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class='cap-left'></div> <div class='cap-right'></div> </div> </div>  <div class='columns-inner'> <div class='column-center-outer'> <div class='column-center-inner'> <div class='main section' id='main' name='Main'><div class='widget Blog' data-version='1' id='Blog1'> <div class='blog-posts hfeed'> <div class='status-msg-wrap'> <div class='status-msg-body'> Showing posts with label Christie's. <a href="https://plundered-art.blogspot.com/">Show all posts</a> </div> <div class='status-msg-border'> <div class='status-msg-bg'> <div class='status-msg-hidden'>Showing posts with label Christie's. <a href="https://plundered-art.blogspot.com/">Show all posts</a></div> </div> </div> </div> <div style='clear: both;'></div> <div class="date-outer"> <h2 class='date-header'>22 November 2024</h2> <div class="date-posts"> <div class='post-outer'> <div class='post hentry uncustomized-post-template' itemprop='blogPost' itemscope='itemscope' itemtype='http://schema.org/BlogPosting'> <meta content='https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdgvkjwVfAb1OdHp4x5yEu-mKW-z0kr5PN56p8wIjv7H9yzuD8xSablxQyayssrDbi9F-Xl4LG5e7D4P5ZH1IeYUwTPRzv2GiqF61cJGjFjxRdVkpvBcI3flAmHoErPNeCyEY70OUe5vniNgXrvGV2AqT_1Z5pQgHVEhlPsjpEN2UfLR3hL2FXKE2kiGg/s1600/Louvre-Museum-pyramid-Paris-Pei-IM.jpg.webp' itemprop='image_url'/> <meta content='5918154958856402553' itemprop='blogId'/> <meta content='1296205998799253957' itemprop='postId'/> <a name='1296205998799253957'></a> <h3 class='post-title entry-title' itemprop='name'> <a href='https://plundered-art.blogspot.com/2024/11/utopian-thoughts-on-lazy-snowy-friday.html'> Utopian thoughts on a lazy, snowy Friday</a> </h3> <div class='post-header'> <div class='post-header-line-1'></div> </div> <div class='post-body entry-content' id='post-body-1296205998799253957' itemprop='description articleBody'> by Marc Masurovsky Museums Acquisitions of objects are limited to those objects with no taint whatsoever on title. Under-provenanced objects with significant gaps and riddled with uncertainties as to past ownerships and locations must not enter a museum.<div> The museum’s research budget allows for a team of full-time researchers whose sole purpose is to keep the museum “honest.” </div><div> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdgvkjwVfAb1OdHp4x5yEu-mKW-z0kr5PN56p8wIjv7H9yzuD8xSablxQyayssrDbi9F-Xl4LG5e7D4P5ZH1IeYUwTPRzv2GiqF61cJGjFjxRdVkpvBcI3flAmHoErPNeCyEY70OUe5vniNgXrvGV2AqT_1Z5pQgHVEhlPsjpEN2UfLR3hL2FXKE2kiGg/s300/Louvre-Museum-pyramid-Paris-Pei-IM.jpg.webp" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="155" data-original-width="300" height="155" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdgvkjwVfAb1OdHp4x5yEu-mKW-z0kr5PN56p8wIjv7H9yzuD8xSablxQyayssrDbi9F-Xl4LG5e7D4P5ZH1IeYUwTPRzv2GiqF61cJGjFjxRdVkpvBcI3flAmHoErPNeCyEY70OUe5vniNgXrvGV2AqT_1Z5pQgHVEhlPsjpEN2UfLR3hL2FXKE2kiGg/s1600/Louvre-Museum-pyramid-Paris-Pei-IM.jpg.webp" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Louvre, Paris</td></tr></tbody></table>If problems emerge in the ownership history of objects in the permanent collection, all measures must be taken to clear title by submitting the object to a detailed, forensic analysis. If additional research reveals illicit activity that might have resulted in an illegal transfer of ownership, the museum will right the past wrong, seek out the heirs of the rightful owners and work out a proper solution to fix the historical wrong as long as it reflects the wishes of the aggrieved parties (those who suffered the loss of the objects).<div> <div>As a matter of course, the museum will make available to the general public all information about the history of each object in its permanent collection without judgment or preconceived notions. That information will be freely and readily accessible.</div><div> When a museum possesses a large inventory of objects obtained from indigenous communities, former colonies, and conflict zones, it will:</div><div> </div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-JsyWYbLGvw1V3bGWj55moZuszSuckTKiORoS3bJmKh79e1v91EIjakjU13jALsyQ6i9vwjRLyR87Cf33R6bbs1oDCW-qYnpiK9U4aIWFDM7Fccp5rG4qUVlWttUuCpGT1fJPyn6bsOYh83JzMSaJ3rr-Qm2Bw2bcWjqofiLok06unFDNdSy-OM58CyA/s540/Berlin-BerlinerSchloss-6-Asio.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="360" data-original-width="540" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-JsyWYbLGvw1V3bGWj55moZuszSuckTKiORoS3bJmKh79e1v91EIjakjU13jALsyQ6i9vwjRLyR87Cf33R6bbs1oDCW-qYnpiK9U4aIWFDM7Fccp5rG4qUVlWttUuCpGT1fJPyn6bsOYh83JzMSaJ3rr-Qm2Bw2bcWjqofiLok06unFDNdSy-OM58CyA/s320/Berlin-BerlinerSchloss-6-Asio.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Humboldt Forum, Berlin </td></tr></tbody></table></div><div> </div><div>         </div><div>1/ identify the rightful owners of these objects, whomever they may be; 2/ take the necessary steps to contact their representatives and consult them as to how to treat these objects; 3/ if repatriation is in order, the museum will abide by this decision and return the objects; 4/ if other solutions are envisioned, they too shall be respected and implemented as long as they reflect the wishes of the aggrieved parties (those who suffered the loss of the objects).</div><div> Auction houses</div><div> Recognizing the fact that there are thousands of auction houses worldwide, it is almost impossible to regulate their activities without imposing severe constraints on the global art market. Still, auction houses are the main purveyors of looted and otherwise stolen cultural property.</div><div> </div><div>To stanch the in- and out-flows of stolen cultural goods, governments will establish oversight bodies whose sole purpose is to ensure that auction houses comply with rules and standards that will rid the market of unprovenanced, under-provenanced goods whose origin cannot be explained either by the consignor or the seller. If this is unreasonable, at the very least, auction houses will post “buyer beware” notices for un-and under-provenanced objects that they offer for sale. The goal is to inform consumers much like government agencies issuing product alerts. If art objects are commodities, they should be regulated in the same way that pharmaceutical, cosmetics, food and other products are.</div><div> </div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8nZvaPK9EkMJ7-BdqQsQggxSP0C8RFcAnVsMHR83CPKGu1lt1eucS0Lshof4etNhmqu9_HahrQ2Bk9qt9boT7Bddk_ZIwML7lwcmq2k9TI_tSz9RixxMCCCskvPcGfNFv_VDkBwdeDinHh4JNmeUlkiLKLIuyHcNrFknbKM8wyoYlgd2HgkVB71Fu8bc/s299/christies.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="168" data-original-width="299" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8nZvaPK9EkMJ7-BdqQsQggxSP0C8RFcAnVsMHR83CPKGu1lt1eucS0Lshof4etNhmqu9_HahrQ2Bk9qt9boT7Bddk_ZIwML7lwcmq2k9TI_tSz9RixxMCCCskvPcGfNFv_VDkBwdeDinHh4JNmeUlkiLKLIuyHcNrFknbKM8wyoYlgd2HgkVB71Fu8bc/w320-h181/christies.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Christie's</td></tr></tbody></table> </div><div> </div><div> </div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNti2dXwl6T7iPIPeb5DsRAUaJbuYcpXHOn_-NBrIUn3uemMu77Oq_f3SIoVinfO0EeAsDW6EiGKrqei81BZs_tMkw_9kh6-c8Qzs7qtzeBjEtTjRcbkGWjMnq7cMBg5YuN1Ohv7W19bWoVwE9kqjRl9x4jZz7Xs7jOLLwODd0SxwpaYk47qZDuiTNMVU/s1500/Drouot-Facade-New-July-2023.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1001" data-original-width="1500" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNti2dXwl6T7iPIPeb5DsRAUaJbuYcpXHOn_-NBrIUn3uemMu77Oq_f3SIoVinfO0EeAsDW6EiGKrqei81BZs_tMkw_9kh6-c8Qzs7qtzeBjEtTjRcbkGWjMnq7cMBg5YuN1Ohv7W19bWoVwE9kqjRl9x4jZz7Xs7jOLLwODd0SxwpaYk47qZDuiTNMVU/s320/Drouot-Facade-New-July-2023.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Hôtel Drouot</td></tr></tbody></table></div><div> </div><div> </div><div> </div><div> </div><div> </div><div> </div><div> </div><div> </div><div> </div><div>Collectors, dealers, and brokers</div><div> Private handlers of cultural goods are an important cog in the global machinery of recycling and dissipation of looted and otherwise stolen cultural objects around the world. Without them, looters, plunderers and thieves find it challenging to “fence” their loot and to make quick money off of it, thus increasing their risk and disincentivizing the act of plunder and theft. These handlers must be prohibited from offering any object which is un-or under-provenanced or whose past history shows clear signs of dislocation and illicit transfers of title. If they do, criminal penalties must be imposed on them and their accomplices. Can privateers be deterred from acquiring objects with dubious provenance information that casts a cloud on title? They will, no matter what any government says or does. Realistically, their activity cannot be completely deterred but their quest to sell these objects on the open market must be interdicted. Does this open the door to the creation of a parallel art market which operates under the radar? That market already exists and probably always will. Wars, conflicts, crises, laissez-faire governments and regimes enable its existence an allow it to thrive under their very noses and, to some extent, with their complicit assent. The fact that national and international elites sustain its existence complicates the task of any regulator to restrict its expanse and depth. Any attempt to clamp down on the parallel market is politically dangerous for those in positions of power and influence. Good faith defense Civil law and common law countries will rethink how good faith serves as an almost-impenetrable defense against relinquishing looted objects to claimants. One possibility is to create exceptions to the good faith defense which remove that protection from those who acquire and sell stolen or plundered goods, even if they were unaware of the true origin of the objects which they acquired. This measure will allow restitution claims to proceed without claimants worrying that the current possessor will resort to good faith as a reason not to restitute their property.  Ignorance is not a defense. Those who dabble in the art market must exercise proper due diligence before acquiring, selling, displaying, donating, loaning cultural goods. Failure to do so must have legal consequences. Ethical collecting Can people build an ethical collection of art objects, viz., a collection of objects whose history is not tainted by ambiguous claims to ownership as a result of civil unrest, war, and genocide? They can and they do. The thrill of seeking out beautiful objects whose acquisition becomes controversial because of the circumstanced surrounding the object (coercion, illegal extraction, outright theft, etc.) is the ultimate drug that fuels thrill-based acquisitions. If you’re skeptical, read about <a href="https://www.nytimes.com/2009/12/11/arts/design/11hoving.html">Thomas Hoving</a>, <a href="https://www.nytimes.com/2023/06/22/arts/douglas-latchford-antiquities-trafficker-daughter.html">Douglas Latchford</a>, and many others in the museum and art worlds who took pride in their reckless manners and methods to secure “beautiful and unique” objects. Photos:</div><div> </div><div>Christie's-courtesy of Artisera.com</div><div>Hôtel Drouot--courtesy of Drouot.</div><div> </div><div> </div></div></div> <div style='clear: both;'></div> </div> <div class='post-footer'> <div class='post-footer-line post-footer-line-1'> Posted by the <meta content='https://www.blogger.com/profile/03190272299610799123' itemprop='url'/> <a class='g-profile' href='https://www.blogger.com/profile/03190272299610799123' rel='author' title='author profile'> plundered art </a> at <meta content='https://plundered-art.blogspot.com/2024/11/utopian-thoughts-on-lazy-snowy-friday.html' itemprop='url'/> <a class='timestamp-link' href='https://plundered-art.blogspot.com/2024/11/utopian-thoughts-on-lazy-snowy-friday.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2024-11-22T13:58:00-05:00'>13:58</abbr></a> <a href='https://www.blogger.com/email-post/5918154958856402553/1296205998799253957' title='Email Post'> <img alt='' class='icon-action' height='13' src='https://resources.blogblog.com/img/icon18_email.gif' width='18'/> </a> <div class='post-share-buttons goog-inline-block'> <a class='goog-inline-block share-button sb-email' href='https://www.blogger.com/share-post.g?blogID=5918154958856402553&postID=1296205998799253957&target=email' target='_blank' title='Email This'>Email This</a><a class='goog-inline-block share-button sb-blog' href='https://www.blogger.com/share-post.g?blogID=5918154958856402553&postID=1296205998799253957&target=blog' onclick='window.open(this.href, "_blank", "height=270,width=475"); return false;' target='_blank' title='BlogThis!'>BlogThis!</a><a class='goog-inline-block share-button sb-twitter' href='https://www.blogger.com/share-post.g?blogID=5918154958856402553&postID=1296205998799253957&target=twitter' target='_blank' title='Share to X'>Share to X</a><a class='goog-inline-block share-button sb-facebook' href='https://www.blogger.com/share-post.g?blogID=5918154958856402553&postID=1296205998799253957&target=facebook' onclick='window.open(this.href, "_blank", "height=430,width=640"); return false;' target='_blank' title='Share to Facebook'>Share to Facebook</a><a class='goog-inline-block share-button sb-pinterest' href='https://www.blogger.com/share-post.g?blogID=5918154958856402553&postID=1296205998799253957&target=pinterest' target='_blank' title='Share to Pinterest'>Share to Pinterest</a> </div> </div> <div class='post-footer-line post-footer-line-2'> Keywords: <a href='https://plundered-art.blogspot.com/search/label/British%20Museum' rel='tag'>British Museum</a>, <a href='https://plundered-art.blogspot.com/search/label/Christie%27s' rel='tag'>Christie's</a>, <a href='https://plundered-art.blogspot.com/search/label/ethics' rel='tag'>ethics</a>, <a href='https://plundered-art.blogspot.com/search/label/good%20faith' rel='tag'>good faith</a>, <a href='https://plundered-art.blogspot.com/search/label/H%C3%B4tel%20Drouot' rel='tag'>Hôtel Drouot</a>, <a href='https://plundered-art.blogspot.com/search/label/Humboldt%20Forum' rel='tag'>Humboldt Forum</a>, <a href='https://plundered-art.blogspot.com/search/label/Louvre' rel='tag'>Louvre</a>, <a href='https://plundered-art.blogspot.com/search/label/Metropolitan%20Museum%20of%20Art' rel='tag'>Metropolitan Museum of Art</a>, <a href='https://plundered-art.blogspot.com/search/label/provenance' rel='tag'>provenance</a>, <a href='https://plundered-art.blogspot.com/search/label/Sotheby%27s' rel='tag'>Sotheby's</a> </div> <div class='post-footer-line post-footer-line-3'> </div> </div> </div> </div> </div></div> <div class="date-outer"> <h2 class='date-header'>15 June 2018</h2> <div class="date-posts"> <div class='post-outer'> <div class='post hentry uncustomized-post-template' itemprop='blogPost' itemscope='itemscope' itemtype='http://schema.org/BlogPosting'> <meta content='https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN3smiswIz7zJIN9wHQ-Ix37CYt2l4uwGu3xcPVRbvidLhko0rM1O_BsY7kld_9x05egwAXeisUMDqzEgLPHW7c6QpBEpBg9-VwLYQAOqriXPKqVJPPtUaf8pWdAgBt-8wGnLTQbD8e9M/s320/fd2a78f_6626-2fjuvv.1p9yd.jpg' itemprop='image_url'/> <meta content='5918154958856402553' itemprop='blogId'/> <meta content='7576334762112274768' itemprop='postId'/> <a name='7576334762112274768'></a> <h3 class='post-title entry-title' itemprop='name'> <a href='https://plundered-art.blogspot.com/2018/06/premier-jour-de-printemps-moret-by.html'>"Premier jour de printemps à Moret" by Alfred Sisley--Part One</a> </h3> <div class='post-header'> <div class='post-header-line-1'></div> </div> <div class='post-body entry-content' id='post-body-7576334762112274768' itemprop='description articleBody'> <div class="separator" style="clear: both; text-align: left;"> by Marc Masurovsky</div> <div class="separator" style="clear: both; text-align: center;"> </div> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN3smiswIz7zJIN9wHQ-Ix37CYt2l4uwGu3xcPVRbvidLhko0rM1O_BsY7kld_9x05egwAXeisUMDqzEgLPHW7c6QpBEpBg9-VwLYQAOqriXPKqVJPPtUaf8pWdAgBt-8wGnLTQbD8e9M/s1600/fd2a78f_6626-2fjuvv.1p9yd.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="356" data-original-width="534" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN3smiswIz7zJIN9wHQ-Ix37CYt2l4uwGu3xcPVRbvidLhko0rM1O_BsY7kld_9x05egwAXeisUMDqzEgLPHW7c6QpBEpBg9-VwLYQAOqriXPKqVJPPtUaf8pWdAgBt-8wGnLTQbD8e9M/s320/fd2a78f_6626-2fjuvv.1p9yd.jpg" width="320" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Premier jour de printemps à Moret, by Alfed Sisley courtesy of Le Monde</td></tr> </tbody></table> On May 25, 2018, a story broke in “<a href="https://www.lalsace.fr/actualite/2018/05/25/un-mulhousien-en-conflit-avec-christie-s">L’Alsace</a>”, a regional French newspaper, regarding a notable from Mulhouse, Alain Dreyfus, well-known art dealer and collector who plies his trade across the border in Basel, Switzerland.  According to the Alsatian newspaper, Mr. Dreyfus is all up in arms over a painting by Alfred Sisley, “Premier jour de printemps à Moret,” which the Impressionist artist produced in 1889. Dreyfus acquired it at Christie’s in New York on November 6, 2008, without giving it much thought since, in his own words, “<a href="https://www.lalsace.fr/actualite/2018/05/25/un-mulhousien-en-conflit-avec-christie-s">when you go to an auction sale, you don’t check anything because you assume that everything has been checked</a>.” So much for due diligence. At some point in 2016, according to Mr. Dreyfus as reported in “L’Alsace”, a Toronto-based company, Mondex, contacted him to let him know that the Sisley in question was a looted painting which had once belonged to a French Jewish family by the name of Lindenbaum or Lindon, and that the Nazis had stolen the painting during the German occupation of France. Although dismayed at the news, he informed the Canadians that he would restitute the painting as long as Christie’s reimbursed him for the money spent in 2008 at the New York sale. Through his lawyers, Dreyfus laid out his position: either Christie’s indemnifies the family and he keeps the painting, or he restitutes the painting and Christie’s pays him back. In 2017, one of the Lindon family heirs contacted Mr. Dreyfus by mail to confirm that he still had the painting. Then, he found out that the Lindon heir turned around and sued Christie’s. Meanwhile, the Swiss police has sequestered the painting until the issue is resolved. Dreyfus has since sent an invoice to the Christie’s office in Zurich for 700,000 euros, although he paid 338,500 dollars for the painting in 2008. His excuse for asking double the price of the painting? Christie’s allegedly pocketed 694 million euros from a recent Rockefeller sale. Hence, his bill represents  the equivalent of pocket change.  Mr. Dreyfus is clearly incensed and fuming, in a way that few art dealers are when faced with a restitution claim resulting from an auction sale. According to a May 28, 2018, article which appeared in “<a href="https://www.lemonde.fr/arts/article/2018/05/28/un-sisley-vole-par-les-nazis-embarrasse-christie-s_5305988_1655012.html">Le Monde</a>,” the main critique leveled at Christie’s is that it could not have ignored the looted history of the painting since it has an internal section focused on looted art. That critique was leveled by Denis Lindon, 91 year old grandson of the plundered victim, Alfred Lindon. <div> In a May 31, 2018, article,<a href="https://www.blogger.com/.%20https://news.artnet.com/art-world/christies-nazi-restitution-1295141"> artnet.com</a> quoted James Palmer of Mondex, who confirmed that the Sisley painting had been confiscated by the Einsatzstab Reichsleiter Rosenberg (ERR) “and passed through the hands of Hermann Goering.” As supporting evidence, a document produced by the ERR was reproduced in the artnet piece; that document came from the <a href="https://www.errproject.org/jeudepaume/card_view.php?CardId=2196">Database of Art objects that transited through the Jeu de Paume (better known as the ERR database)</a>. One might speculate that the information contained in that database validated Mondex’s claim of an act of plunder perpetrated against the Lindenbaum/Lindon family for the painting in question.  Incidentally, the ERR database was not publicly accessible in 2008. Hence, Christie’s could not have consulted it. The few art looting databases in existence at the time would have been short on specifics regarding the Lindon losses or were proprietary databases whose content is impossible to verify for accuracy and reliability. Mr. Palmer stepped up his attack against Christie’s by stating that <a href="https://news.artnet.com/art-world/christies-nazi-restitution-1295141.">“buying from auction houses presents significant risks”</a> going as far as asserting that the “auction house should indemnify” the buyer “if a claim is ever made in the future,” that is to say, if the evidence of theft escaped the research efforts of the auction house prior to sale.  In other words, the behavior of Mr. Dreyfus appears to echo the Mondex stance against Christie’s and, more generally, against all auction houses. However, <a href="http://www.sandw.com/professionals-Nicholas-ODonnell.html">Nicholas O’Donnell,</a> an art restitution attorney based in Boston, Massachusetts, countered that there was no indication of any suspicion regarding the painting on the face of the provenance that Christie’s was given for the Sisley work, a view that James Palmer, of Mondex, contests. According to a <a href="https://www.nytimes.com/2018/06/03/arts/design/christies-nazi-art-alfred-lindon.html">New York Times report dated June 3, 2018</a>, Palmer notified Monica Dugot, director of restitution at Christie’s that a review of a “directory of looted items published in France in 1947” would have yielded several looted Sisley works with the word “spring” in their title.  The "directory" which Mr. Palmer has alluded to is the "<a href="http://www2.culture.gouv.fr/documentation/mnr/MnR-rbs.htm">Répertoire des biens spolié</a><a href="http://www2.culture.gouv.fr/documentation/mnr/MnR-rbs.htm">s</a>” which can be downloaded from a French government website. <div class="MsoNormal" style="font-family: Cambria; margin: 0in 0in 0.0001pt;"> <o:p></o:p></div> In sum, the fight over the Lindon Sisley painting has turned into an unfortunate mess with an auction house, Christie’s, caught between a determined “art recovery business”, <a href="http://www.mondexcorp.com/looted-art-restitution-">Mondex</a>, an incensed art dealer, Mr. Alain Dreyfus, and a claimant, Mr. Denis Lindon, all convinced that Christie’s did not exercise sufficient<a href="https://www.straitstimes.com/lifestyle/arts/christies-in-hot-water-over-artwork"> due diligence</a> to identify a looted work of art belonging to the Lindon family. The fact that all guns are pointed at Christie’s in a very complex game of who should have known what and when regarding the flawed ownership history of “Premier jour de printemps à Moret,” by Alfred Sisley, begs for clarification and a more sober examination of the facts. As the old saw goes, “the facts, nothing but the facts.” In Part II, let’s take a look at the hard facts and ask another set of questions which might put this entire kerfuffle into perspective. Indeed, there is a looted painting that needs to be restituted to the Lindon family. But where did the problem originate and who stands to benefit from this international three-ring circus?</div> <div style='clear: both;'></div> </div> <div class='post-footer'> <div class='post-footer-line post-footer-line-1'> Posted by the <meta content='https://www.blogger.com/profile/03190272299610799123' itemprop='url'/> <a class='g-profile' href='https://www.blogger.com/profile/03190272299610799123' rel='author' title='author profile'> plundered art </a> at <meta content='https://plundered-art.blogspot.com/2018/06/premier-jour-de-printemps-moret-by.html' itemprop='url'/> <a class='timestamp-link' href='https://plundered-art.blogspot.com/2018/06/premier-jour-de-printemps-moret-by.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2018-06-15T11:43:00-04:00'>11:43</abbr></a> <a href='https://www.blogger.com/email-post/5918154958856402553/7576334762112274768' title='Email Post'> <img alt='' class='icon-action' height='13' src='https://resources.blogblog.com/img/icon18_email.gif' width='18'/> </a> <div class='post-share-buttons goog-inline-block'> <a class='goog-inline-block share-button sb-email' href='https://www.blogger.com/share-post.g?blogID=5918154958856402553&postID=7576334762112274768&target=email' target='_blank' title='Email This'>Email This</a><a class='goog-inline-block share-button sb-blog' href='https://www.blogger.com/share-post.g?blogID=5918154958856402553&postID=7576334762112274768&target=blog' onclick='window.open(this.href, "_blank", "height=270,width=475"); return false;' target='_blank' title='BlogThis!'>BlogThis!</a><a class='goog-inline-block share-button sb-twitter' href='https://www.blogger.com/share-post.g?blogID=5918154958856402553&postID=7576334762112274768&target=twitter' target='_blank' title='Share to X'>Share to X</a><a class='goog-inline-block share-button sb-facebook' href='https://www.blogger.com/share-post.g?blogID=5918154958856402553&postID=7576334762112274768&target=facebook' onclick='window.open(this.href, "_blank", "height=430,width=640"); return false;' target='_blank' title='Share to Facebook'>Share to Facebook</a><a class='goog-inline-block share-button sb-pinterest' href='https://www.blogger.com/share-post.g?blogID=5918154958856402553&postID=7576334762112274768&target=pinterest' target='_blank' title='Share to Pinterest'>Share to Pinterest</a> </div> </div> <div class='post-footer-line post-footer-line-2'> Keywords: <a href='https://plundered-art.blogspot.com/search/label/Alain%20Dreyfus' rel='tag'>Alain Dreyfus</a>, <a href='https://plundered-art.blogspot.com/search/label/Alfred%20Sisley' rel='tag'>Alfred Sisley</a>, <a href='https://plundered-art.blogspot.com/search/label/Christie%27s' rel='tag'>Christie's</a>, <a href='https://plundered-art.blogspot.com/search/label/Denis%20Lindon' rel='tag'>Denis Lindon</a>, <a href='https://plundered-art.blogspot.com/search/label/ERR' rel='tag'>ERR</a>, <a href='https://plundered-art.blogspot.com/search/label/ERR%20database' rel='tag'>ERR database</a>, <a href='https://plundered-art.blogspot.com/search/label/James%20Palmer' rel='tag'>James Palmer</a>, <a href='https://plundered-art.blogspot.com/search/label/Mondex' rel='tag'>Mondex</a>, <a href='https://plundered-art.blogspot.com/search/label/Monica%20Dugot' rel='tag'>Monica Dugot</a> </div> <div class='post-footer-line post-footer-line-3'> </div> </div> </div> </div> </div></div> <div class="date-outer"> <h2 class='date-header'>27 February 2017</h2> <div class="date-posts"> <div class='post-outer'> <div class='post hentry uncustomized-post-template' itemprop='blogPost' itemscope='itemscope' itemtype='http://schema.org/BlogPosting'> <meta content='https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ1a2b8N5GmbTPK35fgkC6NnGBy-LTZmauMNRsOMtoef34SQedZoyfb-HfpF-_stBAF3duEHZaqwHiDPt32gz-hvhSQg7ILeJ1oO69IilWjlHbLEvGfqe2g3jParpIm9n-2_JY06qbIOE/s320/7.-Klimt-Portrait-of-ABBII-1912-639x1024.jpg' itemprop='image_url'/> <meta content='5918154958856402553' itemprop='blogId'/> <meta content='7303617366890407432' itemprop='postId'/> <a name='7303617366890407432'></a> <h3 class='post-title entry-title' itemprop='name'> <a href='https://plundered-art.blogspot.com/2017/02/oprah-and-adele-ii.html'>Oprah and Adele II</a> </h3> <div class='post-header'> <div class='post-header-line-1'></div> </div> <div class='post-body entry-content' id='post-body-7303617366890407432' itemprop='description articleBody'> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ1a2b8N5GmbTPK35fgkC6NnGBy-LTZmauMNRsOMtoef34SQedZoyfb-HfpF-_stBAF3duEHZaqwHiDPt32gz-hvhSQg7ILeJ1oO69IilWjlHbLEvGfqe2g3jParpIm9n-2_JY06qbIOE/s1600/7.-Klimt-Portrait-of-ABBII-1912-639x1024.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ1a2b8N5GmbTPK35fgkC6NnGBy-LTZmauMNRsOMtoef34SQedZoyfb-HfpF-_stBAF3duEHZaqwHiDPt32gz-hvhSQg7ILeJ1oO69IilWjlHbLEvGfqe2g3jParpIm9n-2_JY06qbIOE/s320/7.-Klimt-Portrait-of-ABBII-1912-639x1024.jpg" width="320" /></a> by Marc Masurovsky Warning: This is an opinion piece and you—the reader—are always free to disagree with what you are about to read. Perhaps, after having spent two decades in the trenches of the art restitution movement, if there ever was such a thing,  my glasses have become tinted. Still, the inability and/or unwillingness of art market players, whether they be gallerists, auctioneers, private collectors, buyers, and brokers alike to be more forthcoming about publicizing the history of the objects with which they come into contact, remains to this day perplexing, in defiance of any reasonable argumentation, save for the old yarn that there is no law that compels one to disclose a full provenance for an art object, regardless of its origin. In 1912, Gustav Klimt, the renowned master of the Austrian Secessionist movement, painted several portraits of a delicate, frail, wan, Jewish woman named Adele Bloch Bauer, the heiress to a sizeable fortune amassed by her husband, Ferdinand Bloch Bauer, one of the leading Jewish bankers of Vienna. Adele Bloch Bauer died in 1925. The National Socialist German Reich absorbed Austria in an “Anschluss” in March 1938, a geopolitical act which served overnight as a suspended death sentence for the several hundred thousand Jews living in Austria at that time. The Nazification of Austria led to a systematic campaign of persecution targeting Austria’s Jewish community, punctuated by mass arrests, torture, evictions, expropriations, outright plunder of Jewish assets and later on, deportations, slave labor and extermination. Those who could escape sought refuge in other parts of Europe and in the Americas; they managed to save themselves at great risk. Those who did not faced certain death. When the Holocaust and the Second World War ended in May 1945, three fourths of Austria’s Jews had been massacred and all of their property confiscated, either absorbed by non-Jews in Austria or dissipated, as art and other fungible assets, through domestic and international market outlets. Postwar efforts to recover expropriated property proved mostly futile for surviving Jewish family members. The Bloch Bauer paintings remained where they had been sequestered with the able assistance of pro-Nazi Austrian and German art historians and museum officials—in a Viennese museum. They hung on the walls of the Belvedere Museum for all to view and became associated with the rebirth of Austria, drawing tourists to Vienna from around the world. Gustav Klimt’s star rose until he earned a posthumous recognition as a world-class artist much like his younger colleague, Egon Schiele. Decades later, Maria Altmann, a niece of the Bloch Bauer family who resided in California, filed a restitution claim to recover her family’s cultural property, including the two portraits of her aunt, Adele Bloch Bauer, commissioned from Gustav Klimt. Her lawyer, E. Randol Schoenberg, fought a lengthy and protracted battle for her claim to even be heard in an American court. Her case went all the way to the US Supreme Court where Mr. Schoenberg prevailed in his bid to sue the current possessor of the paintings, the Republic of Austria, in an American court. In the end, the Austrian government was compelled to restitute five Klimt works to Maria Altmann. By 2005, the commercial value of the paintings had accrued to more than 300 million dollars, a staggering sum of money by anyone’s standards. Once restituted, Ms. Altmann sold the paintings in November 2006 through the <a href="http://www.nytimes.com/2006/11/09/arts/design/09christies.html">Christie’s auction house </a>in New York. An anonymous buyer aggressively pursued by telephone the “Portrait of Adele Bloch Bauer II” starting at <a href="https://news.artnet.com/market/oprah-sells-famed-gustav-klimt-portrait-150-million-851537">74 million dollars</a> and pressing upwards until 87 million dollars capped the anonymous bidder’s quest to acquire Adele II. In 2014, Adele II was <a href="https://www.bloomberg.com/news/articles/2017-02-08/oprah-said-to-snag-150-million-selling-klimt-to-chinese-buyer">on loan </a>to the Museum of Modern Art in New York where it hung on the 5th floor.<div> The global art dealer, <a href="http://www.washingtontimes.com/news/2017/feb/9/oprah-winfrey-sells-gustav-klimt-painting-portrait/">Larry Gagosian,</a> spotted the painting. One of his clients, a wealthy Chinese investor, offered 100 million dollars for the Klimt masterpiece. The anonymous owner countered with <a href="http://hyperallergic.com/357301/oprah-winfrey-sold-klimt-painting-for-150m/">150 million dollars. </a>as an acceptable sales price. The deal was consummated, thus doubling Adele II’s value in ten years. News of the transaction revealed that the anonymous buyer in 2006 was none other than Oprah Winfrey, global talk show maven, personality and role model.  Oprah Winfrey’s desire for anonymity is consistent with standard practices in the art world whereby it is considered to be no one’s business who buys what from whom. Unfortunately, such built-in opacity, disguised as a respectful quest for privacy, casts a lasting cloak of mystery over most art transactions which produces a shield that enables trafficking in illicitly acquired objects and trading in objects whose provenance is highly questionable.</div> <div> Every private buyer, in an unregulated market such as the art market, has the right to treat his/her acquisitions of art, even high-priced art, as he/she sees fit.  Nevertheless, it would have been a historical moment had Ms. Winfrey announced that she had acquired the Bloch Bauer portrait in 2006.  Perhaps I am making the wrong assumption here, whereby the history of the painting moved her and fueled her quest to acquire this Klimt masterpiece, regardless of the cost. It may be that she merely viewed  "Portrait of Adele Bloch Bauer II" as a beautiful art object for which she was determined to spend as much money as it took to make it hers and to profit from its resale a decade later in an astute business transaction involving a Chinese buyer. It could very well be that the painting’s history was not the motivating factor in her decision to acquire Adele II. However harsh that may sound, it is a real possibility. Her silence in this matter makes it difficult to weigh in on either side of this conundrum. Looted works of art, regardless of their value, function as perennial esthetic symbols of and silent witnesses to a painful history tainted by genocide which engulfed millions of lives over a twelve-year period; the tragic destinies of the victims are forever intertwined with and embodied in these objects. When these looted objects are traded on the international marketplace, sometimes for substantial sums of money, the sale itself becomes the event and supplants the history of the object, thus stripping it of its painful past. The plundered object loses its context, much like an antique piece illegally removed from its matrix. The sale works like an anesthetic; it deadens history, it whitewashes like cleanser the oftentimes twisted and tragic context through which the object evolved before reaching us. </div> <div> It makes me wonder: why should I care so much about the history of these objects which, oftentimes, are reduced to---objects without a past, adornments, some more extraordinary than others?</div> <div> </div> <div> Why teach history? Why share knowledge? why the urge to contextualize works and objects of art, to restore their history, their stories? Will the Chinese buyer who has spent 150 million dollars to own the “Portrait of Adele Bloch Bauer II” even care about the history of this object? Will it remind him, however remotely, of the millions of art objects which suffered a similar, if not worse fate, as they were plundered by Japanese Imperial forces on the Chinese mainland between 1931 and 1946? Does any of this matter? A teachable moment has once again vanished like sand flowing between one’s fingers, sacrificed on the altar of money. Rest assured, however, that 87 million dollars, 150 million dollars, do not, cannot and will not erase the taint of persecution and genocide from these looted objects. </div> <div> </div> <div> Ever.</div> <div style='clear: both;'></div> </div> <div class='post-footer'> <div class='post-footer-line post-footer-line-1'> Posted by the <meta content='https://www.blogger.com/profile/03190272299610799123' itemprop='url'/> <a class='g-profile' href='https://www.blogger.com/profile/03190272299610799123' rel='author' title='author profile'> plundered art </a> at <meta content='https://plundered-art.blogspot.com/2017/02/oprah-and-adele-ii.html' itemprop='url'/> <a class='timestamp-link' href='https://plundered-art.blogspot.com/2017/02/oprah-and-adele-ii.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2017-02-27T00:43:00-05:00'>00:43</abbr></a> <a href='https://www.blogger.com/email-post/5918154958856402553/7303617366890407432' title='Email Post'> <img alt='' class='icon-action' height='13' src='https://resources.blogblog.com/img/icon18_email.gif' width='18'/> </a> <div class='post-share-buttons goog-inline-block'> <a class='goog-inline-block share-button sb-email' href='https://www.blogger.com/share-post.g?blogID=5918154958856402553&postID=7303617366890407432&target=email' target='_blank' title='Email This'>Email This</a><a class='goog-inline-block share-button sb-blog' href='https://www.blogger.com/share-post.g?blogID=5918154958856402553&postID=7303617366890407432&target=blog' onclick='window.open(this.href, "_blank", "height=270,width=475"); return false;' target='_blank' title='BlogThis!'>BlogThis!</a><a class='goog-inline-block share-button sb-twitter' href='https://www.blogger.com/share-post.g?blogID=5918154958856402553&postID=7303617366890407432&target=twitter' target='_blank' title='Share to X'>Share to X</a><a class='goog-inline-block share-button sb-facebook' href='https://www.blogger.com/share-post.g?blogID=5918154958856402553&postID=7303617366890407432&target=facebook' onclick='window.open(this.href, "_blank", "height=430,width=640"); return false;' target='_blank' title='Share to Facebook'>Share to Facebook</a><a class='goog-inline-block share-button sb-pinterest' href='https://www.blogger.com/share-post.g?blogID=5918154958856402553&postID=7303617366890407432&target=pinterest' target='_blank' title='Share to Pinterest'>Share to Pinterest</a> </div> </div> <div class='post-footer-line post-footer-line-2'> Keywords: <a href='https://plundered-art.blogspot.com/search/label/Anschluss' rel='tag'>Anschluss</a>, <a href='https://plundered-art.blogspot.com/search/label/Austria' rel='tag'>Austria</a>, <a href='https://plundered-art.blogspot.com/search/label/Belvedere' rel='tag'>Belvedere</a>, <a href='https://plundered-art.blogspot.com/search/label/Christie%27s' rel='tag'>Christie's</a>, <a href='https://plundered-art.blogspot.com/search/label/Holocaust' rel='tag'>Holocaust</a>, <a href='https://plundered-art.blogspot.com/search/label/Maria%20Altmann' rel='tag'>Maria Altmann</a>, <a href='https://plundered-art.blogspot.com/search/label/Oprah%20Winfrey' rel='tag'>Oprah Winfrey</a>, <a href='https://plundered-art.blogspot.com/search/label/Portrait%20of%20Adele%20Bloch%20Bauer%20II' rel='tag'>Portrait of Adele Bloch Bauer II</a>, <a href='https://plundered-art.blogspot.com/search/label/Randol%20Schoenberg' rel='tag'>Randol Schoenberg</a> </div> <div class='post-footer-line post-footer-line-3'> </div> </div> </div> </div> </div></div> <div class="date-outer"> <h2 class='date-header'>15 June 2016</h2> <div class="date-posts"> <div class='post-outer'> <div class='post hentry uncustomized-post-template' itemprop='blogPost' itemscope='itemscope' itemtype='http://schema.org/BlogPosting'> <meta content='5918154958856402553' itemprop='blogId'/> <meta content='1137486422417724072' itemprop='postId'/> <a name='1137486422417724072'></a> <h3 class='post-title entry-title' itemprop='name'> <a href='https://plundered-art.blogspot.com/2016/06/s-2763-restitution-kabuki.html'>S. 2763: Restitution kabuki</a> </h3> <div class='post-header'> <div class='post-header-line-1'></div> </div> <div class='post-body entry-content' id='post-body-1137486422417724072' itemprop='description articleBody'> an opinionated piece by Marc Masurovsky<div> </div> <div> Note: The title was inspired by a close friend who is intimately involved in art restitution matters.</div> <div> The authors of Senate Bill 2763, the “Holocaust Expropriated Art Recovery Act” (HEAR Act), have as a major sponsor Republican Senator and former presidential candidate Ted Cruz. Another Republican co-sponsor is Senator Cornyn. Neither of them has been known to utter a word or express a single public thought about Holocaust claimants and/or about Nazi looted art. Democratic Senator Charles Schumer of New York, who is no friend of art restitution advocates, is a co-sponsor of S.2763 with Senator Blumenthal from Connecticut. On the afternoon of Tuesday, June 7, 2016, the Senate Judiciary Committee held a public hearing regarding Senate Bill 2763. The witnesses included Ron Lauder speaking on behalf of the World Jewish Restitution Organization (WJRO), Monica Dugot of Christie’s, Agnes Peresztegi of the Commission for Art Recovery, Dame Helen Mirren, actress noted for her role as Maria Altmann in “The Woman in Gold”, and Simon Goodman, one of the heirs to the collection and property of the late Friedrich Gutmann. Let’s deconstruct the title of the proposed bill: Expropriated Art: is “expropriated” a legal term or just an evocative word to denote forcible removal without the owner’s consent? It might have been selected so that an acronym could be used to publicize the bill—in this case, HEAR. What if we had used displaced or misappropriated as substitutes for “expropriated”? Then we would get HDAR or HMAR. Not very elegant. <div> Does this proposed legislation cover all acts of illegal misappropriation of Jewish-owned cultural assets between 1933 and 1945? Or does the proposed legislation only cover those instances where a “public agency”, writ large, orders the “taking” of private property from Jews? Depending on how you answer these questions, the field of objects covered by this proposed legislation could change rapidly. Recovery: it’s a word like any other, but does it actually mean “restitution” or simply the act of “recovering”? Merriam-Webster defines “recovery” as “the return of something that has been lost, stolen, etc.” What would have occurred if the Act had been called the “Holocaust Expropriated Art Restitution Act”? It would have been far more specific and more claimant-friendly. Then, the framers of the act could not be accused of playing footsy with the art market by keeping the wording ambiguous, because “recovery” is an ambiguous term, much as recovering from addiction leaves room for a relapse. Why ambiguous? Well, US troops “recovered” looted art throughout "liberated" Germany and Austria. Did it mean that it was “restituted”? No, it simply meant that it had to be shipped to countries where local officials would then “restitute” the objects to their rightful owners, or not. Why the ambiguity? Is S. 2763 really a hat tip to the art market, a flirty wink to indicate that, no worries, your interests will be taken into account when this law finally passes?  In other words, “recovery” might also mean “just and fair” which usually means “financial settlement” where the seller or current possessor of the claimed looted item gets to hang on to the prized ownership title to the looted object. “Recovery” is another way of saying that the art market continues to hold tremendous sway on how restitution works for Holocaust-era claimants. At the end of the day, so the expression goes, it is always a business decision how a looted object gets "returned” and “recovered.” Are claimants’ rights genuinely protected by S. 2763? Or is this bill a subversive sop to the art market and a gift to the Association of Art Museum Directors (AAMD) and to the American Alliance of Museums (AAM)? These two groups have fought for years to put an end to the claims process, callously indifferent and disdainful about how cultural objects are stolen, misappropriated, expropriated, displaced, whatever the word is to connote illegality. As currently drafted, S. 2763 might be nothing more than a final attempt to address art restitution in the United States, offering the art market the equivalent of a social peace during a six-year period of claims hopefully unimpeded by statutes of limitations and laches (assuming that the final version of S 2763 keeps out laches, no guarantees given!). Claimants would presumably get a « fair day in court » where their claims may be assessed solely on their merits, again within a six year framework or less, depending on when the claimed item had been located and identified and the evidence garnered to back the claim. S. 2763 is looking more and more like a thinly disguised message to claimants,.a last opportunity to file for restitution assuming that they know where their object is and they have the proper documentation to support their claim. If not, how will they obtain the evidence in the time allotted to them? How will claimants afford a court action against a current possessor especially if it is a museum or a billionaire collector with access to a well-supplied war chest ? S. 2763 stacks the cards against claimants, however which way you look at it. Even if they do manage to garner the documentation, claimants will not be able to afford the hefty litigation fees associated with a proceeding to obtain restitution. It is not possible to endorse S.2763 if a mechanism is not explicitly created which ensures that claimants will be supported in their attempt to recover their lost property. The Federal government should subsidize this commitment for at least ten years to ensure that claims are properly addressed and have a fair chance of being heard, by minimizing research and legal costs to claimants. S. 2763 favors wealthy claimants with access to significant means to support research into their claims and legal action to recover identified objects which sit either in public or private collections. It is clearly not designed to help the vast majority of claimants, who lost cultural assets that are not museum-worthy. It provides succor to the very few, those who are familiar with the claims process and are able to demand the return of high-end items which their lawyers are willing to recover for them at rates the average claimant cannot possibly afford. The claims process has always been skewed towards those who have lost cultural assets considered of great value in today’s market and towards whom gravitate most lawyers as well as market players. <div class="MsoNormal"> </div>      <div class="MsoNormal"> </div> </div> </div> <div style='clear: both;'></div> </div> <div class='post-footer'> <div class='post-footer-line post-footer-line-1'> Posted by the <meta content='https://www.blogger.com/profile/03190272299610799123' itemprop='url'/> <a class='g-profile' href='https://www.blogger.com/profile/03190272299610799123' rel='author' title='author profile'> plundered art </a> at <meta content='https://plundered-art.blogspot.com/2016/06/s-2763-restitution-kabuki.html' itemprop='url'/> <a class='timestamp-link' href='https://plundered-art.blogspot.com/2016/06/s-2763-restitution-kabuki.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2016-06-15T23:16:00-04:00'>23:16</abbr></a> <a href='https://www.blogger.com/email-post/5918154958856402553/1137486422417724072' title='Email Post'> <img alt='' class='icon-action' height='13' src='https://resources.blogblog.com/img/icon18_email.gif' width='18'/> </a> <div class='post-share-buttons goog-inline-block'> <a class='goog-inline-block share-button sb-email' href='https://www.blogger.com/share-post.g?blogID=5918154958856402553&postID=1137486422417724072&target=email' target='_blank' title='Email This'>Email This</a><a class='goog-inline-block share-button sb-blog' href='https://www.blogger.com/share-post.g?blogID=5918154958856402553&postID=1137486422417724072&target=blog' onclick='window.open(this.href, "_blank", "height=270,width=475"); return false;' target='_blank' title='BlogThis!'>BlogThis!</a><a class='goog-inline-block share-button sb-twitter' href='https://www.blogger.com/share-post.g?blogID=5918154958856402553&postID=1137486422417724072&target=twitter' target='_blank' title='Share to X'>Share to X</a><a class='goog-inline-block share-button sb-facebook' href='https://www.blogger.com/share-post.g?blogID=5918154958856402553&postID=1137486422417724072&target=facebook' onclick='window.open(this.href, "_blank", "height=430,width=640"); return false;' target='_blank' title='Share to Facebook'>Share to Facebook</a><a class='goog-inline-block share-button sb-pinterest' href='https://www.blogger.com/share-post.g?blogID=5918154958856402553&postID=1137486422417724072&target=pinterest' target='_blank' title='Share to Pinterest'>Share to Pinterest</a> </div> </div> <div class='post-footer-line post-footer-line-2'> Keywords: <a href='https://plundered-art.blogspot.com/search/label/AAM' rel='tag'>AAM</a>, <a href='https://plundered-art.blogspot.com/search/label/AAMD' rel='tag'>AAMD</a>, <a href='https://plundered-art.blogspot.com/search/label/CAR' rel='tag'>CAR</a>, <a href='https://plundered-art.blogspot.com/search/label/Charles%20Schumer' rel='tag'>Charles Schumer</a>, <a href='https://plundered-art.blogspot.com/search/label/Christie%27s' rel='tag'>Christie's</a>, <a href='https://plundered-art.blogspot.com/search/label/HEAR%20Act' rel='tag'>HEAR Act</a>, <a href='https://plundered-art.blogspot.com/search/label/Helen%20Mirren' rel='tag'>Helen Mirren</a>, <a href='https://plundered-art.blogspot.com/search/label/Ronald%20Lauder' rel='tag'>Ronald Lauder</a>, <a href='https://plundered-art.blogspot.com/search/label/S.%202763' rel='tag'>S. 2763</a>, <a href='https://plundered-art.blogspot.com/search/label/Simon%20Goodman' rel='tag'>Simon Goodman</a>, <a href='https://plundered-art.blogspot.com/search/label/Ted%20Cruz' rel='tag'>Ted Cruz</a> </div> <div class='post-footer-line post-footer-line-3'> </div> </div> </div> </div> </div></div> <div class="date-outer"> <h2 class='date-header'>17 March 2016</h2> <div class="date-posts"> <div class='post-outer'> <div class='post hentry uncustomized-post-template' itemprop='blogPost' itemscope='itemscope' itemtype='http://schema.org/BlogPosting'> <meta content='https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaR-p-hxK9tx9F5JuMjtU0egW4QKiTQ-reALMpIA-4XRfdflJ1BmR2m7qbHSa_-mprLjR-zy5_ljGedWIc7H5VdzFu0uMU3idWsddQHbkcLAAZgtLZLDDKOI-HyVlPpNpkMvdixQ4A-R4/s200/14590-17206.png' itemprop='image_url'/> <meta content='5918154958856402553' itemprop='blogId'/> <meta content='6166744977643524935' itemprop='postId'/> <a name='6166744977643524935'></a> <h3 class='post-title entry-title' itemprop='name'> <a href='https://plundered-art.blogspot.com/2016/03/dessus-de-porte.html'>Dessus de porte</a> </h3> <div class='post-header'> <div class='post-header-line-1'></div> </div> <div class='post-body entry-content' id='post-body-6166744977643524935' itemprop='description articleBody'>  by Marc Masurovsky <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaR-p-hxK9tx9F5JuMjtU0egW4QKiTQ-reALMpIA-4XRfdflJ1BmR2m7qbHSa_-mprLjR-zy5_ljGedWIc7H5VdzFu0uMU3idWsddQHbkcLAAZgtLZLDDKOI-HyVlPpNpkMvdixQ4A-R4/s1600/14590-17206.png" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaR-p-hxK9tx9F5JuMjtU0egW4QKiTQ-reALMpIA-4XRfdflJ1BmR2m7qbHSa_-mprLjR-zy5_ljGedWIc7H5VdzFu0uMU3idWsddQHbkcLAAZgtLZLDDKOI-HyVlPpNpkMvdixQ4A-R4/s200/14590-17206.png" width="200" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Source: NARA</td></tr> </tbody></table> On December 3, 2007, <a href="http://www.christies.com/lotfinder/paintings/marie-laurencin-lembarcadere-5019794-details.aspx?pos=5&intObjectID=5019794&sid=&page=2&lid=1">Christie’s Paris sold a painting by Marie Laurencin,</a> entitled “L’embarcadère’ [Haut de Porte].” As is usual with Laurencin’s works, the subjects that she depicts consist for the most part of ethereal-looking women painted in wispy, light colors, gazing and poised. This particular painting was produced in 1927 and was once the property of Paul Rosenberg, the late French Jewish art dealer with the keenest eye for the highest quality that one could muster in terms of 19th and early 20th century French modern art. It is not an exaggeration to say that most of the paintings, works on paper and sculptures that Rosenberg collected and sold were of museum quality. His legacy stretches across a global network of museums, galleries, and private collections. In June 1940, the German Army overtook France in a classical blitzkrieg operation, catching the French army sleeping in the fields—literally. Rosenberg had the presence of mind to redistribute in lots of varying importance his vast collection of works and objects of art across depots in Tours, Bordeaux, and Floirac and a bank vault in Libourne. Denounced by art dealing rivals in Paris anxious to gain access to some of his objects, the depots as well as his residence and gallery in Paris were quickly overrun by German agents and their trusted Frenchmen, the works confiscated and brought back to the Jeu de Paume for processing. Among the dozens of Laurencin works which fell into German hands, was “L’embarcadère”. At the time of seizure it was simply referred to as a “dessus de porte”, a painting that one places as a decorative item above a door frame. The title that the Germans eventually gave it is a literal evocation of what they observed on the canvas: “Zwei Mädchen im Boot und zwei auf einer Treppe” (two women in a boat and two on a landing). After it was brought to the Jeu de Paume and catalogued the Germans assigned to the painting the alphanumeric code <a href="http://www.errproject.org/jeudepaume/card_view.php?CardId=14590">“Rosenberg-Bernstein-Bordeaux 9.”</a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaR-p-hxK9tx9F5JuMjtU0egW4QKiTQ-reALMpIA-4XRfdflJ1BmR2m7qbHSa_-mprLjR-zy5_ljGedWIc7H5VdzFu0uMU3idWsddQHbkcLAAZgtLZLDDKOI-HyVlPpNpkMvdixQ4A-R4/s1600/14590-17206.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a> The provenance in the Christie’s catalogue indicates: Paul Rosenberg & Co., New York (no. 1915). Paul et Marguerite Rosenberg, Paris. “Puis par descendance au propriétaire actuel” [thence by descent to the current owner] The historical provenance would include the following pertinent facts: Confiscated either in Floirac or in Paris, 1940-1941 Removed to the Jeu de Paume, by 1941 Inventoried by the ERR as Rosenberg-Bernstein-Bordeaux 9 Placed by the ERR on a train bound for Nikolsburg, 1 August 1944 Intercepted by French forces Restituted to Paul Rosenberg, 25 September 1945. <div class="separator" style="clear: both; text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaR-p-hxK9tx9F5JuMjtU0egW4QKiTQ-reALMpIA-4XRfdflJ1BmR2m7qbHSa_-mprLjR-zy5_ljGedWIc7H5VdzFu0uMU3idWsddQHbkcLAAZgtLZLDDKOI-HyVlPpNpkMvdixQ4A-R4/s1600/14590-17206.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"> </a></div> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-hOT9SaZqSIMH_8wWEzaErliVKUC5srpZ66qRLNqsYRyDJ-__pL1fFY89hvdtAVhxNc9x3zH7gbRdLP9Kl5imC-SQzfFysCRMUxUnpLfkPxGGVKtMUF1RbiwEMc7R_xhy4S1MwMaYfGo/s1600/B323-1020-fol.031ar%2523RosenbergBernst.Bordeaux9.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-hOT9SaZqSIMH_8wWEzaErliVKUC5srpZ66qRLNqsYRyDJ-__pL1fFY89hvdtAVhxNc9x3zH7gbRdLP9Kl5imC-SQzfFysCRMUxUnpLfkPxGGVKtMUF1RbiwEMc7R_xhy4S1MwMaYfGo/s320/B323-1020-fol.031ar%2523RosenbergBernst.Bordeaux9.jpg" width="320" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Photograph taken by the ERR in 1941, Koblenz Archives</td></tr> </tbody></table> <div class="separator" style="clear: both; text-align: center;"> </div> <div style='clear: both;'></div> </div> <div class='post-footer'> <div class='post-footer-line post-footer-line-1'> Posted by the <meta content='https://www.blogger.com/profile/03190272299610799123' itemprop='url'/> <a class='g-profile' href='https://www.blogger.com/profile/03190272299610799123' rel='author' title='author profile'> plundered art </a> at <meta content='https://plundered-art.blogspot.com/2016/03/dessus-de-porte.html' itemprop='url'/> <a class='timestamp-link' href='https://plundered-art.blogspot.com/2016/03/dessus-de-porte.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2016-03-17T16:57:00-04:00'>16:57</abbr></a> <a href='https://www.blogger.com/email-post/5918154958856402553/6166744977643524935' title='Email Post'> <img alt='' class='icon-action' height='13' src='https://resources.blogblog.com/img/icon18_email.gif' width='18'/> </a> <div class='post-share-buttons goog-inline-block'> <a class='goog-inline-block share-button sb-email' href='https://www.blogger.com/share-post.g?blogID=5918154958856402553&postID=6166744977643524935&target=email' target='_blank' title='Email This'>Email This</a><a class='goog-inline-block share-button sb-blog' href='https://www.blogger.com/share-post.g?blogID=5918154958856402553&postID=6166744977643524935&target=blog' onclick='window.open(this.href, "_blank", "height=270,width=475"); return false;' target='_blank' title='BlogThis!'>BlogThis!</a><a class='goog-inline-block share-button sb-twitter' href='https://www.blogger.com/share-post.g?blogID=5918154958856402553&postID=6166744977643524935&target=twitter' target='_blank' title='Share to X'>Share to X</a><a class='goog-inline-block share-button sb-facebook' href='https://www.blogger.com/share-post.g?blogID=5918154958856402553&postID=6166744977643524935&target=facebook' onclick='window.open(this.href, "_blank", "height=430,width=640"); return false;' target='_blank' title='Share to Facebook'>Share to Facebook</a><a class='goog-inline-block share-button sb-pinterest' href='https://www.blogger.com/share-post.g?blogID=5918154958856402553&postID=6166744977643524935&target=pinterest' target='_blank' title='Share to Pinterest'>Share to Pinterest</a> </div> </div> <div class='post-footer-line post-footer-line-2'> Keywords: <a href='https://plundered-art.blogspot.com/search/label/Christie%27s' rel='tag'>Christie's</a>, <a href='https://plundered-art.blogspot.com/search/label/ERR' rel='tag'>ERR</a>, <a href='https://plundered-art.blogspot.com/search/label/Floirac' rel='tag'>Floirac</a>, <a href='https://plundered-art.blogspot.com/search/label/Jeu%20de%20Paume' rel='tag'>Jeu de Paume</a>, <a href='https://plundered-art.blogspot.com/search/label/Libourne' rel='tag'>Libourne</a>, <a href='https://plundered-art.blogspot.com/search/label/Marie%20Laurencin' rel='tag'>Marie Laurencin</a>, <a href='https://plundered-art.blogspot.com/search/label/Nikolsburg' rel='tag'>Nikolsburg</a>, <a href='https://plundered-art.blogspot.com/search/label/Paul%20Rosenberg' rel='tag'>Paul Rosenberg</a> </div> <div class='post-footer-line post-footer-line-3'> </div> </div> </div> </div> </div></div> <div class="date-outer"> <h2 class='date-header'>13 March 2016</h2> <div class="date-posts"> <div class='post-outer'> <div class='post hentry uncustomized-post-template' itemprop='blogPost' itemscope='itemscope' itemtype='http://schema.org/BlogPosting'> <meta content='https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjViXIB33O9Ux29czxyDN6c8XAF8939qMNNU7pduU2Pi15VTJEoT4EvRCU5v85bHUvdoQ4d-nE5dRNDA6UV_tx_vVtlnnrvtAnnj5LQIwxMhdBvO6wlvCcbA_we7N8iUc3Gsn8g4pOYiA8/s200/albion.jpg' itemprop='image_url'/> <meta content='5918154958856402553' itemprop='blogId'/> <meta content='1355550988579763283' itemprop='postId'/> <a name='1355550988579763283'></a> <h3 class='post-title entry-title' itemprop='name'> <a href='https://plundered-art.blogspot.com/2016/03/mutually-assured-destruction.html'>Mutually assured destruction</a> </h3> <div class='post-header'> <div class='post-header-line-1'></div> </div> <div class='post-body entry-content' id='post-body-1355550988579763283' itemprop='description articleBody'> by Marc Masurovsky Is it possible to imagine an art world without due diligence checks, without databases to consult before buying an art object, before displaying it? With the open conflict laying bare the inner workings of the London-based Art Loss Register, what are its subscribers thinking right now? What are the auction houses, Christie’s and Sotheby’s, wondering about the reliability of the ALR in providing the service that it is paid to provide--due diligence, certifying as to the authenticity and the licit or illicit nature of objects being offered for sale on the global art market--with the usual caveats, of course... And what about insurance companies? Those responsible for assessing the risk of a transaction involving art objects and providing the protection and safeguards that buyers, exhibitors, borrowers, collectors, dealers, require and are entitled to? What will they do if there are no recognized mechanisms which exist to vouch for authenticity, value, and origin? How do law enforcement agencies from around the world feel about this conflict between two organizations that are there to assist them in identifying and seizing looted antiquities and art objects? Granted, they are accustomed to working with rather unsavory groups and individuals for the greater good, but this is the art world of which we speak at a time when antiquities are disappearing in the hands of armed thugs worldwide. What would happen if all of the due diligence checkpoints disappeared in a furnace of mutually assured destruction such as the conflict between ALR and ARG is turning into? Should sanity not prevail, the global art world will probably have nowhere to go to get its USDA certificate of good provenance and due diligence, the fig leaf behind which it can safely decide to sell, to buy, to display, to lend, to borrow, to collect. What will judges do when faced with cases predicated on due diligence, or the absence thereof? Which sources will a judge countenance as worthy of issuing such a certificate, should ALR and ARG collapse in a conflict reminiscent of “<a href="http://www.newyorker.com/news/news-desk/almost-everything-in-dr-strangelove-was-true">Dr. Strangelove</a>”? Much as with the <a href="http://www.salon.com/2016/03/11/trumps_not_hitler_hes_mussolini_how_gop_anti_intellectualism_created_a_modern_fascist_movement_in_america/">current American presidential election landscape,</a> the due diligence machine which has been put in place for the past thirty years to provide a minimum amount of protection against theft and forgeries in the art market is about to collapse, unless cooler heads prevail. It is time to think seriously about establishing a global system of due diligence that does not rely solely on what Albion has to offer us. For those of you who do not know what “Albion” is, it is the <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjViXIB33O9Ux29czxyDN6c8XAF8939qMNNU7pduU2Pi15VTJEoT4EvRCU5v85bHUvdoQ4d-nE5dRNDA6UV_tx_vVtlnnrvtAnnj5LQIwxMhdBvO6wlvCcbA_we7N8iUc3Gsn8g4pOYiA8/s1600/albion.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjViXIB33O9Ux29czxyDN6c8XAF8939qMNNU7pduU2Pi15VTJEoT4EvRCU5v85bHUvdoQ4d-nE5dRNDA6UV_tx_vVtlnnrvtAnnj5LQIwxMhdBvO6wlvCcbA_we7N8iUc3Gsn8g4pOYiA8/s200/albion.jpg" width="157" /></a></td></tr> <tr><td class="tr-caption" style="font-size: 13px;">Albion</td></tr> </tbody></table> name given to the island of Great Britain before it was Great Britain. One ancient site was Londinium, which is today’s London.<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNdpytCDcN3MKaZs5glahr2U6sHk6HUPXwSKAma24_GCXmKD9VdtjPVqfrb8Rvoy5F4GZealvKqY5W7KNcCpbrpT5OUWNDcU7KXH0OSHVGlT4bYkoATOY81a16EQmVta6WPSB8k5tXaPg/s1600/londinium.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="117" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNdpytCDcN3MKaZs5glahr2U6sHk6HUPXwSKAma24_GCXmKD9VdtjPVqfrb8Rvoy5F4GZealvKqY5W7KNcCpbrpT5OUWNDcU7KXH0OSHVGlT4bYkoATOY81a16EQmVta6WPSB8k5tXaPg/s200/londinium.jpg" width="200" /></a></td></tr> <tr><td class="tr-caption" style="font-size: 13px;">Londinium</td></tr> </tbody></table> <div class="MsoNormal"> <o:p></o:p></div> <div style='clear: both;'></div> </div> <div class='post-footer'> <div class='post-footer-line post-footer-line-1'> Posted by the <meta content='https://www.blogger.com/profile/03190272299610799123' itemprop='url'/> <a class='g-profile' href='https://www.blogger.com/profile/03190272299610799123' rel='author' title='author profile'> plundered art </a> at <meta content='https://plundered-art.blogspot.com/2016/03/mutually-assured-destruction.html' itemprop='url'/> <a class='timestamp-link' href='https://plundered-art.blogspot.com/2016/03/mutually-assured-destruction.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2016-03-13T13:57:00-04:00'>13:57</abbr></a> <a href='https://www.blogger.com/email-post/5918154958856402553/1355550988579763283' title='Email Post'> <img alt='' class='icon-action' height='13' src='https://resources.blogblog.com/img/icon18_email.gif' width='18'/> </a> <div class='post-share-buttons goog-inline-block'> <a class='goog-inline-block share-button sb-email' href='https://www.blogger.com/share-post.g?blogID=5918154958856402553&postID=1355550988579763283&target=email' target='_blank' title='Email This'>Email This</a><a class='goog-inline-block share-button sb-blog' href='https://www.blogger.com/share-post.g?blogID=5918154958856402553&postID=1355550988579763283&target=blog' onclick='window.open(this.href, "_blank", "height=270,width=475"); return false;' target='_blank' title='BlogThis!'>BlogThis!</a><a class='goog-inline-block share-button sb-twitter' href='https://www.blogger.com/share-post.g?blogID=5918154958856402553&postID=1355550988579763283&target=twitter' target='_blank' title='Share to X'>Share to X</a><a class='goog-inline-block share-button sb-facebook' href='https://www.blogger.com/share-post.g?blogID=5918154958856402553&postID=1355550988579763283&target=facebook' onclick='window.open(this.href, "_blank", "height=430,width=640"); return false;' target='_blank' title='Share to Facebook'>Share to Facebook</a><a class='goog-inline-block share-button sb-pinterest' href='https://www.blogger.com/share-post.g?blogID=5918154958856402553&postID=1355550988579763283&target=pinterest' target='_blank' title='Share to Pinterest'>Share to Pinterest</a> </div> </div> <div class='post-footer-line post-footer-line-2'> Keywords: <a href='https://plundered-art.blogspot.com/search/label/ALR' rel='tag'>ALR</a>, <a href='https://plundered-art.blogspot.com/search/label/ARG' rel='tag'>ARG</a>, <a href='https://plundered-art.blogspot.com/search/label/Christie%27s' rel='tag'>Christie's</a>, <a href='https://plundered-art.blogspot.com/search/label/due%20diligence' rel='tag'>due diligence</a>, <a href='https://plundered-art.blogspot.com/search/label/provenance' rel='tag'>provenance</a>, <a href='https://plundered-art.blogspot.com/search/label/Sotheby%27s.%20Dr.%20Strangelove' rel='tag'>Sotheby's. Dr. Strangelove</a> </div> <div class='post-footer-line post-footer-line-3'> </div> </div> </div> </div> </div></div> <div class="date-outer"> <h2 class='date-header'>02 March 2016</h2> <div class="date-posts"> <div class='post-outer'> <div class='post hentry uncustomized-post-template' itemprop='blogPost' itemscope='itemscope' itemtype='http://schema.org/BlogPosting'> <meta content='https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieqBzGNswAFsi9yxiFMymf9ABB8FcbrJwxa10HPPuLA6QQ8SDRbB1dO9c04etxWbmecrDGfEgz_b2IHOmgaCT8L6EKhasA_-QiuyhsqwPkMXNCptUiyeVIqcv80LGhnuRdb0xZtTzQOOo/s1600/von+der+heydt.jpeg' itemprop='image_url'/> <meta content='5918154958856402553' itemprop='blogId'/> <meta content='8061880279829092164' itemprop='postId'/> <a name='8061880279829092164'></a> <h3 class='post-title entry-title' itemprop='name'> <a href='https://plundered-art.blogspot.com/2016/03/silver-linings.html'>Silver linings</a> </h3> <div class='post-header'> <div class='post-header-line-1'></div> </div> <div class='post-body entry-content' id='post-body-8061880279829092164' itemprop='description articleBody'> <div class="separator" style="clear: both; text-align: left;"> by Marc Masurovsky</div> You know how this old saying goes: Every cloud has a silver lining. In this case, the silver lining has a cloud around it, if you can visualize it. In April 2011, <a href="http://plundered-art.blogspot.fr/2011/04/wanted-lady-with-parrot.html">the plundered art blog </a>publicized the presence of a painting by Caspar Netscher “Dame mit Papagei/Lady with a Parrot” at the Von der Heydt Museum in Wuppertal, Germany.<div> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieqBzGNswAFsi9yxiFMymf9ABB8FcbrJwxa10HPPuLA6QQ8SDRbB1dO9c04etxWbmecrDGfEgz_b2IHOmgaCT8L6EKhasA_-QiuyhsqwPkMXNCptUiyeVIqcv80LGhnuRdb0xZtTzQOOo/s1600/von+der+heydt.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieqBzGNswAFsi9yxiFMymf9ABB8FcbrJwxa10HPPuLA6QQ8SDRbB1dO9c04etxWbmecrDGfEgz_b2IHOmgaCT8L6EKhasA_-QiuyhsqwPkMXNCptUiyeVIqcv80LGhnuRdb0xZtTzQOOo/s1600/von+der+heydt.jpeg" /></a></td></tr> <tr><td class="tr-caption" style="font-size: 13px;">Von der Heide Museum, Wuppertal</td></tr> </tbody></table> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyheJS8g28lDJmL_mwRO_DYzv61ZhcXj0volcrmGIZXKKG_LQ3PTU7_F8gEqPdJQ0jTP5RPLc6hwWVrYhS7tTHSpj-6vKpGCA20XTb59pF8xZfTrWwyT0HVhMp4O2Zm2giXpMJd3Aa8W8/s1600/netscher.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyheJS8g28lDJmL_mwRO_DYzv61ZhcXj0volcrmGIZXKKG_LQ3PTU7_F8gEqPdJQ0jTP5RPLc6hwWVrYhS7tTHSpj-6vKpGCA20XTb59pF8xZfTrWwyT0HVhMp4O2Zm2giXpMJd3Aa8W8/s200/netscher.jpeg" width="158" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Lady with a Parrot</td></tr> </tbody></table> <div> This painting had been the rightful property of Hugo and Elizabeth Andriesse, a family in the banking business in pre-WWII Brussels, who, because of their appurtenance to the Jewish faith, were forced to flee from the invading German armies in 1940. <div> Seeking refuge in New York, they never looked back. Mr. Andriesse died during WWII and his widow lived until the 1960s. She pursued claims for the return of the family property, but gave up when ordered to by the Belgian government in the 1950s because many of her cultural assets could not be located. Having no children, the Andriesse heirs named as their heirs local charities in New York City. To this day, some of these charities receive a monthly check for at least 700 dollars as ordered by the application of Mrs. Andriesse’s will. In February 2015, <a href="http://plundered-art.blogspot.fr/2015/02/are-german-museums-in-favor-of.html">the plundered art blog </a>cited as an exception to the current German mindset of opposing restitution of Nazi looted art to rightful owners, the stance taken by the leadership of the Wuppertal Museum to return the Caspar Netscher painting to the heirs of the Andriesse family. To be perfectly frank, I had undertaken in 2013 a series of discussions first indirectly then directly with that museum to find a way of doing the honorable thing—restitution. I was struck by the museum’s desire to be ethical and part ways with a gorgeous example of Netscher’s work in order to uphold the highest standards when it comes to resolving complex restitution issues that involve objects in the permanent collection of a museum.  </div> <div> </div> <div> In January 2014, I broached the matter with restitution officials in New York in hopes of convincing them to intercede as an impartial third party. Their research confirmed that the heirs to the painting were not individuals but local charities. It did not take too many phone calls to discover that a law firm based in New York and Berlin had put an end to all of these informal discussions, as representatives of the Andriesse heirs, namely four charities serving the New York metropolitan area. In effect, we were all locked out of any process to find a creative solution to this restitution problem.</div> <div> Frankly I was dismayed. Several months later, the painting was restituted and in June 2014 was sold at auction at <a href="http://artsalesindex.artinfo.com/auctions/Caspar-Netscher-5315681/Woman%20feeding%20a%20Parrot-1666">Christie’s New York</a> for at least five million dollars. The charities received their fair share and the lawyers received their contingency fee for not doing much of anything. All the hard work had already been done, the ground plowed, the information about the painting publicized, and, just as important, the museum leadership alerted, and the Wuppertal city council aligned with the museum's stance to restitute the painting. In April 2015, <a href="http://plundered-art.blogspot.fr/2015/04/provenance-was-optional-at-2015-tefaf.html">a regular contributor to the plundered art blog</a> reported on the TEFAF Maastrict Art Fair, an annual event bringing together the elite of the international art world. She noted the presence of the Caspar Netscher painting being offered for sale at a price higher than that fetched at Christie's in June 2014,  with very little indication of the painting’s troubled and exciting history. Are there lessons to be drawn from this event? On the plus side, the painting was identified, located, and restituted to the rightful heirs as designated in the Andriesse will. Much of this would not have happened without the benevolent research made public both on the <a href="http://www.errproject.org/jeudepaume/card_view.php?CardId=440">ERR/Jeu de Paume database</a> (<a href="http://content.time.com/time/arts/article/0,8599,2032408,00.html">since mid-October 2010!</a>), on the plundered art blog and the intervention of a senior German museum official who helped bring to the von der Heydt Museum news about their painting being stolen property. The down side of this story is the risk associated with making public information that might end up enriching unscrupulous members of the legal profession and others who make it their specialty to hunt for “treasure” disguised as art objects-expensive art objects-very expensive art objects which still need to be restituted and for which a claimant has been identified and the location of the unrestituted, claimable object revealed on public websites. It’s an unfortunate trade off that I/we have agreed to in order to educate the public and make information about cultural plunder available to the masses as well as to a specialized audience. The risk is that we provide the opportunity for some people with means and resources to make a significant amount of money for little to show for it at the expense of exploring more creative solutions to restitution which can benefit the great many of us. In the case of the Netscher painting, one scenario was for the painting to be placed on permanent loan at the museum by the fortunate buyer who had acquired it at auction. Instead the painting has been flipped and has become another prize for speculation <a href="http://www.richardgreen.com/Netscher-Caspar-DesktopDefault.aspx?tabid=45&tabindex=44&artistid=3826">on the international art market,</a> at the expense of the public. There is no real solution to this problem, unfortunately. One alternative would be to opt for the lockdown of all data concerning looted cultural assets inside proprietary, confidential, password-protected databases, hidden from public view, in order to shield the objects from unwanted publicity that attract financial predators uninterested in history, culture and education and ethics, and solely looking for a good payday.There are several databases that fulfill this requirement already--the Art Loss Register and Art Claim, part of Art Recovery Group, both in London. Since the 1990s, there have been no attempts to establish clear, ethical mechanisms by which to facilitate the return of looted cultural property to rightful owners. No government, no international organization has desired to create such mechanisms and, by exerting such cowardice, have allowed the market and its legal practitioners to take over the process of restitution at the expense of the public good. The Holocaust should not be the subject of treasure hunts and opportunities for enrichment, in the name of restitution. The process of locating, identifying, and restituting a looted object should provide unique opportunities to educate and to raise awareness and to allow these objects to benefit the public through on-going displays in cultural institutions, which can be accompanied by well-conceived explanatory texts and further opportunities to enrich the public’s understanding of a most heinous crime committed in the context of mass conflicts and atrocities. <div class="MsoNormal"> </div> </div> </div> </div> <div style='clear: both;'></div> </div> <div class='post-footer'> <div class='post-footer-line post-footer-line-1'> Posted by the <meta content='https://www.blogger.com/profile/03190272299610799123' itemprop='url'/> <a class='g-profile' href='https://www.blogger.com/profile/03190272299610799123' rel='author' title='author profile'> plundered art </a> at <meta content='https://plundered-art.blogspot.com/2016/03/silver-linings.html' itemprop='url'/> <a class='timestamp-link' 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PopularPosts' data-version='1' id='PopularPosts1'> <h2>Popular Posts</h2> <div class='widget-content popular-posts'> <ul> <li> <div class='item-content'> <div class='item-thumbnail'> <a href='https://plundered-art.blogspot.com/2011/08/jacopo-zucchi-bath-of-bathsheba-or-how.html' target='_blank'> <img alt='' border='0' src='https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU0xZFsgqZInIGKdP9R3oVbqJQF2HU7uzBbUmkOXY7JVvKn1B_rY3XLIqEPoU4pXWK5zHyWBMEpYTMO_NGew8L6bXT9kO1CjkHI9y81yBDb_nU-Z6FjtCXrJZyDS1gzgn6X_XeZjvZeIGT/w72-h72-p-k-no-nu/Zucchi_Bathsheba.jpg'/> </a> </div> <div class='item-title'><a href='https://plundered-art.blogspot.com/2011/08/jacopo-zucchi-bath-of-bathsheba-or-how.html'>Jacopo Zucchi, “The Bath of Bathsheba”: or how pieces of a story build a new story about the same story ex post facto</a></div> <div class='item-snippet'> "The Bath of Bethsheba", Jacopo Zuchhi Source: Lib-Art In late July 1998, a painting by Jacopo Zucchi, “The Bath of Bathsheb...</div> </div> <div style='clear: both;'></div> </li> <li> <div class='item-content'> <div class='item-thumbnail'> <a href='https://plundered-art.blogspot.com/2013/02/angelus-novus-angel-of-history-by-paul.html' target='_blank'> <img alt='' border='0' src='https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHFby21uWyMFJ_QUwu8V2t6yvufmLhodSpnyn05qN2JZvIki-sT-vObbOXvwB8IQDBRi6ToUH5_UGgi2NcvkRxrWcicB9PK5cW8xJzAsYMyEWtA5UAoIU3hn8AV7cVCiwvtZkt_n0xq9DO/w72-h72-p-k-no-nu/klee.jpg'/> </a> </div> <div class='item-title'><a href='https://plundered-art.blogspot.com/2013/02/angelus-novus-angel-of-history-by-paul.html'>Angelus Novus, Angel of History, by Paul Klee</a></div> <div class='item-snippet'> by Marc Masurovsky Paul Klee Source: Wikipedia Interesting destiny for the watercolor, “Angelus Novus”, a critical early work by Swis...</div> </div> <div style='clear: both;'></div> </li> <li> <div class='item-content'> <div class='item-thumbnail'> <a href='https://plundered-art.blogspot.com/2012/01/red-horses-by-franz-marc.html' target='_blank'> <img alt='' border='0' src='https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBdV2ghWPgzPliBwLWIPYmiIleA4pRxiGsTVn5f2xkwM8lEQ7C7lcFI3TSNmGjB3-nf1hRKzXI82HrdA9fCtlIjmCjfXZHTDR1zjYEPsiKXdMLApQExL6ECgTFXOL5qYOdz0X3-yQLaIvL/w72-h72-p-k-no-nu/redhorses.jpg'/> </a> </div> <div class='item-title'><a href='https://plundered-art.blogspot.com/2012/01/red-horses-by-franz-marc.html'>"The Red Horses" by Franz Marc</a></div> <div class='item-snippet'> The saga continues pertaining to the so-called “degenerate” works of art de-accessioned from German State collections. Unless otherwise st...</div> </div> <div style='clear: both;'></div> </li> <li> <div class='item-content'> <div class='item-thumbnail'> <a href='https://plundered-art.blogspot.com/2015/03/rwanda-art-in-post-genocide-society.html' target='_blank'> <img alt='' border='0' src='https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2_rntcxaGGJYCf0mRaE-ZrS7K0Vz1GmuUCDKfSV-OT5CgqnRGHdRDGDzppHTLOMTCTJkC39QETxQYDtOtsKgEBdudmCyMHVkhicnejZ7wX9rIHDb95xzSAP8qpwJUndJcZjpREkDj9gE/w72-h72-p-k-no-nu/DSC00239.JPG'/> </a> </div> <div class='item-title'><a href='https://plundered-art.blogspot.com/2015/03/rwanda-art-in-post-genocide-society.html'>Rwanda: Art in a post-genocide society</a></div> <div class='item-snippet'>by Marc Masurovsky By all accounts, there is no reason why artistic activity should have even found a haven in a society where half of the m...</div> </div> <div style='clear: both;'></div> </li> <li> <div class='item-content'> <div class='item-thumbnail'> <a href='https://plundered-art.blogspot.com/2015/04/the-art-dealer-lantiquaire-by-francois.html' target='_blank'> <img alt='' border='0' src='https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtR3rdYNADfCe3pevE7WALhCS58eKULzxS2hH9H9icLCpYIqeQGshhikeAkEA1jFHgUdqhFcV09XQ9yIKVVqNnUHPCv0XT1aCpnjH0fxAZRPahLuYAIFVAkEiy9HP2nx_EshJHVCLOFBc/w72-h72-p-k-no-nu/anna-sigalevitch-996369l-80x0-wtm-4ff028ed.jpg'/> </a> </div> <div class='item-title'><a href='https://plundered-art.blogspot.com/2015/04/the-art-dealer-lantiquaire-by-francois.html'>The Art Dealer (L'Antiquaire), by François Margolin</a></div> <div class='item-snippet'>by Marc Masurovsky Why is it that history cannot be told factually on film? Is there something about the creative process that impels so-cal...</div> </div> <div style='clear: both;'></div> </li> <li> <div class='item-content'> <div class='item-title'><a href='https://plundered-art.blogspot.com/2016/12/the-us-department-of-state-is.html'>The U.S. Department of State Is Structurally Unable To Perform Appropriate Provenance Research On Immunity From Seizure Applications Submitted By Foreign Museums </a></div> <div class='item-snippet'>by Marc Masurovsky and Pierre Ciric [1] The Holocaust Art Restitution project (“HARP”) initiated research into the State Department’s abili...</div> </div> <div style='clear: both;'></div> </li> <li> <div class='item-content'> <div class='item-thumbnail'> <a href='https://plundered-art.blogspot.com/2011/07/nazi-plunderer-bruno-lohse-gets.html' target='_blank'> <img alt='' border='0' src='https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_u_G0RBPILIyZT4gJCtgBIrcRPTcIFeM9cd46GExlSpopVS8_ndl5cB5Dj6tOmeNPdaoddMKUiuZMsn0arFLFH1SU_p6011Cww_Ral-pGaU8czxdIrz5-dX14ZTE7TSRbRsFeGZJgNO=w72-h72-p-k-no-nu'/> </a> </div> <div class='item-title'><a href='https://plundered-art.blogspot.com/2011/07/nazi-plunderer-bruno-lohse-gets.html'>Nazi plunderer Bruno Lohse gets a posthumous rewrite</a></div> <div class='item-snippet'> Bruno Lohse Source: Jewish Museum Berlin When SS Captain Bruno Lohse died on March 21, 2007, he left behind him a small treasure of F...</div> </div> <div style='clear: both;'></div> </li> <li> <div class='item-content'> <div class='item-thumbnail'> <a href='https://plundered-art.blogspot.com/2011/06/van-goghs-1889-depiction-of-his.html' target='_blank'> <img alt='' border='0' src='https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPcjf-aP5qF7jm-cL8noRkLi7YoWsy4VbLKBRiOEEmDhaT0hWDDRpMzO_dJubX490Epw3kf_ARSAEO_Dc4cbh_rSyZ12A_kwuU6Ziu5rqsnNsNF7sGkRyu7ozdsUwitfGP7ABChB4w2Phq/w72-h72-p-k-no-nu/Vangogh.jpg'/> </a> </div> <div class='item-title'><a href='https://plundered-art.blogspot.com/2011/06/van-goghs-1889-depiction-of-his.html'>Van Gogh's 1889 depiction of his mutilated self smoking a pipe--PR 144</a></div> <div class='item-snippet'> In a catalogue of works from the private collection of Mary and Leigh Block of Chicago, IL, the first painting that one sees is an iconi...</div> </div> <div style='clear: both;'></div> </li> <li> <div class='item-content'> <div class='item-title'><a href='https://plundered-art.blogspot.com/2016/06/the-american-museums-us-senate-and-art.html'>The American museums, the US Senate and the art market vs. Claimants</a></div> <div class='item-snippet'>by Marc Masurovsky It's hard to believe that we have reached this point again. The US Senate and its friends in the art market and i...</div> </div> <div style='clear: both;'></div> </li> <li> <div class='item-content'> <div class='item-thumbnail'> <a href='https://plundered-art.blogspot.com/2016/10/silences-that-are-hardly-golden.html' target='_blank'> <img alt='' border='0' src='https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwknt7oPr8MIvQH1HukxT5AeA81V3JiwLLU7ZOrqG8tFaEvHlJkO6ZJb7u1vIi7WEKMVcstdEWNPo2osAK_S4Cu9WILnT4cBWf3kFYWoMhkKPf9trNxlNOlh9mTUQYQcRj6gDYAGtgDGM/w72-h72-p-k-no-nu/Unknown.jpeg'/> </a> </div> <div class='item-title'><a href='https://plundered-art.blogspot.com/2016/10/silences-that-are-hardly-golden.html'>Silences that are Hardly Golden</a></div> <div class='item-snippet'> by Ori Z Soltes edited by Marc Masurovsky With the untimely passing of Elie Wiesel, my mind wanders back to issues that, over the years,...</div> </div> <div style='clear: both;'></div> </li> </ul> <div class='clear'></div> </div> </div><div class='widget BlogList' 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