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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 heirless assets. <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 heirless assets. <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'>26 October 2023</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='2297626054726376441' itemprop='postId'/> <a name='2297626054726376441'></a> <h3 class='post-title entry-title' itemprop='name'> <a href='https://plundered-art.blogspot.com/2023/10/the-monetization-of-recovered-jewish.html'>The monetization of recovered Jewish assets</a> </h3> <div class='post-header'> <div class='post-header-line-1'></div> </div> <div class='post-body entry-content' id='post-body-2297626054726376441' itemprop='description articleBody'> by Marc Masurovsky <div>The idea is not new and evolved at the end of WWII, when Allied forces and local resistance and partisan units stumbled on mountains of looted Jewish property, consisting of household goods, decorative objects (including furniture and textiles), musical instruments, libraries, works of art (paintings, works on paper, sculpture, etc.), precious stones and jewelry, precious metals, and financial instruments. These recoveries across Central and Western Europe created an urgent need to identify who the despoiled owners were, find out if they were alive, if family members and relatives could be identified and located to claim the property. This part of the story is well-known as it involves civilian and military efforts to oversee the collection, identification, and repatriation of this found property with a view to its restitution to rightful owners. These procedures were mostly carried out in zones of Europe not occupied or dominated by Soviet military and civilian authorities. The burdensome aspect of the mission as outlined above soon proved to be too much for the agencies responsible for overseeing this massive task of identification, cataloguing and shipping of recovered Jewish property. In order to make this problem go away, why not sell it all off? The question was reasonable in light of the chaos and confusion reigning in recently-liberated European countries, the desire of survivors to get on with their lives, and the need for governments to rehabilitate their destroyed nations and stimulate the economy by whatever means possible. If one were to sell off this property, who would administer the process? Who would receive the funds? In what capacity? The answer was fairly simple: if the property was known to have come from Jewish owners, whether or not they could be identified, then Jewish organizations would oversee the sale of these assets and redistribute the proceeds to those who needed the funds most—survivors and their families who were dispossessed of everything that they owned. The monetization of looted Jewish property recovered by Allied forces started in earnest in mid-1946 after the Paris Reparations Conference where Jewish organizations and agencies would oversee the disposition of recovered Jewish property for the benefit of surviving Jewish communities and their members. It was one thing to sell household goods, clothes, linens, furniture, musical instruments with no apparent artistic value, books and jewelry. But what about works of art and artistic objects with market value that belonged to collectors, dealers and businesses steeped in the art world of the interwar years? Should they be treated as bulk items regardless of who owned them and what importance or value they held? For efficiency’s sake, it was cost-effective to presume the owners dead, which eliminated the onerous and time-consuming task of actually finding them so they could collect their recovered property. Governments got in on the act, especially in Western Europe—the Netherlands, Belgium, and France—where public sales were held from the late 1940s to the mid-1950s during which more than 100,000 works of art and objects were sold off, a number of which were traceable to victims of Nazi persecution. Local government officials sometimes concocted elaborate schemes by which to divert thousands of works of art from Allied-run depots under the pretext that their owners had not been identified, label them as “heirless property” and sell them through a network of auction houses and businesses in Europe and the United States, the proceeds of which would benefit the organizations and individuals overseeing this effort as well as local public agencies and the victims’ heirs and relatives. The architect of one such a scheme, denounced by the US Department of State, was Dr. Philip Auerbach, a Bavarian official whose portfolio included reparations and restitution of looted Jewish property. Since then, the physical restitution of individual art objects to their rightful owners has coexisted somewhat uncomfortably with the pressure exerted by Jewish groups to treat these objects as “wholesale items” to be disposed of expeditiously for the benefit of Holocaust survivors and their kin. Over time, this duality in treatment of recovered Jewish property looted by the Nazis has shaped the cross-generational debate on restitution of looted art vs. reparations. The end result of this duality has been a general indifference across Jewish communities towards repeated efforts by individuals and entities to recover their looted cultural property once it was identified in a particular location. Since the 1950s, the absence of support and lack of empathy towards individual claimants seeking the return of their looted art has been nothing short of astounding. One can only speculate that unsuccessful claims filed against current possessors of looted Jewish cultural property might have had more positive outcomes had Jewish groups and communities lent their active and vocal support to these claimants as part of a general movement to seek justice and closure for crimes committed against Jews during the Nazi era. </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/2023/10/the-monetization-of-recovered-jewish.html' itemprop='url'/> <a class='timestamp-link' href='https://plundered-art.blogspot.com/2023/10/the-monetization-of-recovered-jewish.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2023-10-26T10:06:00-04:00'>10:06</abbr></a> <a href='https://www.blogger.com/email-post/5918154958856402553/2297626054726376441' 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=2297626054726376441&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=2297626054726376441&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=2297626054726376441&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=2297626054726376441&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=2297626054726376441&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/heirless%20assets' rel='tag'>heirless assets</a>, <a href='https://plundered-art.blogspot.com/search/label/looted%20Jewish%20cultural%20property' rel='tag'>looted Jewish cultural property</a>, <a href='https://plundered-art.blogspot.com/search/label/Paris%20Reparations%20Conference' rel='tag'>Paris Reparations Conference</a>, <a href='https://plundered-art.blogspot.com/search/label/Philipp%20Auerbach' rel='tag'>Philipp Auerbach</a>, <a href='https://plundered-art.blogspot.com/search/label/recoveries' rel='tag'>recoveries</a>, <a href='https://plundered-art.blogspot.com/search/label/restitution' rel='tag'>restitution</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'>04 November 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='5918154958856402553' itemprop='blogId'/> <meta content='1684531506574665502' itemprop='postId'/> <a name='1684531506574665502'></a> <h3 class='post-title entry-title' itemprop='name'> <a href='https://plundered-art.blogspot.com/2018/11/washington-principle-9-critique.html'>Washington Principle #9: A Critique</a> </h3> <div class='post-header'> <div class='post-header-line-1'></div> </div> <div class='post-body entry-content' id='post-body-1684531506574665502' itemprop='description articleBody'> by Marc Masurovsky <div> [Editor's note: Due to the momentous nature of the upcoming international conference in Berlin, Germany, on November 26-28, 2018 and entitled <a href="https://www.kulturgutverluste.de/Content/02_Aktuelles/EN/Foundation-Events/2018_20-years-washington-principles/Specialist-Conference-20-Years-Washington-Principles-Roadmap-for-the-Future.html">"20 years Washington Principles: Roadmap for the Future,"</a> it would be worthwhile to revisit these Principles and to put them through a linguistic, methodological and substantive meat grinder, and see what comes out of this critique. There will be eleven articles, each one devoted to one of the Principles enacted in a non-binding fashion in Washington, DC, on December 3, 1998.] Principle #9 If the pre-War owners of art that is found to have been confiscated by the Nazis, or their heirs, can not be identified, steps should be taken expeditiously to achieve a just and fair solution.</div> <div> </div> <div> There are several elements in this principle which require our full attention. 1/ unidentifiable pre-war owners of looted cultural assets: No cultural, artistic or ritual object is produced out of thin air. It requires one or more creators and one or more owners. In other words, every object is owned by someone. The question is to find out who owns what. Ownership records are, most oftentimes, generic, fragmentary or they do not exist, because the people owning objects possessing a recognized esthetic quality and value which can be passed off as “art” do not necessarily feel compelled to record the fact that they own the object in question. When falling victim to acts of State-sponsored and sanctioned persecution and terror accompanied by thievery and plunder, the strands of ownership, however weak they might have been at the outset, are gone forever. Out of the millions of objects which changed hands illegally during the Nazi years across Europe, one can argue that a high percentage of those objects ended up in 1945 as having “unidentifiable” owners, not because they were all murdered, but because ownership traceability proved to be a daunting task which Allied planners and Jewish relief organizations alike were in no measure to pursue. Instead of looking for owners, procedures and policies were put in place across post-1945 “liberated territories” to consider those objects as “heirless”, not likely to be claimed and, therefore, they should be sold to benefit postwar governments and Jewish survivors. The speed at which the decision to sell off those assets was made is simply vertiginous. Today, the discussion over the fate of “heirless” assets, those for whom no pre-war owners can be found, continues to divide and produce acrimony on both sides of the Atlantic Ocean and as far as Israel. 2/ just and fair solution How can one achieve a “just and fair solution” when there are no owners around who can speak for themselves and, in their absence, those deciding on the fate of such "heirless" assets do not take seriously the arguments of specialists in matters pertaining to cultural plunder and restitution? </div> <div> </div> <div> This principle was conceived to establish a framework within which Jewish organizations could negotiate, as successor organizations to the victims of the Holocaust, with auction houses and museums a mechanism by which objects in their collections or consigned to them could be singled out and transferred to Jewish organizations. No thought was given to finding alternative, non-monetary, solutions to the question of “heirless” assets. In the case of a museum, whether private or public, the objects designated as “heirless” in their collection could be highlighted as such and their histories, or at least, how they ended up in the museum’s collection, could be revealed and presented to the public as a pedagogical, teachable opportunity, to discuss the fate of such objects during periods of mass conflict and persecution. It would also outline for the public the ways in which these objects evolved over time and space during and after WWII, in order to help museum patrons understand how art travels and survives war, plunder, genocide. In sum, the fate of Principle #9 rests with how Jewish groups, governments, museums, auction houses, lawyers, lawmakers diplomats and historians wrestle with what constitutes "heirless property" and how best to treat heirless cultural objects. The work has barely begun. <a href="https://plundered-art.blogspot.com/2018/08/new-and-enhanced-version-of-washington.html">Principle #9 could be rewritten as follows:</a>If the pre-1933 owners of artistic, cultural and ritual objects confiscated, misappropriated, sold under duress and/or forced sales, subjected to other forms of illicit acts of dispossession by the Nazis, their supporters, profiteers and Fascist allies across Europe between 1933 and 1945 that are found to have been confiscated by the Nazis and not subsequently restituted, or their heirs, cannot be identified, processes shall be put into place with all stakeholders so as to find an equitable solution as to how to treat these objects with due consideration to their artistic relevance and to their individual history. </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/2018/11/washington-principle-9-critique.html' itemprop='url'/> <a class='timestamp-link' href='https://plundered-art.blogspot.com/2018/11/washington-principle-9-critique.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2018-11-04T15:47:00-05:00'>15:47</abbr></a> <a href='https://www.blogger.com/email-post/5918154958856402553/1684531506574665502' 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=1684531506574665502&target=email' target='_blank' title='Email This'>Email 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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_sRvBiW7wo39RAwEtXDXXPJEOmfw9qcaHrJU7EJM9yY9b3tHi9Nl0yj9R1uQnRU6wwQeflsTW6c99EYKvkbZ4qk-Whx78WmeKCenLLcp0afsN_tWACNXjSZCQUVgsRYI8Nu2hh_fXd6=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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