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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 Paul Gauguin. <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'>12 November 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/AVvXsEgyeIfZOQD5Q_m7sIr4idaVDBHfrlsWcdDyyXeFtx26YNE02W8QDumsc5MXyfVxAuI4QelrKqNKPwo29RUuIeiQmJViXZnoDMmyj12LLHxqpQoyXGOsrLT-8nbry0HBWK7PShWH1sIXgUI/s320/gauguin_rue_de_tahiti.jpg' itemprop='image_url'/> <meta content='5918154958856402553' itemprop='blogId'/> <meta content='5654545168442265534' itemprop='postId'/> <a name='5654545168442265534'></a> <h3 class='post-title entry-title' itemprop='name'> <a href='https://plundered-art.blogspot.com/2016/11/revisiting-martha-nathan-loss-of.html'>Revisiting the Martha Nathan loss of a Gauguin painting</a> </h3> <div class='post-header'> <div class='post-header-line-1'></div> </div> <div class='post-body entry-content' id='post-body-5654545168442265534' itemprop='description articleBody'> <div class="separator" style="clear: both; text-align: center;"> </div> by Marc Masurovsky Martha Nathan was the wife of a prominent German Jewish collector, Hugo Nathan. He died in 1922. After inheriting his wealth and his art collection, Martha Nathan continued to live in Germany. She eventually fled to France in 1937 settling down in Paris, much like Hugo Perls and countless other German Jews had done before her. Meanwhile, she had shipped for safekeeping some of the works that she owned to Basel, Switzerland. Mrs. Nathan sold one of those paintings, “Street scene in Tahiti,” by Paul Gauguin, to three Jewish art dealers, Justin Thannhauser, Alexander Ball and Georges Wildenstein. These three dealers were later plundered when the Nazis invaded France in May 1940, one of the ironies of Nazi-sponsored cultural plunder. <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/AVvXsEgyeIfZOQD5Q_m7sIr4idaVDBHfrlsWcdDyyXeFtx26YNE02W8QDumsc5MXyfVxAuI4QelrKqNKPwo29RUuIeiQmJViXZnoDMmyj12LLHxqpQoyXGOsrLT-8nbry0HBWK7PShWH1sIXgUI/s1600/gauguin_rue_de_tahiti.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyeIfZOQD5Q_m7sIr4idaVDBHfrlsWcdDyyXeFtx26YNE02W8QDumsc5MXyfVxAuI4QelrKqNKPwo29RUuIeiQmJViXZnoDMmyj12LLHxqpQoyXGOsrLT-8nbry0HBWK7PShWH1sIXgUI/s320/gauguin_rue_de_tahiti.jpg" width="241" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">'Street scene in Tahiti, by Paul Gauguin</td></tr> </tbody></table> The Toledo Museum of Art (TMA) acquired the Gauguin painting in May 1939 where it remains to this day. When the Nathan heirs asked for the restitution of the painting in 2004, the TMA demurred and fought back. The TMA’s lawyer went on the offensive, accusing the Nathan family of not having pursued a claim for restitution of the Gauguin painting after 1945 and maintained that she had not been forced to sell it under Nazi pressure. In 2006. the TMA “quieted” the Nathan claim in an unusually aggressive blowback strategy. In a move that would have made Clausewitz proud, the best defense being an offense, the TMA had filed its own lawsuit against the Nathan heirs, contending it held legitimate title to the painting. The Detroit Institute of Art joined the lawsuit, arguing that a van Gogh painting, which also had belonged to Martha Nathan, was its legitimate property. In hindsight, the Nathan claim was the first claim to reach an American museum for the restitution of a “flight asset.” In the years following the Washington Conference of December 1998, no one had developed a clear notion of what “flight assets” were and especially whether or not they amounted to a restitutable loss as a result of Nazi persecution. Neither historians of the period nor Jewish officials involved in restitution matters nor, for that matter, politicians and civil servants had ever considered the possibility that “flight assets” could occupy the same space as “forced sales” or “looted assets”. The Washington Principles did not address them, a key element of the defense put forth by the Toledo Museum of Art to oppose restitution. In the eyes of the TMA’s lawyers, the Gauguin painting did not smack of persecution, there was no evidence of force exerted upon Martha Nathan; in their view, she had not lost control of the painting at the time of its sale. Moreover, they restated the fact that the sale had occurred outside of Germany, involved Jewish art dealers, had not been instigated by the Nazi regime, nor did the Nazis profit from the sale. At stake in the Nathan complaint against the Toledo Museum of Art was Martha Nathan’s status as Jewish victim of Nazi persecution, inside and outside the Third Reich. In other words, as long as Martha Nathan had property and other interests left in Nazi Germany, she remained a target of Nazi persecution, regardless of where she lived. Was the Gauguin painting a “flight asset”? “Flight assets” were fungible assets whose short-term realization helped the assets’ owners to survive in their chosen country of exile after fleeing from Nazi Germany. Our litmus test for validating the “flight asset” label involves asking the following questions: <div> Would Martha Nathan have sold the painting in the first place had she not been forced to flee first to France and then to Switzerland where she died in 1958? Would she have fled to France or Switzerland, had there been no immediate threat to her person? Did she need to sell the Gauguin painting in order to survive in exile? The Toledo Museum of Art contended that Martha Nathan had obtained a fair price for her Gauguin painting at the time of the sale, consistent with what the market could bear in Western Europe in the late 1930s. Once again, <a href="http://www.nytimes.com/2006/04/21/arts/of-museums-heirs-and-lawsuits.html">the price that a Jewish victim </a>of Nazi persecution obtains for a work of art is of no consequence and should not be relevant to determining duress and persecution. It is the circumstance under which the sale takes place which matters the most and the reasons driving it. It is disheartening to see how a Jewish victim of Nazi persecution is not <a href="http://www.mmdnewswire.com/martha-nathan-heirs-react-to-lawsuits-to-qquiet-titleq-filed-by-the-toledo-museum-of-art-and-the-det-15.html">allowed to obtain fair price </a>for an asset and claim duress. In the minds of those who currently possess such works, fair price is a telltale sign of being free and unencumbered by any form of persecution or harassment. This mischaracterization of “duress” and “forced sale” continues to poison the historical narrative of Jewish plight in the face of Nazi persecution, even in exile, an issue that no one has bothered to clear up definitively through scholarly writing and forceful policy statements. The acceptable standard trope for a Jewish victim is for her to live under an unremitting regime of terror and intimidation. There is a general reluctance to accept that persecution can be “experienced” outside the borders of the territory in which it originated. This contention has all the hallmarks of a double standard since it is widely accepted nowadays that victims of persecution, torture, rape and other forms of human debasement, continue to live in fear and display behavior akin to being persecuted even in exile, far away from the scene of the crime. It is called “trauma.” <a href="http://observer.com/2015/07/museums-respond-to-biting-report-on-nazi-looted-art/">The Toledo Museum of Art refused to acknowledge that Martha Nathan’s decisions</a> to sell works of art during the Nazi years were guided and influenced by Nazi racial policies and their impact on her corporate presence in Nazi Germany (real estate, and other assets). US courts and museum lawyers have had wide license to pontificate as to when one is persecuted and one is not, especially if the victim’s property came to them as a direct result of an act of Nazi persecution. Why should lawyers and judges take on the charge of (re)writing certain aspects of Holocaust history? Plaintiffs’ lawyers bear a huge responsibility when they propound facile arguments that would lead us to believe that an item was plundered when, in fact, it might not have been thus allowing the current possessors’ lawyers to tear asunder historical facts tied to cultural plunder. Historians have a professional and ethical duty to set the record straight on these matters.</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/2016/11/revisiting-martha-nathan-loss-of.html' itemprop='url'/> <a class='timestamp-link' href='https://plundered-art.blogspot.com/2016/11/revisiting-martha-nathan-loss-of.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2016-11-12T23:53:00-05:00'>23:53</abbr></a> <a href='https://www.blogger.com/email-post/5918154958856402553/5654545168442265534' 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=5654545168442265534&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=5654545168442265534&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=5654545168442265534&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=5654545168442265534&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=5654545168442265534&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/Alexander%20Ball' rel='tag'>Alexander Ball</a>, <a href='https://plundered-art.blogspot.com/search/label/Detroit%20Institute%20of%20Art' rel='tag'>Detroit Institute of Art</a>, <a href='https://plundered-art.blogspot.com/search/label/Georges%20Wildenstein' rel='tag'>Georges Wildenstein</a>, <a href='https://plundered-art.blogspot.com/search/label/Justin%20Tannhauser' rel='tag'>Justin Tannhauser</a>, <a href='https://plundered-art.blogspot.com/search/label/Martha%20Nathan' rel='tag'>Martha Nathan</a>, <a href='https://plundered-art.blogspot.com/search/label/Paul%20Gauguin' rel='tag'>Paul Gauguin</a>, <a href='https://plundered-art.blogspot.com/search/label/Switzerland' rel='tag'>Switzerland</a>, <a href='https://plundered-art.blogspot.com/search/label/Toledo%20Museum%20of%20Art' rel='tag'>Toledo Museum of Art</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'>25 February 2015</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/AVvXsEhAeM1KGBdAd0_DWJvfdQt7QnCk9hwvMFHj3GLNVLuzcQDVi_vloi4wm87QdJsNRJEPAEmYesnuHWL32luSNQ_YP16pwlKm327aARYcPmmPWYKRkxKei15Iqwq_-MgawI2jYwVTfXjocqI/s1600/adele2.jpg' itemprop='image_url'/> <meta content='5918154958856402553' itemprop='blogId'/> <meta content='2124602020684760286' itemprop='postId'/> <a name='2124602020684760286'></a> <h3 class='post-title entry-title' itemprop='name'> <a href='https://plundered-art.blogspot.com/2015/02/the-most-expensive-works-of-art-in_25.html'>The most expensive works of art in the world and their histories (or lack thereof)-Part Three</a> </h3> <div class='post-header'> <div class='post-header-line-1'></div> </div> <div class='post-body entry-content' id='post-body-2124602020684760286' itemprop='description articleBody'> <div class="separator" style="clear: both; text-align: left;"> by Marc Masurovsky</div> 7. The Portrait of Adele Bloch Bauer II, 1912, by Gustav Klimt sold for 87 million dollars at Christie’s on November 8, 2006. <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/AVvXsEhAeM1KGBdAd0_DWJvfdQt7QnCk9hwvMFHj3GLNVLuzcQDVi_vloi4wm87QdJsNRJEPAEmYesnuHWL32luSNQ_YP16pwlKm327aARYcPmmPWYKRkxKei15Iqwq_-MgawI2jYwVTfXjocqI/s1600/adele2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAeM1KGBdAd0_DWJvfdQt7QnCk9hwvMFHj3GLNVLuzcQDVi_vloi4wm87QdJsNRJEPAEmYesnuHWL32luSNQ_YP16pwlKm327aARYcPmmPWYKRkxKei15Iqwq_-MgawI2jYwVTfXjocqI/s1600/adele2.jpg" width="211" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Adele Bloch Bauer II, 1912, Gustav Klimt</td></tr> </tbody></table> 8. The Portrait of Adele Bloch Bauer I (The Lady in Gold) by Gustav Klimt, 1907, sold for 135 million dollars at the same sale. <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/AVvXsEjOMsJNG-gneFXZYnfi0seHn-kEHbi39L_0nTWfrNor5nL10vSkZhdfiUYKgTGJeHtPWC8iSVIQU1nzBNckGeinpUcQrGR5QJNcFftZLDAz5BVQDOIqkDkh1SzTVy0TeXIvbN6mMEEsGuQ/s1600/adeleone+gustav-klimt_w336.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOMsJNG-gneFXZYnfi0seHn-kEHbi39L_0nTWfrNor5nL10vSkZhdfiUYKgTGJeHtPWC8iSVIQU1nzBNckGeinpUcQrGR5QJNcFftZLDAz5BVQDOIqkDkh1SzTVy0TeXIvbN6mMEEsGuQ/s1600/adeleone+gustav-klimt_w336.jpg" width="315" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Adele Bloch Bauer I, 1907, Gustav Klimt</td></tr> </tbody></table> <div> These two portraits of Adele Bloch Bauer were painted by Gustav Klimt on the eve of the First World War. Klimt was a favorite of Viennese Jewish aristocrats. The portraits are lush and exuberant, yet Adele is unreachable and cold. Adele died at a young age in 1925. The Anschluss of March 10, 1938 resulted in the Nazi annexation of Austria into the Greater German Reich and in the wholesale dispossession of Jewish-owned wealth and property followed by the persecution and deportation of tens of thousands of Viennese Jews to concentration camps “nach dem Osten.” The Bloch Bauer family, one of the most financially endowed of Vienna, lost all of its property. Avid collectors of Klimt and other members of the Austrian Secession, the Nazis confiscated all of the family’s works of art which ended up in government depots in Vienna. Decades later, the Nazis gone, the paintings remained in Austria hanging at the Belvedere while the remnants of the family had resettled in exile including Adele’s niece, Marie Altmann. She consulted with Randol Schoenberg, an attorney in Los Angeles and grandson of the composer, Arnold Schoenberg. Randy (as he is known) took her case and spent the greater part of eight years trying to wrest the Bloch Bauer Klimts from the clutches of the Austrian government. He eventually took the Austrian government to the Supreme Court (Altmann v. the Repubic of Austria) and was able to establish “jurisdiction”, a legal maneuver that enabled Marie Altmann to sue the Austrian government in American Federal courts. That verdict tipped the scales against Austria. One possible outcome of the case would have been for Austria to buy back the paintings. But at fair market value, the Austrian government would have spent upwards of 300 million dollars for the paintings including the two portraits of Adele Bloch Bauer. It was unwilling to do so. Marie Altmann won the right to recover her family’s cultural inheritance. Upon restitution, Adele Bloch Bauer I and II went on the auction block. 9. Boy with pipe, 1905, by Pablo Picasso sold for 104 million dollars on May 5, 2004 at Sotheby’s. <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/AVvXsEiBwZ_oMGEZ5cTNuswvsAtDv_cJl-Jk3_Hgwt_BXQ7sH-Ln5oUpy4dso5skzYphNNjGBs_RU1iRuNsEdKGA9XLQVe5b9Qx91vYZQKw5qKW7BaNAaAZtyl7y1XYMpFXpiQTc_t6lThqeCQw/s1600/pipe.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBwZ_oMGEZ5cTNuswvsAtDv_cJl-Jk3_Hgwt_BXQ7sH-Ln5oUpy4dso5skzYphNNjGBs_RU1iRuNsEdKGA9XLQVe5b9Qx91vYZQKw5qKW7BaNAaAZtyl7y1XYMpFXpiQTc_t6lThqeCQw/s1600/pipe.jpg" width="256" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Boy with a Pipe, 1905, Pablo Picasso</td></tr> </tbody></table> According to the Sotheby’s catalogue, this painting once belonged to the Mendelssohn-Bartholdy family which sold it to the Swiss art dealer, Walter Feilchenfeldt, who headed the Cassirer gallery. Despite of and because of their wealth and status in Germany’s elite, the Mendelssohn-Bartholdy family suffered racial persecutions much like the rest of the Jewish community of Germany. Many of their cultural and artistic possessions were sold under duress in the 1930s. John Hay Whitney purchased “Boy with a pipe” in 1950. After Whitney’s death, the painting passed to his widow, Betsey. She died in 1998 and <a href="http://www.today.com/id/4910225/ns/today-today_entertainment/t/picassos-boy-pipe-sells-million/#.VO23kVZSzwI">a family foundation established by Betsey</a> took control of the Whitney family’s art. The foundation sold the Picasso and other works in 2004. 10. Nude, Green leaves and Bust (1932) by Pablo Picasso sold for 106 million dollars on April 30, 2010 at Christie’s. </div> <div> </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/AVvXsEj3bduU6JZGHNkSK00UoifSnA4GSaRl6FP1_fYuMOd30hBOPk1UwmVyzqB1rvWTDV5Zo2Bn-PuTtv4VUH8_N0u63Rxo4bY-thgwwhGWMLLaqD1NcTh0IWtUlEWrWAUidMIDgA-WbkViJFc/s1600/Nude_Green_Leaves_and_Bust_by_Picasso.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3bduU6JZGHNkSK00UoifSnA4GSaRl6FP1_fYuMOd30hBOPk1UwmVyzqB1rvWTDV5Zo2Bn-PuTtv4VUH8_N0u63Rxo4bY-thgwwhGWMLLaqD1NcTh0IWtUlEWrWAUidMIDgA-WbkViJFc/s1600/Nude_Green_Leaves_and_Bust_by_Picasso.jpg" width="256" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Nude, Green Leaves and Bust, 1932, Pablo Picasso</td></tr> </tbody></table> <div>  This complex still life by Picasso was once owned by the fabled French Jewish art dealer, Paul Rosenberg. Fearing for his safety following the German invasion of Poland, Paul Rosenberg fled to New York leaving most of his property behind in Paris and several storage sites in central and southwestern France, including his world-renown stock of Impressionist and Cubist works. He stored some of them in a storage shed in Tours under the name of one of his employees, which apparently shielded those works from Nazi seizure. Paul and his brother, Edmond, recovered all of the art stored in Tours after France was liberated. 11. The Scream, 1895 by Edvard Munch sold for 119 million dollars at Sotheby’s on May 2, 2012. The seller was Petter Olsen, whose father, Thomas, had been a neighbor of Edvard Munch. <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/AVvXsEhXhHTxOAphQwHHYjHOfmZuDn29o2YM_s1jVtpMNy707zpWC_NByFtSgLHyeBzu7CB1cs39EtpGBZ0QobgDhtD3w3i3G97ffXOgaLNbl8azyPIYr4f2zpDafEULQa0l2OXtMCb4Z3l7l8I/s1600/scream.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXhHTxOAphQwHHYjHOfmZuDn29o2YM_s1jVtpMNy707zpWC_NByFtSgLHyeBzu7CB1cs39EtpGBZ0QobgDhtD3w3i3G97ffXOgaLNbl8azyPIYr4f2zpDafEULQa0l2OXtMCb4Z3l7l8I/s1600/scream.jpg" width="253" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">The Scream, 1895, by Edvard Munch</td></tr> </tbody></table> The reporting on the painting echoed other similar journalistic fawning over the staggering cost of a work of art. Usually, those paeans to the Everest of the art world tend to overshadow the actual history of the objects fetching such ridiculous sums. As it turns out, Munch’s acknowledged masterpiece of angst and despair, The Scream, had passed through many hands. <a href="http://articles.latimes.com/2012/may/02/entertainment/la-et-cm-edvard-munch-the-scream-at-sothebys-20120502">According to the Los Angeles Times</a>, the painting had a clear provenance, starting with Arthur von Franquet who sold it to Hugo Simon who sold it through an art dealer to Thomas Olsen in 1937 and thence by descent to Pette Olsen. <a href="http://art-crime.blogspot.be/2012/05/sothebys-sells-munchs-scream-for-1199.html">A posting on the ARCAblog</a> which came on the heels of the fabled sale of the Munch painting summarized the history of the Scream as provided by the Sotheby’s auction house. There we learn that Hugo Simon purchased the painting in 1926 and consigned it to the Kunsthaus in Zurich, nearly 10 years later in December 1936. One month later, the painting presumably found its way to Stockholm where Thomas Olsen, the father of the seller, acquired the painting at M. Molvidson, Konst & Antikvitetshandel. Meanwhile, one of the Hugo Simon heirs contacted the Holocaust Art Restitution Project (HARP) and expressed his concern that the painting had been sold by his great-grandfather under duress. Thus it was a forced sale, and Sotheby’s refused to acknowledge that fact. This additional element cast a pall on the entire sale. However, it was clear that nothing would stop this juggernaut of the auction market from doing anything to prevent the sale, especially because it represented such a hefty pay day for the auction house. Five months after the sale, the Museum of Modern Art of New York announced that “The Scream” will be on temporary display as of mid-October 2012, thanks to one of MoMA’s trustees, Leon Black, who happened to be the lucky purchaser of the famed painting. At this point, the local <a href="http://nypost.com/2012/10/14/ahead-of-moma-exhibit-scholar-claims-the-scream-has-nazi-history/">New York pres</a>s took seriously charges made by Raphael Cardoso, Hugo Simon’s great-grand-son, that Hugo Simon had been forced to sell the Scream as well as most of his art collection as a direct result of his persecution as a Jew in Nazi Germany. He fled to Paris then to Brazil. The Nazis confiscated all of his assets in Germany, then, after the invasion of France, did the same with his few possessions in Paris, including his apartment and the art and furniture that it contained. <a href="http://forward.com/articles/164236/jewish-family-claims-the-scream-is-looted-art/">The Jewish Forward</a> cited the October 14, 2012, article by Isabel Vincent and essentially reprinted Raphael Cardoso’s concerns. It is the only article that called into question the provenance of “The Scream,” by Edvard Munch.  Shortly afterwards, the online art world blog, <a href="http://www.blouinartinfo.com/news/story/833712/is-the-scream-nazi-loot-mitt-romney-ancestor-polls-well-">Artinfo</a>, titled an article: Is the Scream Nazi loot?  <a href="http://www.jewishjournal.com/culture/article/heirs_of_owner_of_nazi_looted_the_scream_want_explanation_on_display">The Jewish Journal</a> echoed the Simon heirs’ demand that, at the very least, MoMA accompany the Scream with an explanatory piece that echoed the context in which the painting changed hands once Hugo Simon tried to sell it in the mid-1930s. </div> <div> Finally, <a href="http://www.thecityreview.com/s12simp1.html">another blog, City Review,</a> disclosed the fact that Pette Olsen, then owner of “The Scream”, had offered 250,000 dollars to the family that it could donate to whatever cause it desired. What the article did not mention is that Sotheby’s brokered this offer. The family turned it down on grounds that “it was insulting.” In sum, a story that should have riled the art world became a <a href="http://www.israelnationalnews.com/News/News.aspx/160968#.VOxfhlZSzwI">“Jewish” story</a> as only the Jewish and <a href="http://www.haaretz.com/news/news-in-brief/news-in-brief-1.470215">Israeli press</a> took heed of the claim made by the Simon heirs that the iconographic painting of anxiety and despair portrayed so emphatically by Munch, could have been the subject of a forced sale. If anything, the Munch painting’s travails echo once again the difficulty inherent in defining what a forced sale is, what duress really means, when faced with a claim for restitution seventy years later. 11. The dream, 24 January 1932 by Pablo Picasso sold for 155 million dollars on March 26, 2013, in a private sale between the casino billionaire, Steve Wynn, and the stockbroker billionaire, Steve Cohen, who was then under investigation by the Securities and Exchange Commission.</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/AVvXsEj8oB4oQYDJsI7oUaXZzldvneIyOWjaV9CL_HVv3GYa2RpinXuVWCfgIooGaefQbOvT5msL-bo1mxjGo8zeSXEqf59LAOHZTqSev17euL1O9Ei3UuC3mCP8m9Sw5P4Mfy4q96h_6jzCqCw/s1600/reve.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8oB4oQYDJsI7oUaXZzldvneIyOWjaV9CL_HVv3GYa2RpinXuVWCfgIooGaefQbOvT5msL-bo1mxjGo8zeSXEqf59LAOHZTqSev17euL1O9Ei3UuC3mCP8m9Sw5P4Mfy4q96h_6jzCqCw/s1600/reve.jpeg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">The Dream, 1932, Pablo Picasso</td></tr> </tbody></table> <div> </div> <div> Victor and Sally Gancz had acquired the painting in New York for 7,000 dollars in 1941 and kept it in their possession until November 11, 1997 There is no information about who might have sold it to them and when the painting actually crossed the Atlantic Ocean. Apparently, Gancz sold The Dream to an Austrian-born financier, <a href="http://www.pablopicasso.org/the-dream.jsp">Wolfgang Flöttl,</a> whose name also appeared on the provenance of van Gogh’s Portrait of Dr. Gachet. <a href="http://www.pileface.com/sollers/spip.php?article1372">Flöttl sold The Dream to Steve Wynn in 2001</a>. In an unfortunate incident that made the news globally, Wynn tripped and tore the painting with his elbow. Following its successful restoration for which he spared no expense (as good as new if not better!), he offered it to Steve Cohen who had already expressed in it and would have acquired it earlier had it not been for the rip. 12. Les joueurs de cartes, early 1890s, by Paul Cézanne, sold for 259 million dollars in 2011 to a member of the Qatar royal family. The seller was a Greek billionaire, George Embiricos, who amassed an impressive art collection. </div> <div> </div> <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/AVvXsEgaKlNsLwHQ_1m7sGRYr4_PkmxtcAvJYa-xT7P7nmVvpsnggYBImPN6ybWPjj7ieb3jNaB2ijo0T_Cwg5fqXDcE9I3e7FM4Nm7aRCCGlRWglCSrbZJkUJMRswXik1oVYfE0RxEvm3__GpI/s1600/joueursdecartes.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaKlNsLwHQ_1m7sGRYr4_PkmxtcAvJYa-xT7P7nmVvpsnggYBImPN6ybWPjj7ieb3jNaB2ijo0T_Cwg5fqXDcE9I3e7FM4Nm7aRCCGlRWglCSrbZJkUJMRswXik1oVYfE0RxEvm3__GpI/s1600/joueursdecartes.jpg" width="320" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Les joueurs de cartes, early 1890s, Paul Cezanne</td></tr> </tbody></table> </div> <div> </div> <div> The history of the painting is unknown, save for the fact that Embiricos <a href="http://world.greekreporter.com/2012/03/12/greek-shipping-magnates-heirs-sell-cezanne-painting-to-qatar-for-250-million/">“owned it for many years”,</a> Two leading lights of the global art world, Bill Acquavella and Larry Gagosian had presumably offered 220 million dollars for the painting. No deal.</div> <div> Here we have one of the finest examples of Cézanne’s oeuvre, the second most expensive painting in the world, whose origins are unknown. All that we do know is that Paul Cézanne painted it in the early 1890s.  It left France at a certain point, ending up in Greece at a certain point where it stayed “for many years”<a href="http://www.forbes.com/sites/abigailesman/2012/02/06/the-250-million-dollar-cezanne-what-does-it-mean-to-you/"> before leaving for the Persian Gulf States</a>. So much for “transparency.” 13. "Nafea Faa Ipoipo-When Will You Marry?", 1892, by Paul Gauguin sold in a private sale to the Qatar Royal Family for approximately 300 million dollars in February 2015.</div> <div> </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/AVvXsEiqtB1BXIdzID8CraLzXEpwOxtmYwL65vO17E7CTNeiFqu-rHDY9BH2lub6Ol3QTE1219yWNG79AmVeHTM0HCXxJTI-GE9CvedL_leaoMfw1Vl32E4VeSkiCxjjJMeperPLJAYw_czNhkE/s1600/gauguin.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqtB1BXIdzID8CraLzXEpwOxtmYwL65vO17E7CTNeiFqu-rHDY9BH2lub6Ol3QTE1219yWNG79AmVeHTM0HCXxJTI-GE9CvedL_leaoMfw1Vl32E4VeSkiCxjjJMeperPLJAYw_czNhkE/s1600/gauguin.jpeg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">When will you marry? 1892, Paul Gauguin</td></tr> </tbody></table> <div> The seller is the Rudolph Staechelin Family Trust in Basel, Switzerland, which is run by Ruedi Staechelin, Rudolph’s grandson. The painting was on loan to the Kunstmuseum Basel. The loan period ends in June 2015. Rudolph Staechelin amassed his collection during the interwar years and befriended most of the artists whose works he had purchased. His grandson, Ruedi Staechelin, a former auction house executive, has taken a strong position against the <a href="http://www.unidroit.org/instruments/commercial-contracts/unidroit-principles-1994">UNIDROIT convention </a>which he views as<a href="http://www.swissinfo.ch/eng/swiss-art-collection-returns-from-exile/2514616"> “an enormous danger to public and private collecting”</a>. UNIDROIT was put into place in the mid-1990s to remind the international community of the legal, financial, and ethical risks involved in trading and displaying stolen art. Staechelin proudly announced that Swiss museums, collectors and even the Swiss Art Trade Association, supported his stance against the international convention on trafficking of looted art. Now you know why Switzerland does not return, does not restitute, and does not repatriate looted cultural assets unless under threat of subpoenas, seizures and arrests. </div> <div> </div> <div> What a way to do business! </div> <div> See the article by Julia Voss on the Gauguin sale that appeared earlier in February 2015 in the <a href="http://www.faz.net/aktuell/feuilleton/kunstmarkt/schluesselwerk-von-gauguin-wurden-fuer-dieses-bild-300-millionen-dollar-gezahlt-13414145.html">Frankfurter Allgemeine Zeitung.</a></div> <div> <div class="separator" style="clear: both; text-align: center;"> <a href="http://www.faz.net/aktuell/feuilleton/kunstmarkt/schluesselwerk-von-gauguin-wurden-fuer-dieses-bild-300-millionen-dollar-gezahlt-13414145.html"> </a></div> <a href="http://www.faz.net/aktuell/feuilleton/kunstmarkt/schluesselwerk-von-gauguin-wurden-fuer-dieses-bild-300-millionen-dollar-gezahlt-13414145.html"> <div class="separator" style="clear: both; text-align: center;"> </div> <div class="separator" style="clear: both; text-align: center;"> </div> <div class="separator" style="clear: both; text-align: center;"> </div> </a></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/2015/02/the-most-expensive-works-of-art-in_25.html' itemprop='url'/> <a class='timestamp-link' href='https://plundered-art.blogspot.com/2015/02/the-most-expensive-works-of-art-in_25.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2015-02-25T10:28:00-05:00'>10:28</abbr></a> <a href='https://www.blogger.com/email-post/5918154958856402553/2124602020684760286' 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=2124602020684760286&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=2124602020684760286&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=2124602020684760286&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=2124602020684760286&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=2124602020684760286&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/Edvard%20Munch' rel='tag'>Edvard Munch</a>, <a href='https://plundered-art.blogspot.com/search/label/Georges%20Embiricos' rel='tag'>Georges Embiricos</a>, <a href='https://plundered-art.blogspot.com/search/label/Gustav%20Klimt' rel='tag'>Gustav Klimt</a>, <a href='https://plundered-art.blogspot.com/search/label/Hugo%20Simon' rel='tag'>Hugo Simon</a>, <a href='https://plundered-art.blogspot.com/search/label/Kunstmuseum%20Basel' rel='tag'>Kunstmuseum Basel</a>, <a href='https://plundered-art.blogspot.com/search/label/Leon%20Black' rel='tag'>Leon Black</a>, <a href='https://plundered-art.blogspot.com/search/label/Pablo%20Picasso' rel='tag'>Pablo Picasso</a>, <a href='https://plundered-art.blogspot.com/search/label/Paul%20C%C3%A9zanne' rel='tag'>Paul Cézanne</a>, <a href='https://plundered-art.blogspot.com/search/label/Paul%20Gauguin' rel='tag'>Paul Gauguin</a>, <a href='https://plundered-art.blogspot.com/search/label/Sally%20Gancz' rel='tag'>Sally Gancz</a>, <a href='https://plundered-art.blogspot.com/search/label/Steve%20Wynn' rel='tag'>Steve Wynn</a>, <a href='https://plundered-art.blogspot.com/search/label/Steven%20Cohen' rel='tag'>Steven Cohen</a>, <a href='https://plundered-art.blogspot.com/search/label/UNIDROIT%20Convention' rel='tag'>UNIDROIT Convention</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'>24 February 2015</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/AVvXsEiufwWWwKK11SeYCv8hXpMXSG8eGtBRlenLD62UOpEF0MQfmzuOygsBCKgBPWxwS6urkA2CivnrFJfy9KW408gbM61VxrzMWXvELBtUWYowv1gxLjwWcX-aawyjb34IoJYPpNjtdfSduKw/s1600/gauguin.jpeg' itemprop='image_url'/> <meta content='5918154958856402553' itemprop='blogId'/> <meta content='141284616670418481' itemprop='postId'/> <a name='141284616670418481'></a> <h3 class='post-title entry-title' itemprop='name'> <a href='https://plundered-art.blogspot.com/2015/02/the-cult-of-object.html'>The cult of the object</a> </h3> <div class='post-header'> <div class='post-header-line-1'></div> </div> <div class='post-body entry-content' id='post-body-141284616670418481' itemprop='description articleBody'> <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/AVvXsEiufwWWwKK11SeYCv8hXpMXSG8eGtBRlenLD62UOpEF0MQfmzuOygsBCKgBPWxwS6urkA2CivnrFJfy9KW408gbM61VxrzMWXvELBtUWYowv1gxLjwWcX-aawyjb34IoJYPpNjtdfSduKw/s1600/gauguin.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiufwWWwKK11SeYCv8hXpMXSG8eGtBRlenLD62UOpEF0MQfmzuOygsBCKgBPWxwS6urkA2CivnrFJfy9KW408gbM61VxrzMWXvELBtUWYowv1gxLjwWcX-aawyjb34IoJYPpNjtdfSduKw/s1600/gauguin.jpeg" width="320" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">When will you marry? Paul Gauguin 1892</td></tr> </tbody></table> by Marc Masurovsky In the hyper-inflated art market that we witness nowadays, sums are being spent on works of art equal to the annual budgets of municipalities around the world. Works of art, especially paintings and the occasional decorative object, have become part trophy, part idol, poor excuses for conversation pieces, to be worshipped and paraded in the privacy of one’s estate until the current owner becomes bored with it and unloads it on the private art market or as a gift or loan to a public institution that can afford the insurance payments. What work of art could be worth 300 million dollars? Of course, we are thinking about “Nafea Faa Ipoipo-When Will You Marry?", painted by Paul Gauguin in 1892. Sure, it’s a beautiful work not unlike many of Gauguin’s other works which chronicle his sexual and quasi-mystical adventures and mishaps in Tahiti. But three hundred million one-dollar bills?<div> </div> <div style="text-align: center;"> 300,000,000 x</div> <div> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghlPIwdLvaA0DMSDH02fAlexBEP5MkDufMJSKX35ER9nE6XxvmDt4046OXvSeL7Sr9WpuYy6K38Hw6djs9jmTM7X7gX3DSwv3ktBEPVrB9SkTQSMQ5_gASdRqlZsfcF7J1s4CljNQnuFQ/s1600/Onedolar2009series.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" height="138" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghlPIwdLvaA0DMSDH02fAlexBEP5MkDufMJSKX35ER9nE6XxvmDt4046OXvSeL7Sr9WpuYy6K38Hw6djs9jmTM7X7gX3DSwv3ktBEPVrB9SkTQSMQ5_gASdRqlZsfcF7J1s4CljNQnuFQ/s1600/Onedolar2009series.jpg" width="320" /></a></div> <div> It defies any reasonable person’s imagination that such prices can be paid. But there you have it. As a member of the incredulous public, I read the news of such a transaction and my emotions shift from perplexed to thoroughly disgusted; I end up experiencing a mixture of sadness, anger and bewilderment, at the impervious behavior of the world’s billionaires who use art to make statements about themselves. </div> <div> Is it really about them, their cronies and their vision of life? We do share the same planet, but we definitely do not share the same world. The ecosystems in which we live are mutually exclusive. Those who write for mass media outlets tend to cater to the whims of the hyper-wealthy by hatching uncritical paeans to these hyper-spenders. They wrongly assume that we, the general public, cannot wait to hear about these people’s foibles and follies. Spending 300 million dollars on a Gauguin painting is not likely to make me like him any more than if someone had spent 1 million or 10 thousand dollars on his work. The money spent on art does not induce me to “appreciate” art any differently, for better or for worse. If I don’t like the object, no amount of money will make me like it more or unlike my “unlike” (to use Facebook-type language). Not all members of the media were thrilled about the acquisition and its message to the world about "great art." Read the following: “How many people have $300 million to spend on a great work of art?”<a href="http://www.bloomberg.com/news/articles/2015-02-05/gauguin-painting-said-to-fetch-close-to-300-million-nyt-says"> Frances Beatty, president of Richard L. Feigen & Co. gallery in New York, said in an interview</a>. “That’s where you start from. It wouldn’t be worth $300 million if there wasn’t a small group of people out there with billions to spend on works of art as opposed to roads, vaccines, whatever.” The price paid for a work of art should never serve as a bellwether for taste and esthetics and it certainly should not be used as a factor in judging its worthiness.</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/2015/02/the-cult-of-object.html' itemprop='url'/> <a class='timestamp-link' href='https://plundered-art.blogspot.com/2015/02/the-cult-of-object.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2015-02-24T10:40:00-05:00'>10:40</abbr></a> <a href='https://www.blogger.com/email-post/5918154958856402553/141284616670418481' 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=141284616670418481&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=141284616670418481&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=141284616670418481&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=141284616670418481&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=141284616670418481&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/Nafea%20Faa%20Ipoipo' rel='tag'>Nafea Faa Ipoipo</a>, <a href='https://plundered-art.blogspot.com/search/label/Paul%20Gauguin' rel='tag'>Paul Gauguin</a>, <a href='https://plundered-art.blogspot.com/search/label/Richard%20Feigen' rel='tag'>Richard Feigen</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'>16 May 2011</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/AVvXsEh8f7tH3_rVDBi9hO0H-q_8GGh7iG5cLhYYkqoVrCrXxNVk1RiaH8-EstbRWC07apnFH2Xjz1P7mu0Ge7IHE2DLSzkkDLlYekJEDvFrnOJvNtWPlJY4hH1_cgTfy1bK_nr6srPo7FQ64ZaK/s200/2.jpg' itemprop='image_url'/> <meta content='5918154958856402553' itemprop='blogId'/> <meta content='9131984233858340535' itemprop='postId'/> <a name='9131984233858340535'></a> <h3 class='post-title entry-title' itemprop='name'> <a href='https://plundered-art.blogspot.com/2011/05/at-national-gallery-of-art-with-paul.html'>At the National Gallery of Art with Paul Gauguin</a> </h3> <div class='post-header'> <div class='post-header-line-1'></div> </div> <div class='post-body entry-content' id='post-body-9131984233858340535' itemprop='description articleBody'> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8f7tH3_rVDBi9hO0H-q_8GGh7iG5cLhYYkqoVrCrXxNVk1RiaH8-EstbRWC07apnFH2Xjz1P7mu0Ge7IHE2DLSzkkDLlYekJEDvFrnOJvNtWPlJY4hH1_cgTfy1bK_nr6srPo7FQ64ZaK/s1600/2.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8f7tH3_rVDBi9hO0H-q_8GGh7iG5cLhYYkqoVrCrXxNVk1RiaH8-EstbRWC07apnFH2Xjz1P7mu0Ge7IHE2DLSzkkDLlYekJEDvFrnOJvNtWPlJY4hH1_cgTfy1bK_nr6srPo7FQ64ZaK/s200/2.jpg" width="156" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Yellow Christ Source: Humanities Web</td></tr> </tbody></table> Not everyone is a fan of Paul Gauguin, myself included. But his obsessive sense of esthetics concerning exotic women (read, Tahitian) blended with mystical Catholic religiosity from his days in Brittany can produce a haunting effect on the viewer, innocent, skeptical, or not. The “Yellow Christ” is one special painting and stands out as one of my favorite works on the theme of crucifixion. Unique in its rendition of Jesus on the Cross, its paganism coupled with ecstatic pain and melancholy is riveting. Even more fascinating is the history of the painting. Owned by Paul Rosenberg of Paris at least since the 1930s, the “Yellow Christ” ended up in Bordeaux for safekeeping in the face of the Nazi onslaught against Western Europe in the spring of 1940. Unfortunately, Paul Rosenberg’s collection was a highly coveted prize to unscrupulous agents of the Reich and their dealer friends in Paris. By the spring of 1941, all that could be found in various depots across southwestern France which belonged to Paul Rosenberg was conveyed to Paris and ended up at the Jeu de Paume, including a haul of works found on a cargo ship as it left Bordeaux. <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/AVvXsEhsV1JxqWijZEbZStTluVZcX7HiSIyad0BFx7nbd7UHwrrx6maDqq2k0bTlmbTH_-LUMQi0vzP2Yl6n6cGywVaPE7SwYyqFz3VtQ-FB_2Akb9x-MFOvqRkYEeth5ib8wxKrTsjTTh5USl1u/s1600/11469-16178.png" style="margin-left: auto; margin-right: auto;"><img border="0" height="191" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsV1JxqWijZEbZStTluVZcX7HiSIyad0BFx7nbd7UHwrrx6maDqq2k0bTlmbTH_-LUMQi0vzP2Yl6n6cGywVaPE7SwYyqFz3VtQ-FB_2Akb9x-MFOvqRkYEeth5ib8wxKrTsjTTh5USl1u/s200/11469-16178.png" width="200" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">PR 49, "The Yellow Christ" by Paul Gauguin Source: NARA via ERR Project</td></tr> </tbody></table> Gustav Rochlitz obtained the Gauguin work on the occasion of the 21st officially recorded exchange (Tausch) with the ERR staff at the Jeu de Paume. The exchange occurred on 24 July 1942. In exchange for the “Three Graces”, a lovely work attributed to the School of Fontainebleau, Rochlitz obtained the Gauguin painting (<a href="http://www.errproject.org/jeudepaume/card_view.php?CardId=11469">PR 49</a>) and a painting by Henri Matisse (<a href="http://www.errproject.org/jeudepaume/card_view.php?CardId=14995">Unb 353</a>). Both paintings were allegedly shipped to Rochlitz’s warehouse in Baden-Baden in June 1944. I say allegedly because, as it turns out, the Gauguin was located in Paris. As it turns out, Paul Pétridès sold it to the "Yellow Christ" to Raphael Gérard for one million francs on 8 December 1942. Two years later Gauguin's painting returned to Gérard, this time offered for three million francs to Gérard on 29 December 1944.<div> </div><div>It was recovered and restituted in 1945, Paul Rosenberg agreed to sell it to the <a href="http://www.albrightknox.org/collection/collection-highlights/piece:gauguin-yellow-christ/">Albright-Knox Gallery in Buffalo, NY</a>, in 1946. The story of the acquisition has a charming twist in that Andrew Ritchie, then director of the Albright-Knox, had been detailed as an art advisor with the US Forces European Theater (USFET) headquarters to ferret out looted collections and aid in their return to their countries of origin. Rosenberg sold the Gauguin to the Albright-Knox in recognition of Ritchie’s efforts on behalf of spoliated collectors such as himself. The other twist to this story reflects the oft glaring inadequacies of art-historical knowledge regarding artists and their creative output. These lacunae have come back to haunt claimants in their quest for restitution of items attributed to specific artists. When they are particularly famous, like Gauguin or Klimt, the stakes are even higher as the value for the work can increase exponentially. In the case of the “Yellow Christ,” very few people in the art world then and now knew of the existence of a smaller version of the iconic painting. The infamous art book publisher, Albert Skira, whose wartime activities have been less than honest, spread a rumor in spring of 1945 to the effect that Rosenberg’s painting was sitting in a bank safe in Geneva, Switzerland. The Office of Strategic Services (OSS) launched an investigation in Switzerland and contacted a Gauguin expert, Dr. Lucas Lichtenban who worked at the Basler Kunsthalle. He reported that, indeed, there was a very small work on panel depicting the Yellow Christ (measuring 8 x 5 cm!) which had been in his Basel gallery back in 1928 and was sold to a London concern, Brown and Phillips, in 1932. However, OSS wanted to make sure that there was no link to Paul Rosenberg and the inquest went on, in vain. Back to the National Gallery of Art in Washington, DC. If you go see the Gauguin exhibit before June 5, 2011, please do so and linger in front of the “Yellow Christ.” Soak it in and ask yourself why on earth there is no explanatory text next to the painting which reflects its extraordinary saga through wartime France and its happy ending at the hands of the Albright-Knox in Buffalo, NY. Transparency does not require much effort, or does it?</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/10031369530402611145' itemprop='url'/> <a class='g-profile' href='https://www.blogger.com/profile/10031369530402611145' rel='author' title='author profile'> Unknown </a> at <meta content='https://plundered-art.blogspot.com/2011/05/at-national-gallery-of-art-with-paul.html' itemprop='url'/> <a class='timestamp-link' href='https://plundered-art.blogspot.com/2011/05/at-national-gallery-of-art-with-paul.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2011-05-16T11:07:00-04:00'>11:07</abbr></a> <a class='comment-link' href='https://plundered-art.blogspot.com/2011/05/at-national-gallery-of-art-with-paul.html#comment-form' onclick=''> No comments: </a> <a href='https://www.blogger.com/email-post/5918154958856402553/9131984233858340535' 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=9131984233858340535&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=9131984233858340535&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=9131984233858340535&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=9131984233858340535&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=9131984233858340535&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/Albert%20Skira' rel='tag'>Albert Skira</a>, <a href='https://plundered-art.blogspot.com/search/label/Albright-Knox' rel='tag'>Albright-Knox</a>, <a href='https://plundered-art.blogspot.com/search/label/Andrew%20Ritchie' rel='tag'>Andrew Ritchie</a>, <a href='https://plundered-art.blogspot.com/search/label/Gustav%20Rochlitz' rel='tag'>Gustav Rochlitz</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/Matisse' rel='tag'>Matisse</a>, <a href='https://plundered-art.blogspot.com/search/label/National%20Gallery%20of%20Art' rel='tag'>National Gallery of Art</a>, <a href='https://plundered-art.blogspot.com/search/label/Paul%20Gauguin' rel='tag'>Paul Gauguin</a>, <a href='https://plundered-art.blogspot.com/search/label/School%20of%20Fontainebleau' rel='tag'>School of Fontainebleau</a>, <a href='https://plundered-art.blogspot.com/search/label/USFET' rel='tag'>USFET</a>, <a href='https://plundered-art.blogspot.com/search/label/Yellow%20Christ' rel='tag'>Yellow Christ</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'>09 April 2011</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='6825988770114452754' itemprop='postId'/> <a name='6825988770114452754'></a> <h3 class='post-title entry-title' itemprop='name'> <a href='https://plundered-art.blogspot.com/2011/04/err-database-impressionists-and-their.html'>ERR database—Impressionists and their collectors</a> </h3> <div class='post-header'> <div class='post-header-line-1'></div> </div> <div class='post-body entry-content' id='post-body-6825988770114452754' itemprop='description articleBody'> Usually, when people think of art restitution or art looted by the Nazis, they tend to believe that most stolen objects consisted of paintings, drawings and etchings, and more specifically, works by the Impressionists and their followers. Popular names that come to mind: Claude Monet, Auguste Renoir, Pierre Matisse, and Paul Cézanne. When the art specialists of the Einsatzstab Reichsleiter Rosenberg (ERR) pilfered the homes and galleries of collectors and dealers across French territory, but more specifically in and around Paris, they came across troves of Impressionist works. One would think that almost anyone who was anyone would collect Impressionists in France, right? Wrong! On closer look, here's what we found out. Of the 270 owners who are currently listed in the ERR database, fewer than 10 per cent held works by Impressionists in their collections at the time of the German occupation of France in June 1940. Let's do a survey by artist (Note: I use the word "unknown" to refer to the MA-B and UNB collections, categories created by the ERR staff to characterize mass seizures of objects from residential homes without due concern for their owners' identities): <ul><li>Pierre Bonnard: 8 known owners and at most 6 unknown. </li> <li>Eugène Boudin: 9 known owners and at most 4 unknown. </li> <li>Paul Cézanne: 2 known owners and at most 3 unknown. </li> <li>Edgar Degas: 13 known owners and at most 2 unknown. </li> <li>Paul Gauguin: 5 known owners </li> <li>Marie Laurencin: 11 known owners and at most 3 unknown. </li> <li>Edouard Manet: 7 known owners and 1 unknown. </li> <li>Henri Matisse: 4 known owners and at most 11 unknown. </li> <li>Claude Monet: 4 known owners and at most 4 unknown. </li> <li>Auguste Renoir: 16 known owners and at most 9 unknown. </li> <li>Edouard Vuillard: 7 known owners and 1 unknown. </li> </ul>Needless to say, we can already conclude that the tastes of collectors in inter-war France extended way beyond the lure of Impressionists that seduces today's learned audiences in the global art market. The question is: what did people collect if they didn't gravitate towards Impressionists?<input id="gwProxy" type="hidden" /><input id="jsProxy" onclick="jsCall();" type="hidden" /> <div id="refHTML"></div><input id="gwProxy" type="hidden" /><input id="jsProxy" onclick="jsCall();" type="hidden" /> <div id="refHTML"></div><input id="gwProxy" type="hidden" /><input id="jsProxy" onclick="jsCall();" type="hidden" /> <div id="refHTML"></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/10031369530402611145' itemprop='url'/> <a class='g-profile' href='https://www.blogger.com/profile/10031369530402611145' rel='author' title='author profile'> Unknown </a> at <meta content='https://plundered-art.blogspot.com/2011/04/err-database-impressionists-and-their.html' itemprop='url'/> <a class='timestamp-link' href='https://plundered-art.blogspot.com/2011/04/err-database-impressionists-and-their.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2011-04-09T10:12:00-04:00'>10:12</abbr></a> <a class='comment-link' href='https://plundered-art.blogspot.com/2011/04/err-database-impressionists-and-their.html#comment-form' onclick=''> No comments: </a> <a href='https://www.blogger.com/email-post/5918154958856402553/6825988770114452754' 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=6825988770114452754&target=email' target='_blank' title='Email This'>Email This</a><a class='goog-inline-block share-button sb-blog' 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Pinterest</a> </div> </div> <div class='post-footer-line post-footer-line-2'> Keywords: <a href='https://plundered-art.blogspot.com/search/label/Auguste%20Renoir' rel='tag'>Auguste Renoir</a>, <a href='https://plundered-art.blogspot.com/search/label/Claude%20Monet' rel='tag'>Claude Monet</a>, <a href='https://plundered-art.blogspot.com/search/label/Edgar%20Degas' rel='tag'>Edgar Degas</a>, <a href='https://plundered-art.blogspot.com/search/label/Edouard%20Manet' rel='tag'>Edouard Manet</a>, <a href='https://plundered-art.blogspot.com/search/label/Edouard%20Vuillard' rel='tag'>Edouard Vuillard</a>, <a href='https://plundered-art.blogspot.com/search/label/Eug%C3%A8ne%20Boudin' rel='tag'>Eugène Boudin</a>, <a href='https://plundered-art.blogspot.com/search/label/Henri%20Matisse' rel='tag'>Henri Matisse</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/Paul%20C%C3%A9zanne' 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<dt class='profile-data'> <a class='profile-name-link g-profile' href='https://www.blogger.com/profile/03190272299610799123' rel='author' style='background-image: url(//www.blogger.com/img/logo-16.png);'> plundered art </a> </dt> </dl> <a class='profile-link' href='https://www.blogger.com/profile/03190272299610799123' rel='author'>View my complete profile</a> <div class='clear'></div> </div> </div><div class='widget 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_skEE-6qinlYAR-43zfOWyy4YnIg5E2_J2HqaGLtCaOlZdT1zjX__6p6lbdt59fSMVrlcHe0zMKulP0nSOnkNMeXNUagdwu0Th8IHCvVkvZifiCIVfk_9OHm2QIHs25JA_XnCfTfiBp=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/2018/04/a-brief-look-at-operation-safehaven.html' target='_blank'> <img alt='' border='0' src='https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiS6zLoxAEztLBNgk44stdVjWVF8gyf45yQDa9NfcqwB0FgVLdH4toDo__kGGQDBRbDVCWeGDACyYhCyJ0PCxM4-cOw2_WWHXSrJE8QFSHpJZICd16dvOLzXX2UfgBiIKqSnF4zo-YkZA/w72-h72-p-k-no-nu/neutral.gif'/> </a> </div> <div class='item-title'><a href='https://plundered-art.blogspot.com/2018/04/a-brief-look-at-operation-safehaven.html'>A brief look at Operation Safehaven, 1944-1949</a></div> <div class='item-snippet'>by Marc Masurovsky The purpose of this presentation is to place the search for and recovery of Nazi looted art on the European continent in ...</div> </div> <div style='clear: both;'></div> </li> </ul> <div class='clear'></div> </div> 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