Immunity from Seizure
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
*FE Schiele Apr 08
Seventy years after the Viennese owner of a Schiele painting now hanging in an Austrian museum was sent to Dachau, half a century after it resurfaced in Switzerland, and ten years after it was seized from the Museum of Modern Art, new details about the work’s provenance are emerging, raising questions about who its legitimate owners really are UNRAVELING THE MYSTERY OF ‘Dead City’ TEN YEARS AFTER Manhattan district attor- New York maintains that the painting belongs to the heirs of ney Robert Morgenthau seized two Egon Schiele paintings its prewar owner, Lea Bondi Jaray, a Jewish Viennese art from a loan exhibition at the Museum of Modern Art, the dealer. The U.S. government became involved in the Wally repercussions continue to roil the art world. case in September 1999, after the New York State Court of The paintings, Portrait of Wally (1912) and Dead City III Appeals quashed the Morgenthau subpoenas and ordered the (1911), were featured in “Egon Schiele: two paintings returned to the Leopold The Leopold Collection, Vienna,” a 1997 BY WILLIAM D. COHAN Museum. Instead of returning Wally, exhibition of more than 150 works that though, Mary Jo White, then U.S. attor- had been owned by Dr. Rudolf Leopold, a Viennese oph- ney for the Southern District of New York, seized it again and thalmologist who amassed one of the world’s finest Schiele initiated the lawsuit in Judge Preska’s collections after World War II. In 1994 Leopold sold his courtroom. OPPOSITE Egon collection of 5,400 works, including 250 Schieles, for about Meanwhile, Dead City, an eerie and Schiele’s Dead $175 million to the Austrian government, which has since claustrophobic rendering of the quaint City III, 1911. -
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. -
Download Press Release
Exhibition Facts Press conference 15 February 2019 | 10 am Opening 15 February 2019 | 6.30 pm Duration 16 February – 10 June 2019 Venue Tietze Galleries Curators Dr Johann Kräftner, Director LIECHTENSTEIN. The Princely Collections, Vaduz–Vienna Laura Ritter, ALBERTINA Works 90 Audio guides German, English, Italian & Russian Contact Albertinaplatz 1 | 1010 Vienna T +43 (01) 534 83 0 [email protected] www.albertina.at Opening Hours Daily 10 am – 6 pm | Wednesdays & Fridays 10 am – 9pm Press contact Fiona Sara Schmidt T +43 (01) 534 83 511 | M +43 (0)699 12178720 [email protected] Sarah Wulbrandt T +43 (01) 534 83 512 | M +43 (0)699 10981743 [email protected] Rudolf von Alt and his Time Watercolors from the Princely Collections of Liechtenstein 16 February – 10 June 2019 This presentation, which is the second part of the celebratory exhibition marking the Principality of Liechtenstein’s Tricentennial, is devoted to the Viennese watercolor from the Biedermeier era to realism. Nearly 100 of the most beautiful watercolors point to the vast knowledge underlying the princely collecting passion while providing a correspondingly overview of the watercolor artistry of this era. In the Viennese tradition of watercolor painting, the spontaneous handling of light and coloration plays a central role, conveying an intensity and presence that can hardly be achieved in other media. One sees this in how the brilliant magnificence of aristocratic home decor is reflected by Rudolf von Alt in his depictions of the Viennese Liechtenstein palaces’ representative interiors that that the family commissioned from over a period of several decades. -
Portraits of the Belle Epoque
Jane Van Nimmen exhibition review of Portraits of the Belle Epoque Nineteenth-Century Art Worldwide 11, no. 1 (Spring 2012) Citation: Jane Van Nimmen, exhibition review of “Portraits of the Belle Epoque,” Nineteenth- Century Art Worldwide 11, no. 1 (Spring 2012), http://www.19thc-artworldwide.org/spring12/ portraits-of-the-belle-epoque. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Nimmen: Portraits of the Belle Epoque Nineteenth-Century Art Worldwide 11, no. 1 (Spring 2012) Portraits of the Belle Epoque Centro del Carmen, Valencia April 5 – June 26, 2011 CaixaForum, Barcelona July 19 – October 9, 2011 Curators: Tomàs Llorens and Boye Llorens Catalogue Portraits of the Belle Epoque. Essays by Valeriano Bozal, Danièle Devynck, Barbara Guidi, Boye Llorens, Tomàs Llorens, and Pilar Pedraza; biographies by Alicia Izquierdo Ramírez. Madrid: El Viso; Valencia: Generalitat Valenciana, Consorci de Museus de la Comunitat Valenciana; Barcelona: Fundación “la Caixa,” 2011. 272 pp.; 123 color illustrations, 4 b/w; bibliography. ISBN: 978-84-95241-81-8 (English) Retratos de la Belle Epoque ISBN: 978-84-95241-79-5 (Spanish) Retrats de la Belle Epoque ISBN: 978-84-95241-80-1 (Catalan) €55,89 The stunning exhibition Portraits of the Belle Epoque in 2011 resulted from the first collaboration between the Consortium of Museums of the Valencian Community and “la Caixa” Foundation in Barcelona. Tomàs Llorens, co-curator of the show with his son, Boye Llorens, deliberately included the commonplace phrase “Belle Epoque” in the title (fig. -
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............................................................................... -
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. -
KOLOMAN MOSER Ø KOLOMAN DESIGNING MODERN VIENNA Ø MOSER 1897–1907 Edited by Christian Witt-Dörring
5294-NG_MOSER_jacket_offset 19.03.13 13:47 Seite 1 MOSER KOLOMAN KOLOMAN MOSER ø KOLOMAN DESIGNING MODERN VIENNA ø MOSER 1897–1907 Edited by Christian Witt-Dörring With preface by Ronald S. Lauder, foreword by Renée Price, and contributions by Rainald Franz, Ernst Ploil, Elisabeth Schmuttermeier, Janis Staggs, Angela Völker, and Christian Witt-Dörring FRONT COVER: This catalogue accompanies an (TOP ROW) Armchair, ca. 1903, Neue Galerie DESIGNING New York; Easter egg, 1905, A.P. Collection, MODERN VIENNA exhibition at the Neue Galerie London; (MIDDLE ROW) Vase, 1905, New York and the Museum of A.P. Collection, London; Jewelry box, 1907, 1897–1907 Fine Arts, Houston, devoted to Private Collection; (BOTTOM ROW) Vase, 1903, Ernst Ploil, Vienna; Bread basket, 1910, Austrian artist and designer Asenbaum, London Koloman Moser (1868–1918). It BACK COVER: is the first museum retrospec- (TOP ROW) Centerpiece with handle, 1904, tive in the United States focused Private Collection; Coffer given by Gustav on Moser’s decorative arts. The Mahler to Alma Mahler, 1902, Private Collection; (MIDDLE ROW) Two napkin rings, exhibition is organized by Dr. 1904, Private Collection; Table, 1904, Private Christian Witt-Dörring, the Neue Collection; (BOTTOM ROW) Mustard pot, 1905, Private Collection; Display case for the Galerie Curator of Decorative Arts. Schwestern Flöge (Flöge Sisters) fashion salon, 1904, Private Collection The exhibition and catalogue survey the entirety of Moser’s decorative arts career. They ex- amine his early work as a graphic designer and his involvement with the Vienna Secession, with spe- cial focus given to his role as an PRESTEL PRESTEL artist for the journal Ver Sacrum (Sacred Spring). -
Vienna Guide
April 22—24, 2015, Vienna, Austria Hotel Park Royal Palace Vienna Guide SIGHTSEEING Vienna is old, Vienna is new… and the sights are so varied: from the magnificent Baroque buildings to “golden” Art Nouveau to the latest architecture. And over 100 museums beckon… ALBERTINA The Albertina has the largest and most valuable graphical collection in the world, including works such as Dürer’s “Hare” and Klimt‘s studies of women. Its latest exhibition presents masterpieces of the Modern era, spanning from Monet to Picasso and Baselitz. As the largest Hapsburg residential palace, the Albertina dominates the southern tip of the Imperial Palace on one of the last remaining fortress walls in Vienna. ANKER CLOCK This clock (built 1911–14) was created by the painter and sculptor Franz von Matsch and is a typical Art Nouveau design. It forms a bridge between the two parts of the Anker Insurance Company building. In the course of 12 hours, 12 historical figures (or pairs of figures) move across the bridge. Every day at noon, the figures parade, each accompanied by music from its era. AUGARTEN PORCELAIN MANUFacTORY Founded in 1718, the Vienna Porcelain Manufactory is the second-oldest in Europe. Now as then, porcelain continues to be made and painted by hand. Each piece is thus unique. A tour of the manufactory in the former imperial pleasure palace at Augarten gives visitors an idea of how much love for detail goes into the making of each individual piece. The designs of Augarten have been created in cooperation with notable artists since the manufactory was established. -
The Ronald S. Lauder Collection Selections from the 3Rd Century Bc to the 20Th Century Germany, Austria, and France
000-000-NGRLC-JACKET_EINZEL 01.09.11 10:20 Seite 1 THE RONALD S. LAUDER COLLECTION SELECTIONS FROM THE 3RD CENTURY BC TO THE 20TH CENTURY GERMANY, AUSTRIA, AND FRANCE PRESTEL 001-023-NGRLC-FRONTMATTER 01.09.11 08:52 Seite 1 THE RONALD S. LAUDER COLLECTION 001-023-NGRLC-FRONTMATTER 01.09.11 08:52 Seite 2 001-023-NGRLC-FRONTMATTER 01.09.11 08:52 Seite 3 THE RONALD S. LAUDER COLLECTION SELECTIONS FROM THE 3RD CENTURY BC TO THE 20TH CENTURY GERMANY, AUSTRIA, AND FRANCE With preface by Ronald S. Lauder, foreword by Renée Price, and contributions by Alessandra Comini, Stuart Pyhrr, Elizabeth Szancer Kujawski, Ann Temkin, Eugene Thaw, Christian Witt-Dörring, and William D. Wixom PRESTEL MUNICH • LONDON • NEW YORK 001-023-NGRLC-FRONTMATTER 01.09.11 08:52 Seite 4 This catalogue has been published in conjunction with the exhibition The Ronald S. Lauder Collection: Selections from the 3rd Century BC to the 20th Century. Germany, Austria, and France Neue Galerie New York, October 27, 2011 – April 2, 2012 Director of publications: Scott Gutterman Managing editor: Janis Staggs Editorial assistance: Liesbet van Leemput Curator, Ronald S . Lauder Collection: Elizabeth Szancer K ujawski Exhibition designer: Peter de Kimpe Installation: Tom Zoufaly Book design: Richard Pandiscio, William Loccisano / Pandiscio Co. Translation: Steven Lindberg Project coordination: Anja Besserer Production: Andrea Cobré Origination: royalmedia, Munich Printing and Binding: APPL aprinta, W emding for the text © Neue Galerie, New Y ork, 2011 © Prestel Verlag, Munich · London · New Y ork 2011 Prestel, a member of V erlagsgruppe Random House GmbH Prestel Verlag Neumarkter Strasse 28 81673 Munich +49 (0)89 4136-0 Tel. -
Katalog No 26
26 NO. 26 www.leclaire-kunst.de MASTER DRAWINGS LE CLAIRE KUNST 2010 MASTER DRAWINGS NO. 26 MASTER DRAWINGS ELBCHAUSSEE 386 · 22609 HAMBURG · GERMANY · PHONE: +49 (0)40 881 0646 · FAX: +49 (0)40 880 4612 [email protected] · WWW.LECLAIRE-KUNST.DE Karoline von Kügelgen Thomas and Gianna le Claire Gerhard Kehlenbeck Since 2005 we have regularly published catalogues devoted to single artists such as Rudolf von Alt, Christoffer Wilhelm Eckersberg, Gustav Klimt, Johan Christian Dahl and Max Liebermann. It now gives us particular pleasure to be able to present a selection of works on paper from our stock. This Catalogue 26 has a special focus on French, German, Italian and Netherlandish artists. When we look at the price explosion in the market for modern and contemporary art, we have the impression that we are the tortoise to modern art’s hare. But we’re quite comfortable with this. We feel more far more secure with the solid values and historically robust performance of Old Masters. As collectors in this field, we buy only what we like. We are less concerned about the financial impact on our collections of, say, fluctuations in the oil and commodity markets, or in the Dow Jones Index and the FTSE 100. This is the strength of the Old Master market, coupled with dwindling supply and increasing demand – and the sheer beauty, immediacy and appeal of the works we collect. We are pleased to say that Karoline von Kügelgen has joined the company. She is a distinguished expert in 19th and 20th-century works on paper. -
Leonard Lauder's Klimt Landscape Belongs to Me, Says Heir of Nazi Victim | the Art Newspaper
ARCHIVE AUSTRIA Leonard Lauder’s Klimt landscape belongs to me, says heir of Nazi victim Georges Jorisch is represented by Randol Schoenberg, the lawyer who last year won his eight-year case against Austria for the return of five Klimts to California resident Maria Altman JASON EDWARD KAUFMAN 1st October 2007 00:00 BST New York A Gustav Klimt painting that hangs in the New York apartment of billionaire philanthropist and collector Leonard Lauder is being claimed by a descendant of the Viennese family from whom it was looted during World War II. The signed oil-on-canvas Blooming Meadow (1904/05) was purchased by Mr Lauder in 1983 from Serge Sabarsky, the late Austrian-born Manhattan-based dealer and collector. But the newly published Klimt catalogue raisonné by Alfred Weidinger (Prestel) confirms that the painting belonged to Amalie Redlich, a Viennese Jew whose property was looted after she was deported to the Lodz ghetto in Poland by the Nazis in 1941, where she is believed to have later died. Her sole surviving grandson, Georges Jorisch of Montreal, is represented by Randol Schoenberg, the Los Angeles-based attorney who last year won restitution from Austria of five Klimt paintings originally belonging to the Viennese Bloch-Bauer family on behalf of California resident Maria Altmann following an eight-year legal battle. These included the “golden” portrait of Adele Bloch-Bauer which was then acquired by Leonard Lauder’s brother, Ronald Lauder, reportedly for $135m (although this price can not be independently confirmed). It now hangs in Ronald Lauder’s Neue Galerie in New York. -
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.