulos Bridges from the Reich: the Importance of Émigré Art Dealers As Reflecte
Working Paper--Draft 1 December 2009 DRAFT Jonathan Petropoulos Bridges from the Reich: The Importance of Émigré Art Dealers as Reflected in the Case Studies Of Curt Valentin and Otto Kallir-Nirenstein Please permit me to begin with some reflections on my own work on art plunderers in the Third Reich. Back in 1995, I wrote an article about Kajetan Mühlmann titled, “The Importance of the Second Rank.” 1 In this article, I argued that while earlier scholars had completed the pioneering work on the major Nazi leaders, it was now the particular task of our generation to examine the careers of the figures who implemented the regime’s criminal policies. I detailed how in the realm of art plundering, many of the Handlanger had evaded meaningful justice, and how Datenschutz and archival laws in Europe and the United States had prevented historians from reaching a true understanding of these second-rank figures: their roles in the looting bureaucracy, their precise operational strategies, and perhaps most interestingly, their complex motivations. While we have made significant progress with this project in the past decade (and the Austrians, in particular deserve great credit for the research and restitution work accomplished since the 1998 Austrian Restitution Law), there is still much that we do not know. Many American museums still keep their curatorial files closed—despite protestations from researchers (myself included)—and there are records in European archives that are still not accessible.2 In light of the recent international conference on Holocaust-era cultural property in Prague and the resulting Terezin Declaration, as well as the Obama Administration’s appointment of Stuart Eizenstat as the point person regarding these issues, I am cautiously optimistic. -
Max Beckmann Alexej Von Jawlensky Ernst Ludwig Kirchner Fernand Léger Emil Nolde Pablo Picasso Chaim Soutine
MMEAISSTTEERRWPIECREKSE V V MAX BECKMANN ALEXEJ VON JAWLENSKY ERNST LUDWIG KIRCHNER FERNAND LÉGER EMIL NOLDE PABLO PICASSO CHAIM SOUTINE GALERIE THOMAS MASTERPIECES V MASTERPIECES V GALERIE THOMAS CONTENTS MAX BECKMANN KLEINE DREHTÜR AUF GELB UND ROSA 1946 SMALL REVOLVING DOOR ON YELLOW AND ROSE 6 STILLEBEN MIT WEINGLÄSERN UND KATZE 1929 STILL LIFE WITH WINE GLASSES AND CAT 16 ALEXEJ VON JAWLENSKY STILLEBEN MIT OBSTSCHALE 1907 STILL LIFE WITH BOWL OF FRUIT 26 ERNST LUDWIG KIRCHNER LUNGERNDE MÄDCHEN 1911 GIRLS LOLLING ABOUT 36 MÄNNERBILDNIS LEON SCHAMES 1922 PORTRAIT OF LEON SCHAMES 48 FERNAND LÉGER LA FERMIÈRE 1953 THE FARMER 58 EMIL NOLDE BLUMENGARTEN G (BLAUE GIEßKANNE) 1915 FLOWER GARDEN G (BLUE WATERING CAN) 68 KINDER SOMMERFREUDE 1924 CHILDREN’S SUMMER JOY 76 PABLO PICASSO TROIS FEMMES À LA FONTAINE 1921 THREE WOMEN AT THE FOUNTAIN 86 CHAIM SOUTINE LANDSCHAFT IN CAGNES ca . 1923-24 LANDSCAPE IN CAGNES 98 KLEINE DREHTÜR AUF GELB UND ROSA 1946 SMALL REVOLVING DOOR ON YELLOW AND ROSE MAX BECKMANN oil on canvas Provenance 1946 Studio of the Artist 60 x 40,5 cm Hanns and Brigitte Swarzenski, New York 5 23 /8 x 16 in. Private collection, USA (by descent in the family) signed and dated lower right Private collection, Germany (since 2006) Göpel 71 2 Exhibited Busch Reisinger Museum, Cambridge/Mass. 1961. 20 th Century Germanic Art from Private Collections in Greater Boston. N. p., n. no. (title: Leaving the restaurant ) Kunsthalle, Mannheim; Hypo Kunsthalle, Munich 2 01 4 - 2 01 4. Otto Dix und Max Beckmann, Mythos Welt. No. 86, ill. p. 156. -
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. -
Van Gogh Museum Journal 2002
Van Gogh Museum Journal 2002 bron Van Gogh Museum Journal 2002. Van Gogh Museum, Amsterdam 2002 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012200201_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 7 Director's foreword In 2003 the Van Gogh Museum will have been in existence for 30 years. Our museum is thus still a relative newcomer on the international scene. Nonetheless, in this fairly short period, the Van Gogh Museum has established itself as one of the liveliest institutions of its kind, with a growing reputation for its collections, exhibitions and research programmes. The past year has been marked by particular success: the Van Gogh and Gauguin exhibition attracted record numbers of visitors to its Amsterdam venue. And in this Journal we publish our latest acquisitions, including Manet's The jetty at Boulogne-sur-mer, the first important work by this artist to enter any Dutch public collection. By a happy coincidence, our 30th anniversary coincides with the 150th of the birth of Vincent van Gogh. As we approach this milestone it seemed to us a good moment to reflect on the current state of Van Gogh studies. For this issue of the Journal we asked a number of experts to look back on the most significant developments in Van Gogh research since the last major anniversary in 1990, the centenary of the artist's death. Our authors were asked to filter a mass of published material in differing areas, from exhibition publications to writings about fakes and forgeries. To complement this, we also invited a number of specialists to write a short piece on one picture from our collection, an exercise that is intended to evoke the variety and resourcefulness of current writing on Van Gogh. -
Guggenheim to Return Kirchner Painting to Heirs of Jewish Dealer
AiA Art News-service Guggenheim to return Kirchner painting to heirs of Jewish dealer The original owner, Alfred Flechtheim, fled the Nazis in 1933 after a stream of anti-Semitic attacks NANCY KENNEY 4th October 2018 18:45 GMT Kirchner's Artillerymen (1915) © Mel Urbach The Solomon R. Guggenheim Foundation has agreed to hand over Artillerymen (1915), a German Expressionist painting by Ernst Ludwig Kirchner, to the heirs of Alfred Flechtheim, a German Jewish art dealer who fled the Nazis in 1933, the museum and the heirs, announced Thursday (4 October). The Guggenheim said in a statement that the restitution of the painting to the heirs, Michael Hulton of San Francisco and Penny Hulton of Potters Bar, England, followed two years of provenance research. The heirs have also successfully laid claim to German Expressionist works in other museum collections that Flechtheim left behind when he left Germany. Research showed that Flechtheim was the target of “particularly virulent anti-Semitic propaganda” before he fled to Switzerland, Paris and then London, where he died in 1937, the Guggenheim said. The painting was left in the possession of his niece, Rosi Hulisch, in Germany and then was acquired in 1938 by Kurt Feldhäusser, a member of the Nazi party, the statement said. Feldhäusser was killed in Germany in 1945 and left his collection to his mother, who consigned the painting to the Weyhe Gallery in New York in 1949, the foundation said. A collecting couple based in St Louis bought the work in 1952 and donated it to the Museum of Modern Art in 1956, it added. -
Acquisitions of the 1930'S and 1940'S : a Selection of Paintings, Watercolors, and Drawings in Tribute to Baroness Hilla
ACQUISITIONS OF THE 1930'S 1940'S THE SOLOMON R. GUGGENHEIM MUSEUM Digitized by the Internet Archive in 2012 with funding from Solomon R. Guggenheim Museum Library and Archives http://www.archive.org/details/acquisitionsof1900reba A SELECTION OF PAINTINGS, WATERCOLORS AND DRAWINGS IN TRIBUTE TO BARONESS HILLA VON REBAY 1890-1967 ACQUISITIONS OFTHE1930'S AND 1940'S THE SOLOMON R. GUGGENHEIM MUSEUM, NEW YORK Published by The Solomon R. Guggenheim Foundation, New York, 1 968, All Rights Reserved Library of Congress Card Catalogue Number: 68-25520 Printed in Holland TRUSTEES THE SOLOMON R. GUGGENHEIM FOUNDATION Harry F. Guggenheim, President Albert E. Thiele, Vice President H. H. Arnason, Vice President, Art Administration Peter O. Lawson-Johnston, Vice President, Business Administration Eleanor, Countess Castle Stewart Henry Allen Moe A. Chauncey Newlin Mrs. Henry Obre Daniel Catton Rich Michael F. Wettach » Medley G. B. Whelpley Carl Zigrosser HILLA REBAY 1890-1967 Baroness Hilla Rebay von Ehrenwiesen was born in 1890 in Strassburg, Alsace, daughter of a German army officer. She studied painting at the Academy in Dusseldorf and in Paris and Munich. From 1914-1920 she exhibited with avant-garde groups in Germany; 1914-15 with the Seces- sion, Munich; 1914 Salon des Independants, Paris; 1915 Secession, Berlin; 1918 November Gruppe, Berlin; 1920 became a member of 'Krater'. In 1917 she exhibited at Der Sturm Gallery in Berlin. It is probable that it was through Herwarth Walden that she became acquainted with the other artists who exhibited in his gallery: Delaunay, Gleizes, Leger, Chagall, Kandinsky, Marc, Klee and Bauer — artists whose work she was later to acquire for the Foundation. -
Ernst Ludwig Kirchner's Shadow 1 MUSEUM
1 MUSEUM DIGITAL ARCHIVE Loss and Restitution: The Story of the Grunwald Family Collection Ernst Ludwig Kirchner’s Shadow PETER H. FOX A major strength of the original Fred Grunwald collection is early twentieth-century German illustrated books. The resurgence of artistic interest in book design precipitated by Jugendstil is evident in Joseph Sattler’s vision of Germanic myth in Die Nibelunge (The Nibelunge, 1900) and Oskar Kokoschka’s fable Die Träumenden Knaben (The Dreaming Boys, 1908), while Expressionist impulses animate Wassily Kandinsky’s mystical Klänge (Sounds, 1913), Max Beckmann’s treatment of friend Kasimir Edschmid’s novel Die Fürstin (The Princess, 1918), and Ernst Ludwig Kirchner’s design for poet Georg Heym’s Umbra Vitae (The Shadow of Life, 1924) (fig. 1). Kirchner created numerous illustrations to literary texts throughout his career, starting with 1001 Nights in 1906–7, but his edition of Umbra Vitae is the most complete realization of his work in this genre. Unique to the Grunwald Center is a set of two bound volumes with 163 original woodcuts, drawings, and other illustrations by Kirchner, which were created from roughly 1919 to 1923 (figs. 2–3). Previously unaccounted for in the literature on the artist, these volumes present a new perspective on the significance of illustration for Kirchner’s artistic project. This essay explores Kirchner’s engagement with Umbra Vitae as a turning point in his oeuvre, a moment in which his desires to work through the trauma of World War I and control the reception of his art coalesced. Fig. 1. Ernst Ludwig Kirchner, Umbra Vitae (The Shadow of Life, 1924). -
Declaration of Jonathan G. Petropoulos
UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK ------------------------------------------------------X MARTIN GROSZ and LILIAN GROSZ : : Case No.: 09 Civ. 3706 (CM)(THK) Plaintiffs, : : against : : ECF CASE THE MUSEUM OF MODERN ART, : : Defendant, : : DECLARATION OF PORTRAIT OF THE POET MAX : JONATHAN G. PETROPOULOS HERRMANN-NEISSE With Cognac-Glass, : SELF-PORTRAIT WITH MODEL and : REPUBLICAN AUTOMATONS, : Three Paintings by George Grosz : : Defendants in rem. : : -----------------------------------------------------X JONATHAN G. PETROPOULOS deposes and certifies, as follows: 1. I am over the age of twenty-one and reside at 526 West 12th Street, Claremont, California, 91711. I have been retained by the attorneys for the heirs of George Grosz to provide this Declaration in relation to factual issues arising from a motion by the defendant, The Museum of Modern Art (“The MoMA”), to dismiss the First Amended Complaint (“FAC”). 2. Specifically, I have been requested to review two questions: (1) whether the allegations that three paintings by George Grosz, Portrait of the Poet Max-Herrmann- Neisse (with Cognac Glass), Self-Portrait with Model and Republican Automatons (together “the Paintings”), were lost or stolen are grounded in historical fact; and (2) whether the report of Nicholas deB. Katzenbach (“the Katzenbach Report”) submitted in support of the motion to dismiss is consistent with the historical record and provenance documentation available to art historians and scholars. As set forth below, a review of available documentation and scholarly resources shows: (1) that the allegations of the FAC appear to be supported by documentary evidence and otherwise well-grounded in historical fact and (2) that the statements contained in the Katzenbach Report are inconsistent with the historical record. -
Expressionism in Germany and France: from Van Gogh to Kandinsky
LACM A Exhibition Checklist Expressionism in Germany and France: From Van Gogh to Kandinsky Cuno Amiet Mutter und Kind im Garten (Mother and Child in Garden) (circa 1903) Oil on canvas Canvas: 27 11/16 × 24 3/4 in. (70.4 × 62.8 cm) Frame: 32 1/2 × 28 9/16 × 2 1/4 in. (82.5 × 72.5 × 5.7 cm) Kunstmuseum Basel Cuno Amiet Bildnis des Geigers Emil Wittwer-Gelpke (1905) Oil on canvas Canvas: 23 13/16 × 24 5/8 in. (60.5 × 62.5 cm) Frame: 27 3/4 × 28 9/16 × 2 5/8 in. (70.5 × 72.5 × 6.7 cm) Kunstmuseum Basel Pierre Bonnard The Mirror in the Green Room (La Glace de la chambre verte) (1908) Oil on canvas Canvas: 19 3/4 × 25 3/4 in. (50.17 × 65.41 cm) Frame: 27 × 33 1/8 × 1 1/2 in. (68.58 × 84.14 × 3.81 cm) Indianapolis Museum of Art Georges Braque Paysage de La Ciotat (1907) Oil on canvas Overall: 14 15/16 x 18 1/8 in. (38 x 46 cm) K20 Kunstsammlung Nordrhein-Westfalen Georges Braque Violin et palette (Violin and Palette) (1909-1910) Oil on canvas Canvas: 36 1/8 × 16 7/8 in. (91.76 × 42.86 cm) Solomon R. Guggenheim Museum Heinrich Campendonk Harlequin and Columbine (1913) Oil on canvas Canvas: 65 × 78 3/8 in. (165.1 × 199.07 cm) Frame: 70 15/16 × 84 3/16 × 2 3/4 in. (180.2 × 213.8 × 7 cm) Saint Louis Art Museum Page 1 Paul Cézanne Grosses pommes (Still Life with Apples and Pears) (1891-1892) Oil on canvas Canvas: 17 5/16 × 23 1/4 in. -
David Zwirner
David Zwirner This document was updated September 7, 2019. For reference only and not for purposes of publication. For more information, please contact gallery. Paul Klee Born 1879 in Münchenbuchsee, Switzerland. Died 1940 in Muralto, Switzerland. EDUCATION 1898 Royal Academy of Fine Arts, Munich SOLO EXHIBITIONS 2019 Paul Klee: 1939, David Zwirner, New York, September 10 – October 26, 2019 Beyond Laughter and Tears: Klee, Chaplin, Sonderegger, Zentrum Paul Klee, Bern, Switzerland, August 23, 2019 – May 24, 2020 [two-person exhibition] Paul Klee and Anni Albers, San Francisco Museum of Modern Art, San Francisco, March 22 – August 4, 2019 [two-person exhibition] Paul Klee – Equilíbrio Instável, Centro Cultural Banco do Brasil, São Paulo, February 13 – April 29, 2019 [itinerary: Centro Cultural Banco do Brasil, Rio de Janeiro, May 14 – August 12, 2019; Centro Cultural Banco do Brasil, Belo Horizonte, August 27 – November 18, 2019] 2018 Paul Klee, The Berggruen Collection from The Metropolitan Museum of Art, National Gallery of Canada, Ontario, Canada, November 16, 2018 – March 17, 2019 [collection display] Paul Klee. Alle orgini dell’arte, Museo delle Culture (MUDEC), Milan, Italy, October 31, 2018 – March 3, 2019 Paul Klee. Animality, Zentrum Paul Klee, Bern, Switzerland, October 19, 2018 – March 17, 2019 Paul Klee (1879-1940). Spätwerk auf Papier, Florian Sundheimer Kunsthandel, Munich, September 28 – November 11, 2018 Cosmos Klee, Zentrum Paul Klee, Bern, Switzerland, June 1 – October 28, 2018 Paul Klee. Construction of Mystery, Pinakothek -
Galerie Thomas Contents
THOMAS GALERIE THOMAS CONTENTS GEORG BASELITZ Triangle Between Arm and Trunk PAUL KLEE Desert Village 68 Sel f-Portrait with Outstretched Arm and Wings 4 ANSELM KIEFER Für O.K. die Windsbraut 74 STEPHAN BALKENHOL Tall Man, Black and White 8 FERNAND LÉGER Les deux femmes à l’oiseau 78 MARC CHAGALL Âne bleu aux fleurs 12 AFTER FERNAND LÉGER Les Constructeurs (état définitif) 84 Le peintre à la Tour Eiffel 16 MARKUS LÜPERTZ Foliage Tent 90 TONY CRAGG Elliptical Column 20 WILHELM MORGNER Man with Barrow 94 THEO VAN DOESBURG Paysage 24 GABRIELE MÜNTER View of the Moss in Evening Light (Murnau Landscape) 98 JEAN DUBUFFET Le sol de la montagne 28 ERNST WILHELM NAY Woman in the Sound 102 MAX ERNST Marine 32 Les peupliers 36 MAX PECHSTEIN Still Life in Grey 106 Paysage de Corbières 42 SERGE POLIAKOFF Composition abstraite 11 2 Ci-fut une hirondelle 46 MARC QUINN We Share our Chemistry with the Stars 11 6 GÜNTHER FÖRG Untitled 50 GERHARD RICHTER 13.11. 1985 120 PETER HALLEY The Trap 54 GEORGE SEGAL Woman Seated on Chair with Caning 124 ALEXEJ VON JAWLENSKY Variation Studio Window 58 Large Meditation: Before Night Comes 64 CHAIM SOUTINE Landscape at Cagnes 128 JEAN TINGUELY Sprit – bleu, ocre et vert 134 2 3 GEORG BASELITZ Triangle Between Arm and Trunk (Sel f-Portrait with Outstretched Arm and Wings) 4 GEORG BASELITZ Deutschbaselitz, Saxony 1938 – lives in Bavaria and in Imperia (Italy) Triangle Between Arm and Trunk (Sel f-Portrait with Outstretched Arm and Wings) gouache and oil on brown paper December 8, 1975 Between 1972 and 1975, Georg Baselitz completed a that much more attention with its dominating blue colour, 56 x 40.7 cm small but significant series of large-scale self-portraits in stressing Baselitz's wish that the formal properties of the 22 x 16 in. -
KLEE and Kandinsky
KLEE & KANDINSKY 5479_5480_s001-360_klee_kand.indd 1 15.05.15 09:01 5479_5480_s001-360_klee_kand.indd 2 15.05.15 09:01 5479_5480_s001-360_klee_kand.indd 3 15.05.15 09:01 5479_5480_s001-360_klee_kand.indd 4 15.05.15 09:01 5479_5480_s001-360_klee_kand.indd 5 15.05.15 09:01 5479_5480_s001-360_klee_kand.indd 6 15.05.15 09:01 KLEE & KANDINSKY NEIGHBORS FRIENDS RIVALS EDITED BY MICHAEL BAUMGARTNER ANNEGRET HOBERG CHRISTINE HOPFENGART WITH CONTRIBUTIONS BY VIVIAN ENDICOTT BARNETT, MICHAEL BAUMGARTNER, MONIKA BAYER-WERMUTH, KAI-INGA DOST, FABIENNE EGGELHÖFER, CHARLES WERNER HAXTHAUSEN, ANNEGRET HOBERG, CHRISTINE HOPFENGART, WOLFGANG THÖNER, PETER VERGO, ANGELIKA WEISSBACH LENBACHHAUS PRESTEL MÜNCHEN MUNICH | LONDON | NEW YORK 5479_5480_s001-360_klee_kand.indd 7 15.05.15 09:01 CONTENTS FOREWORD ESSAYS 10 PETER FISCHER, MATTHIAS MÜHLING 256 “TO MY DEAR FRIEND OF MANY YEARS”— KLEE AND KANDINSKY’S WORKS ON PAPER, 1911–1937 CHRONOLOGY VIVIAN ENDICOTT BARNETT 12 CHRISTINE HOPFENGART 268 PAUL KLEE’S NATURE COSMOLOGY— STRUCTURAL ANALYSIS AND INTRODUCTION IMAGINARY MORPHOLOGY 34 KLEE AND KANDINSKY— MICHAEL BAUMGARTNER GOOD NEIGHBORS CHRISTINE HOPFENGART 280 KANDINSKY—THE “NATURAL WORLD” AND A NEW “ARTIFICIAL WORLD” ANNEGRET HOBERG 292 KLEE, KANDINSKY, AND MUSIC CATALOGUE PETER VERGO 58 –255 WITH TEXTS BY VIVIAN ENDICOTT BARNETT, 302 “FORCES MOVING IN DIFFERENT MICHAEL BAUMGARTNER, DIRECTIONS” —PAUL KLEE AND MONIKA BAYER-WERMUTH, WASSILY KANDINSKY IN THE ENSEMBLE KAI-INGA DOST, ANNEGRET HOBERG, OF PAINTERS AT THE BAUHAUS CHRISTINE HOPFENGART WOLFGANG