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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 Leopold Museum. <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'>11 June 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/AVvXsEgxL3Hea66ZDw78vVd5Hwv89LFcJQOwu8FsMT-0kFLy9yOCieD9FLvx1Vlylkilus1OJY6Tjs8BKh9ZYuj6EbGKVl-PHWNgm4TJFqxmbNUzDwc94_1VSPBeP_YyGFeIw0P22e8b05ZQ2Ag/s1600/Berge%25CC%2580re_rentrant_des_moutons.jpg' itemprop='image_url'/> <meta content='5918154958856402553' itemprop='blogId'/> <meta content='3169275354527909293' itemprop='postId'/> <a name='3169275354527909293'></a> <h3 class='post-title entry-title' itemprop='name'> <a href='https://plundered-art.blogspot.com/2015/06/my-favorite-rant-on-education.html'>My Favorite Rant: on Education, Restitution and the Culture of Museums</a> </h3> <div class='post-header'> <div class='post-header-line-1'></div> </div> <div class='post-body entry-content' id='post-body-3169275354527909293' itemprop='description articleBody'> by Ori Z Soltes One of the questions that, as a former Museum Director and Curator I remember having frequently asked my staff, my advisory board and myself is: what is the purpose of our museum? Clearly the raison d’être that every visitor observes in visiting a museum is the ingathering and display of objects. But why collect objects, besides, in the case of many of them, particularly in art and ethnographic museums, the fact that they are simply beautiful? There is no question but that most viewers’ eyes will be challenged in the most positive of ways and even, perhaps, their souls softened, by standing before Michelangelo’s David or before a handful of Monet’s explorations of the Rouen Cathedral in different kinds of light. One of the fascinating things about us as a species is that we respond differently to the same work of art and are moved by some works and not by others—one individual’s hour-long meditation before a Rothko painting is another individual’s swift passage by that painting in search of the Bernini sculptures on exhibition three galleries away. Art museums presumably need and want to take cognizance of these differences and, as far as possible, provide an enjoyable viewing experience to as wide an audience as possible. More than that, though, they should want to help the viewer understand how Michelangelo’s statuary derived from and differed from the sculpture that preceded it and how it led to and yet not necessarily to Bernini’s different sort of visual vocabulary; why and how Monet’s vision offered such a revolutionary departure from the vision of Leonardo and in turn how Rothko, differently, continued that revolution—and how others since Rothko have further shaped the history of how art is made and seen. We want, that is, to educate our audiences—for a better-educated audience is likely to be both a more appreciative audience and one more capable, on occasion, of responding to exhibitions in ways that may lead the Museum itself to think differently and more deeply about the cultural world it engages. So we don’t collect just to hoard and we don’t collect just to beautify the spaces devoted to what we collect. Museums are an essential part of the ongoing mechanism of not only preserving human culture and its concomitants but of exploring and explaining how civilization has evolved—what human culture is. Our raison d’être is to teach how the paths of art have diverged and converged, again and again across human history and geography; how our vocabularies of style and symbol have interwoven our aesthetic impulses and have articulated our need to access feelings and thoughts beyond the verbally expressible. With the history of human culture—twisted in a particularly painful direction during the middle of the last century—as a focus, my HARP colleagues and I have been beating on the doors of our museums for nearly twenty years to be educated and to educate their audiences from a particular angle. We have pushed them to be conscious of provenance possibilities for works of art that have made their way into museum collections with certain holes in the accounts of their ownership histories. The results, as readers of the plundered art blog are aware, have been mixed at best. Most recently, of course, the case of <a href="http://itsartlaw.com/2013/11/26/case-preview-meyer-v-bd-of-regents-of-the-u-of-oklahoma-or-how-long-will-oklahoma-herd-pissarro-sheep/">Leone Meyer’s claim</a> against the <a href="http://returnthepissarro.blogspot.com/">Fred Jones, Jr. Museum at the University of Oklahoma </a>for her father’s Nazi-stolen Pissarro has revealed that the museum has never done provenance research on its collections, within which a goodly number of works may well have experienced the same sort of depredational fate that La Bergère experienced at the hands of Alfred Rosenberg’s ERR. They failed to research La Bergère’s ownership history even when specifically warned by a colleague from another museum that it might have been stolen by the Nazis from its pre-war owners. The point here is not to focus on whether or not La Bergère will end up restituted to the family from which it was taken. That outcome, morally unquestionable (that it be returned to Leone Meyer) remains invisible (due to the vagaries of our law courts), unless one is a prophet, and I am not one. The point, however, is to focus on what lies behind the museum’s failure to inquire into the painting’s ownership past. Appropriately enough, this focus is tangent to the comment made by<a href="http://college.usatoday.com/2015/05/15/oklahoma-lawmakers-introduce-resolution-asking-the-university-of-oklahoma-to-return-stolen-nazi-art/"> Eric Sundby, President of the student-run Holocaust Restitution and Remembrance Society at the University of Oklahoma</a>, toward the end of his speech supporting the Oklahoma legislature’s proposal of a bill,<a href="http://www.okhouse.gov/CalendarFiles/2015/2015_hcal64.pdf"> HR 1026</a>, that would compel the university’s Fred Jones, Jr. museum to fulfill the provenance research obligation that it has steadfastly ignored. Sundby commented that, as students, he and his organization want their tuition dollars to go not to high-paid lawyers who will defend the museum and university from those demanding restitution of Nazi-plundered paintings, but to education. The point that runs tangent to Sundby’s comment is that every museum, and not only those located on college or university campuses, should be committed to education—that this should be a raison d’être, a priority of museums. One of the obvious contexts for this priority is, to repeat, the explanation and exploration of the aesthetic developments that connect and disconnect Leonardo and Rothko or Michelangelo and Bernini. Important in quite another way is the information—the explanation and exploration—provided by provenance research, whether in the Holocaust or other contexts. Art has never existed in a vacuum; it has always intersected religion (depicting or exploring or addressing divinity, from Egyptian statuary to Leonardo’s Last Supper) and politics (from the depiction of the pharaoh, Khafra, as god-like, to Jacque-Louis David’s painting of the coronation of Napoleon’s wife by the hand of the self-proclaimed Emperor himself)—and economics (without the financial resources, neither Khafra nor Napoleon could have commissioned the works that immortalize them). Without patronage, artists starve (and many have starved precisely for that lack). Knowing who has owned a work throughout its history is not a footnote to history but essential to understand the work’s place in history: when all those crowds flock to the Louvre to stare at Leonardo’s Mona Lisa, if it does not occur to them to wonder how that Italian girl painted by that Italian man ended up in Paris, the museum is failing its role as an educational institution if it does not provide that information—clearly, simply, right there, for all who choose to do so to be able to read it, and with that reading, to be able to gain some insights into the history of that era and the art that reflects the era.<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/AVvXsEgxL3Hea66ZDw78vVd5Hwv89LFcJQOwu8FsMT-0kFLy9yOCieD9FLvx1Vlylkilus1OJY6Tjs8BKh9ZYuj6EbGKVl-PHWNgm4TJFqxmbNUzDwc94_1VSPBeP_YyGFeIw0P22e8b05ZQ2Ag/s1600/Berge%25CC%2580re_rentrant_des_moutons.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxL3Hea66ZDw78vVd5Hwv89LFcJQOwu8FsMT-0kFLy9yOCieD9FLvx1Vlylkilus1OJY6Tjs8BKh9ZYuj6EbGKVl-PHWNgm4TJFqxmbNUzDwc94_1VSPBeP_YyGFeIw0P22e8b05ZQ2Ag/s1600/Berge%25CC%2580re_rentrant_des_moutons.jpg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">La Bergère, by Camille Pissarro</td></tr> </tbody></table> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFa-qcKZjAqV-pAAnMZ04Cm7YR0Li9BReHDRgyNPcrUX0hcL5OofNxa5n5qG9lfzMrcWr9FDdkz4-ZnfJsyBlUE8aG1D4fBJ6JMPk2c-L3Na8Ei-0ay8WLJlDN7acjQSpMIVoH1IjIbMw/s1600/4785-4792.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="188" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFa-qcKZjAqV-pAAnMZ04Cm7YR0Li9BReHDRgyNPcrUX0hcL5OofNxa5n5qG9lfzMrcWr9FDdkz4-ZnfJsyBlUE8aG1D4fBJ6JMPk2c-L3Na8Ei-0ay8WLJlDN7acjQSpMIVoH1IjIbMw/s200/4785-4792.png" width="200" /></a></td></tr> <tr><td class="tr-caption" style="font-size: 13px;">ERR card for La Bergere </td></tr> </tbody></table> The essence of history, well-explained, is, like the root of the word itself, story. This is what humans are all about. This is what works of art so often can be, aside from and in addition to their role as sources of visual pleasure. The story of Leonardo’s dying in the arms of his last patron, the French King, Francis I, to whose court he had come with, among other things, his Mona Lisa as a prized possession, is an important part of understanding who Leonardo was, who Francis was, what Italy and France were and are; it fills in an important as well as compelling part of the picture (pun intended) of the human experience. The story of Leone Meyer’s father’s Pissarro and that of others whose art was plundered, whether by the Nazis or by Soviet trophy squads as the war wound down; the story of what American galleries were doing with regard to plundered art during and after the war—like the story of what and how Napoleon dragged back that obelisk from Egypt that graces the Place de la Concord not far from the Louvre, or how the Romans eighteen centuries earlier dragged obelisks back to Rome—matters, if we wish to have a deeper and broader understanding of what we are as a species.<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><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirH4xZ7OW791Oa3KELSruFr1v0NWg0LtIHH_j1OsuvUBchvcBp6UVYs9jO6QcyJBqycdtI1cXkTn490b2cU1yaKutJj1irZiwevuuyq0iGKb1J74Yb2wcFDpHffWsODNO-wL8vy6CjJFg/s1600/meyer-noel.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="161" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirH4xZ7OW791Oa3KELSruFr1v0NWg0LtIHH_j1OsuvUBchvcBp6UVYs9jO6QcyJBqycdtI1cXkTn490b2cU1yaKutJj1irZiwevuuyq0iGKb1J74Yb2wcFDpHffWsODNO-wL8vy6CjJFg/s200/meyer-noel.jpg" width="200" /></a></td></tr> <tr><td class="tr-caption" style="font-size: 13px;">Leone Meyer </td></tr> </tbody></table> It should matter to museums above all. If our collections are not mere eye candy or mere symptoms of an obsession with hoarding or mere bait for tourists willing to pay money to see what we have gathered within our walls—if we are to be what we claim to be, protectors and preservers of culture (which is why some museums argue that Egyptian or Greek or Turkish antiquities are better off, because they are better protected and preserved, within French or English or German or American museums than in their own original countries; and also why, at the outset of the push during the past two decades to garner cooperation from museums regarding research within their collections with an eye toward the matter of Holocaust-era plunder and restitution, there was such stiff opposition within the museum community: they often asserted that, as bastions of civilization it was unthinkable that they might have ill-gotten gains within their walls)—then museums must exhaust every possibility and extend every effort to educate, teach their audiences and not just show them beautiful works of art. Stroll through some museums and consider how much information regarding ownership history is available—particularly works that came into the collections between, say, 1935 and 1965. Examine the label next to paintings, perhaps some of those at the Fred Jones, Jr. Museum gifted to the museum by the Weitzenhoffer family and purchased by them from the David Findlay gallery in New York, as they had purchased La Bergère from that gallery and gifted it to the museum; or the label identifying Egon Schiele’s Dead City III, hanging on a wall at the Leopold Museum in Vienna;<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYqqTJ-5lIv2uLu7C-3qRq9Lb0OLDA4TcutgqwmsVfhnXfhu7W3HurD0bGHWY-hUmAQg8pkOeeeSMcFRqFZgT-dBxR8hbV_8OyLdaoK3fMLB2TPb-eUvpuJtSudao5j6bLWqA-Cr6cOa4/s1600/Egon_Schiele_-_Dead_City_III_%2528City_on_the_Blue_River_III%2529_-_Google_Art_Project.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYqqTJ-5lIv2uLu7C-3qRq9Lb0OLDA4TcutgqwmsVfhnXfhu7W3HurD0bGHWY-hUmAQg8pkOeeeSMcFRqFZgT-dBxR8hbV_8OyLdaoK3fMLB2TPb-eUvpuJtSudao5j6bLWqA-Cr6cOa4/s200/Egon_Schiele_-_Dead_City_III_%2528City_on_the_Blue_River_III%2529_-_Google_Art_Project.jpg" width="160" /></a></td></tr> <tr><td class="tr-caption" style="font-size: 13px;">Dead City III, by Egon Schiele </td></tr> </tbody></table> <div class="separator" style="clear: both; text-align: center;">  or the label discussing the pastel, Landscape with Smokestacks, by Edgar Degas, at the Art Institute of Chicago;</div> <div> </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><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy7qSc1Ycnpud-LNxanr_iXRUKLRMAPMsAHKxsHqH3QFHfhodIBiaMUpcgG43Eyv50kqOv3zpJVPhNFSfYN0ylcRZc6DgbjXt-Vg6UjvobN0eGZ2zAuiYzQTXH7izGIAWQCHf7EcB6RmM/s1600/leadImage_large.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy7qSc1Ycnpud-LNxanr_iXRUKLRMAPMsAHKxsHqH3QFHfhodIBiaMUpcgG43Eyv50kqOv3zpJVPhNFSfYN0ylcRZc6DgbjXt-Vg6UjvobN0eGZ2zAuiYzQTXH7izGIAWQCHf7EcB6RmM/s200/leadImage_large.jpeg" width="200" /></a></td></tr> <tr><td class="tr-caption" style="font-size: 13px;">Landscape with smokestacks, by Edgar Degas</td></tr> </tbody></table> </div> <div> </div> <div> or the label next to that beautiful set of Louis XV furniture at the Musée Carnavalet in Paris that belonged to a Jewish family before the war still struggling to gain acknowledgment of its claim—</div> <div> </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><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiRBqwXHcb80YKemkXD7BlfVDu6c5lGymnqTg13j0yjls18u7NiewKwmH1YHri_eIGkexlVoWTLT5ucPck2lm2g9UqwXyKMZNpJQfRnEOOaWIPxDmg4QjHwnQOGhC3RecRD9vjvPNJtls/s1600/Unknown-1.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiRBqwXHcb80YKemkXD7BlfVDu6c5lGymnqTg13j0yjls18u7NiewKwmH1YHri_eIGkexlVoWTLT5ucPck2lm2g9UqwXyKMZNpJQfRnEOOaWIPxDmg4QjHwnQOGhC3RecRD9vjvPNJtls/s1600/Unknown-1.jpeg" /></a></td></tr> <tr><td class="tr-caption" style="font-size: 13px;">Musee Carnavalet </td></tr> </tbody></table> </div> <div> or better, examine the labels of paintings and statuary that have not been claimed by Holocaust survivors or their heirs, that have not made the news, the recent circumstances of which have not forced the museums to think about the information that they provide to their audiences. How much do you get from this examination exercise?</div> <div> <div> Ask yourself—and if the answer is too minimal and unsatisfactory, ask the museum—what is the story within the history of this painting and who owned it? How did its ownership change, particularly in the last century—particularly between 1930 and 1945? Do it! If the Museums don’t educate the public and if the public doesn’t push the museums to educate them more effectively with regard to this, among the myriad aspects of interest in the discussion of art and culture, then what is the purpose of the museum experience beyond aesthetics? How is civilization being preserved when the key details pertaining to the history of objects created and enjoyed by and bought and sold by or stolen from fellow humans disappears from our telling and our understanding? If it is to matter, our museum staffs must educate ourselves and care about educating ourselves as much about this as about other aspects of the works that we collect and study; and we must further the educational process by educating our audiences—so that they will continue to press us to be more educated in order to educate them better. In the realm of Nazi-plundered art there is a further turn to this screw. The educational process—even more than the occasionally achieved restitution of cultural property to its pre-Nazi owners or their heirs that research may yield—is also part of another key aspect of human experience and a facilitator of education regarding civilization (indeed an integral part of the process of shaping civilization): memory. In learning and teaching about Raoul Meyer, or the Paris art dealer Paul Rosenberg (no relation to Alfred, of course) or the Dutch banker Fritz Gutmann, we remember those who were an important part of the patronage and ownership of classical and modern art—those whom the Nazis sought not only to divest of their art and their lives but whom they sought to de-humanize and efface from human memory. Museums’ failures to educate themselves and their audiences regarding those whose works now grace their galleries mark a continuous, posthumous fulfillment of Hitler’s goal of obliteration. Those who make a real effort to learn and teach about those patrons and collectors—often (not always) champions of modern art that had only small audiences in the first third of the twentieth century—offer an ongoing challenge to everything that Hitler and his minions stood for. To offer that challenge is a modest enough and fulfillable goal for institutions claiming to be bastions of civilizations and preservers of human culture.<div class="separator" style="clear: both; text-align: center;"> </div> <div class="MsoNormal"> <o:p></o:p></div> </div> </div> </div> <div style='clear: both;'></div> </div> <div class='post-footer'> <div class='post-footer-line post-footer-line-1'> Posted by the <meta content='https://www.blogger.com/profile/03190272299610799123' itemprop='url'/> <a class='g-profile' href='https://www.blogger.com/profile/03190272299610799123' rel='author' title='author profile'> plundered art </a> at <meta content='https://plundered-art.blogspot.com/2015/06/my-favorite-rant-on-education.html' itemprop='url'/> <a class='timestamp-link' href='https://plundered-art.blogspot.com/2015/06/my-favorite-rant-on-education.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2015-06-11T12:30:00-04:00'>12:30</abbr></a> <a href='https://www.blogger.com/email-post/5918154958856402553/3169275354527909293' 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=3169275354527909293&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=3169275354527909293&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=3169275354527909293&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=3169275354527909293&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=3169275354527909293&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/Carnavalet' rel='tag'>Carnavalet</a>, <a href='https://plundered-art.blogspot.com/search/label/David%20Findlay' rel='tag'>David Findlay</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/Egon%20Schiele' rel='tag'>Egon Schiele</a>, <a href='https://plundered-art.blogspot.com/search/label/Eric%20Sundby' rel='tag'>Eric Sundby</a>, <a href='https://plundered-art.blogspot.com/search/label/Fritz%20Gutmann' rel='tag'>Fritz Gutmann</a>, <a href='https://plundered-art.blogspot.com/search/label/Leone%20Meyer' rel='tag'>Leone Meyer</a>, <a href='https://plundered-art.blogspot.com/search/label/Leopold%20Museum' rel='tag'>Leopold Museum</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'>30 April 2012</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/AVvXsEg8wyocZFcSsJwLRTi4VE7BUBtatKZgWAn1z-hN0TXiCY1rIYAzXpLUtYWgnZNmbpim6dyj5JpP4wwB-IDCqHi_ubiPw9QEwOZ86mCs0Pd_DbIHU_v8CPSTdKh5PCZVbMpa04t40mIRahPe/s400/wally2.jpg' itemprop='image_url'/> <meta content='5918154958856402553' itemprop='blogId'/> <meta content='8448909958339260204' itemprop='postId'/> <a name='8448909958339260204'></a> <h3 class='post-title entry-title' itemprop='name'> <a href='https://plundered-art.blogspot.com/2012/04/wild-weekend-with-wally-part-two.html'>Wild Weekend with Wally-Part Two</a> </h3> <div class='post-header'> <div class='post-header-line-1'></div> </div> <div class='post-body entry-content' id='post-body-8448909958339260204' itemprop='description articleBody'> <div dir="ltr" style="text-align: left;" trbidi="on"> <div class="separator" style="clear: both; text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgouWPWgK_djuyg8CPYAqUhu6u2Qpqfn5D1jgIiyoXd22H9m5oQ3pw9jz9YNZpDmrZ44eLLPjKb1nil8ttsJQicy47qncqETdl6F_kEPsYY_cLsuU3OI-udQS-sWqNGg_0hegRLkOGgrDmW/s1600/andre.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"> </a></div> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8wyocZFcSsJwLRTi4VE7BUBtatKZgWAn1z-hN0TXiCY1rIYAzXpLUtYWgnZNmbpim6dyj5JpP4wwB-IDCqHi_ubiPw9QEwOZ86mCs0Pd_DbIHU_v8CPSTdKh5PCZVbMpa04t40mIRahPe/s1600/wally2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8wyocZFcSsJwLRTi4VE7BUBtatKZgWAn1z-hN0TXiCY1rIYAzXpLUtYWgnZNmbpim6dyj5JpP4wwB-IDCqHi_ubiPw9QEwOZ86mCs0Pd_DbIHU_v8CPSTdKh5PCZVbMpa04t40mIRahPe/s400/wally2.jpg" width="400" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Close-up view of "Portrait of Wally" Source: Google Images</td></tr> </tbody></table> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinSntc8m5c2whmZBwiCvFRzCYzyEHWqkVtafleRAFH6nq4mxzDQOJTE0YqcR1RomAlZo75-zTmqHrBL7PVYByZDZlR2tIWkTPj-ZxljIP8ZxT3pJrYdjafxGfRb3mVEDqLrg5Za23DJBOO/s200/andrew.jpg" width="132" /></td></tr> <tr><td class="tr-caption" style="text-align: center;">Andrew Shea, Director Source: Google Images</td></tr> </tbody></table> The making of a documentary film on the fate of the “Portrait of Wally” is a heady exercise. Its subject matter is a loving, dreamy and complicit portrait by Egon Schiele of his mistress, Walburga Neuzil. This was no art historical exercise here, though, especially coming from a legally-trained filmmaker, Andrew Shea, a veteran journalist, David D'Arcy, who straddles the fence between art and politics, and a well-seasoned film festival organizer, Barbara Morgan. “Wally” is all about the forensics of a racially-motivated theft in Nazi-absorbed Austria and the postwar attempts to recover title to an illegally acquired painting, “Portrait of Wally”, from an iconic figure of the Austrian art world, Rudolf Leopold, more interested in protecting ill-gotten treasures which were ripped from the bosoms of persecuted Jews in a nation that forgot to mete out justice against the culprits of Nazi collaboration. <div class="separator" style="clear: both; text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinSntc8m5c2whmZBwiCvFRzCYzyEHWqkVtafleRAFH6nq4mxzDQOJTE0YqcR1RomAlZo75-zTmqHrBL7PVYByZDZlR2tIWkTPj-ZxljIP8ZxT3pJrYdjafxGfRb3mVEDqLrg5Za23DJBOO/s1600/andrew.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a></div> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA93PGBGi7ulDHNWFu6MUSzuaqgmgmM3EGRiip_B8GVBtrNEct7-k8Rve04kdrZjNO1vsaRdOB4UcAWSf8t23pabrsbpv-yso60D-UPs9JRjhmafdWv5jnBCzh9YUEWtRX9rFMHIpNrpqR/s1600/howard.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA93PGBGi7ulDHNWFu6MUSzuaqgmgmM3EGRiip_B8GVBtrNEct7-k8Rve04kdrZjNO1vsaRdOB4UcAWSf8t23pabrsbpv-yso60D-UPs9JRjhmafdWv5jnBCzh9YUEWtRX9rFMHIpNrpqR/s400/howard.jpg" width="400" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Howard Spiegler, attorney for the Bondi Estate Source: Google Images</td></tr> </tbody></table> The fight over Wally echoes the deep-seeded schisms that underlie the frail ties that bind Jews with non-Jews in nations implicated in different aspects of the Final Solution through intense, widespread collaboration at all levels of the society. By extension, it is about those who did nothing to help those who suffered for the fact that the others did nothing. An uneasy situation with which most European societies have yet to fully come to grips, albeit clumsily and unevenly, some countries behave better than others, although nowadays, anything is possible in the face of a massive rightward and chauvinistic shift in European politics. <table 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;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZxxTmJgCnADcYoWjuEIp9EoibrNn_c1lm08t15zMRcNTEF7gceVA_fmg578aVt5NyDfVU0dNW5J7zblIUP6H4qyLuF15Jt6pWmlraE4E1iF8-sUqUPDJiYL_0-3slFqb1tCTtA4_3rw1w/s320/David+Arcy+Tribeca+Talks+After+Movie+Portrait+v6pfkgFtk8Sl.jpg" width="207" /></td></tr> <tr><td class="tr-caption" style="text-align: center;">David D'Arcy Source: Google Images</td></tr> </tbody></table> False notions of venality have plagued the claimants of “Wally”—in this case, the Bondi heirs—through press reports (New York Times being no exception), statements made by museum and art world figures who are apparently more concerned with the value of an object and the inviolability of collections than with human justice. The Wally case encapsulates all that is wrong with the way in which we relate to culture. Our ability to so eagerly disconnect an object from its history is disconcerting, much like when grave robbers violate the sanctity of a tomb and rip out from its matrix funerary objects meant to accompany their owners into the afterlife. De-contextualization makes it all the more easier to ignore the fact that an object has a human history, a social history, one that is organically connected to its previous owners, its jealous rivals, its covetous admirers, and its oglers. That is not to say that we should all weep and moan at the vagaries of history and the incessant and continual tragedies that sever ties between objects and owners—no, we are not comparing art objects to our favorite pets. <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;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgouWPWgK_djuyg8CPYAqUhu6u2Qpqfn5D1jgIiyoXd22H9m5oQ3pw9jz9YNZpDmrZ44eLLPjKb1nil8ttsJQicy47qncqETdl6F_kEPsYY_cLsuU3OI-udQS-sWqNGg_0hegRLkOGgrDmW/s320/andre.jpg" width="320" /></td></tr> <tr><td class="tr-caption" style="text-align: center;">Andre Bondi, son of the late Henri Bondi Source: Google Images</td></tr> </tbody> </table> <table 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;"><img border="0" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_xVTR8Z-8AaLcA_iAeHgwr28LmEiWpSYvZwqLAQlyeVmQFXOA9yw0ysX9NmuR8AeQ5l6AFB4t1kin3QvJcL928QZaNtCVTVN2o8ZlC8QSD0koySYFlSuOL5ORDya0waeQUP9TiFe7Fsl9/s320/sharonwilliandrew.jpg" width="320" /></td></tr> <tr><td class="tr-caption" style="text-align: center;">Left to Right.: Sharon Levin, Willi Korte, and Andrew Shea Source: Google Images</td></tr> </tbody></table> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_xVTR8Z-8AaLcA_iAeHgwr28LmEiWpSYvZwqLAQlyeVmQFXOA9yw0ysX9NmuR8AeQ5l6AFB4t1kin3QvJcL928QZaNtCVTVN2o8ZlC8QSD0koySYFlSuOL5ORDya0waeQUP9TiFe7Fsl9/s1600/sharonwilliandrew.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a>In the case of Wally, we now have 20-20 hindsight—how convenient! Those who steadfastly opposed the Bondis’ claim to “Wally” and railed against Robert Morgenthau’s seizure of the painting are now gloating about their early involvement in the “Wally” case. The silent ones are those who produced the most damage—MoMA, and by extension, the New York art world, writ large; the Leopold Museum and, by extension, many in the Viennese cultural world, as well as members of select organizations traditionally devoted to the protection of the rights of Holocaust survivors and their heirs and to the greater good of the Jewish community at large.  Is it so naïve to think that, if in late 1997 and early 1998--the crucial time frame for the Wally "Case"—MoMA, the Leopold Museum, the Federal Government, Jewish organizations, had reacted differently to the plight of the Bondi family, the Wally “case” might not have been a “case” at all? I am one of those who is that naïve to believe so. Woe on me! The seizure could have been so easily avoided. A dialogue between the parties, such as had been offered by HARP in late December 1997, might have spared all the parties thirteen long and tedious years which involved attorneys, judges, experts, researchers, historians, family members, government officials, on both sides of the Atlantic Ocean. An enormous waste of time, energy, and priceless resources, if you ask me. But such as it is, human nature can be vile in its inability to produce empathy, understanding as it steadfastly adheres as if life itself depended on it to confining, self-serving, self-satisfying legal and fiduciary frameworks and principles—who owns what when? Under what circumstances? I work in a museum, you don’t. Who are you anyway? I am a collector, you are not, etc., etc., etc. Should one even dare cross the Rubicon and wonder whether the underpinnings of those legalistic and defensive questions do not belie more sinister thought processes such as: why do those Jews always fret about what is theirs and what is not theirs? Haven’t they received enough? Is it because “Wally” is worth two million dollars (in 1997) that the Bondi family has asserted its rights of ownership? Is it greed disguised as justice that creates these complications? So many ugly thoughts and questions which pervaded the press and trade debate over Wally, ugly as could be, thus rendering any adult and civilized conversation about the ownership history of this painting by Egon Schiele nigh impossible, resulting in what we have come to know as the “Wally Case.” <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_xVTR8Z-8AaLcA_iAeHgwr28LmEiWpSYvZwqLAQlyeVmQFXOA9yw0ysX9NmuR8AeQ5l6AFB4t1kin3QvJcL928QZaNtCVTVN2o8ZlC8QSD0koySYFlSuOL5ORDya0waeQUP9TiFe7Fsl9/s1600/sharonwilliandrew.jpg" style="margin-left: 1em; margin-right: 1em;"></a> End of Part Two</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/2012/04/wild-weekend-with-wally-part-two.html' itemprop='url'/> <a class='timestamp-link' href='https://plundered-art.blogspot.com/2012/04/wild-weekend-with-wally-part-two.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2012-04-30T15:54:00-04:00'>15:54</abbr></a> <a href='https://www.blogger.com/email-post/5918154958856402553/8448909958339260204' 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=8448909958339260204&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=8448909958339260204&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=8448909958339260204&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=8448909958339260204&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=8448909958339260204&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/Andrew%20Shea' rel='tag'>Andrew Shea</a>, <a href='https://plundered-art.blogspot.com/search/label/Austria' rel='tag'>Austria</a>, <a href='https://plundered-art.blogspot.com/search/label/Barbara%20Morgan' rel='tag'>Barbara Morgan</a>, <a href='https://plundered-art.blogspot.com/search/label/David%20D%27Arcy' rel='tag'>David D'Arcy</a>, <a href='https://plundered-art.blogspot.com/search/label/Egon%20Schiele' rel='tag'>Egon Schiele</a>, <a href='https://plundered-art.blogspot.com/search/label/Howard%20Spiegler' rel='tag'>Howard Spiegler</a>, <a href='https://plundered-art.blogspot.com/search/label/Jews.%20Bondi' rel='tag'>Jews. Bondi</a>, <a href='https://plundered-art.blogspot.com/search/label/Leopold%20Museum' rel='tag'>Leopold Museum</a>, <a href='https://plundered-art.blogspot.com/search/label/MOMA' rel='tag'>MOMA</a>, <a href='https://plundered-art.blogspot.com/search/label/Portrait%20of%20Wally' rel='tag'>Portrait of Wally</a>, <a href='https://plundered-art.blogspot.com/search/label/Rudolf%20Leopold' rel='tag'>Rudolf Leopold</a>, <a href='https://plundered-art.blogspot.com/search/label/Sharon%20Levin' rel='tag'>Sharon Levin</a>, <a href='https://plundered-art.blogspot.com/search/label/Walburga%20Neuzil' rel='tag'>Walburga Neuzil</a> </div> <div class='post-footer-line post-footer-line-3'> </div> </div> </div> </div> <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/AVvXsEiRoeSkptnaACT8UntY2TuHPU5vmkDi9L7F2dBHp928QgmPrW9fQOQ7i_f-Ntk3g9Yg7VW3oeUdC53qlgJrN0DKQXHfKvPK8MWisUr_Vf6j_WSYwt2PETSkd9I19Zq5zTlu8WbWetUHQ_k0/s400/Self-Portrait-EgonSchiele-1912.jpg' itemprop='image_url'/> <meta content='5918154958856402553' itemprop='blogId'/> <meta content='7937376144501273133' itemprop='postId'/> <a name='7937376144501273133'></a> <h3 class='post-title entry-title' itemprop='name'> <a href='https://plundered-art.blogspot.com/2012/04/wild-weekend-with-wallypart-one.html'>Wild Weekend with Wally—Part One</a> </h3> <div class='post-header'> <div class='post-header-line-1'></div> </div> <div class='post-body entry-content' id='post-body-7937376144501273133' itemprop='description articleBody'> <div dir="ltr" style="text-align: left;" trbidi="on"> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td><img border="0" height="321" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRoeSkptnaACT8UntY2TuHPU5vmkDi9L7F2dBHp928QgmPrW9fQOQ7i_f-Ntk3g9Yg7VW3oeUdC53qlgJrN0DKQXHfKvPK8MWisUr_Vf6j_WSYwt2PETSkd9I19Zq5zTlu8WbWetUHQ_k0/s400/Self-Portrait-EgonSchiele-1912.jpg" width="400" /></td></tr> <tr><td class="tr-caption">Self-Portrait, by Egon Schiele, 1912 Source: Google Images</td></tr> </tbody></table> No, it’s not what it sounds like. I did not spend a wild weekend with Wally.  <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;"><img border="0" height="326" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGNs5JuJ4Q5EL07Nb1YvF6fp25gmXTQtJfRSMlQdeJ_XGQyqdmY1sCYnlF1VEEJ_iFB9VnvQy7NG51a3HxXkcPZPR29LOeWsuQZOmxnquiDdSHXbbVIlTMt3QmoKD07ZNoDRzM2M9Pex1m/s400/wally.jpg" width="400" /></td></tr> <tr><td class="tr-caption" style="text-align: center;">Portrait of Wally, by Egon Schiele, 1912 Source: Google Images</td></tr> </tbody></table> The Wally in question is <a href="http://www.7thart.com/films/Portrait-of-Wally">“The Portrait of Wally”</a>, a new documentary which was screened at the<a href="http://www.tribecafilm.com/filmguide/portrait_of_wally-film39241.html#.T57OPlLAH3s"> TriBeCa Film Festival in New York</a>, on April 28 and 29, 2012, and directed by <a href="http://rtf.utexas.edu/faculty/production-and-screenwriting/andrew-shea">Andrew Shea</a> and co-produced by <a href="http://www.artsjournal.com/herman/2005/03/david_darcy_npr_and_moma.html">David D’Arcy</a> and <a href="http://www.austin360.com/blogs/content/shared-gen/blogs/austin/austinmovies/entries/2010/10/16/profile_barbara_morgan_austin.html">Barbara Morgan</a>. Morgan and Shea hail from Austin, TX. D’Arcy is a veteran reporter, formerly affiliated with National Public Radio (NPR) who has filed many stories about the international art market especially in regard to looted art in American collections. The Wally of which we speak is the now-iconic portrait of a Viennese woman, <a href="http://de.wikipedia.org/wiki/Wally_%28Schiele%29">Walburga Neuzil</a>, who was the mistress of the man who painted her, Egon Schiele. The painting dates from 1912. Schiele created it as a pendant to a self-portrait executed that same year, six years before his untimely death caused by the Spanish flu. Both works currently hang on the walls of the Leopold Museum in Vienna, Austria. And that is the end of the story. There would have been no “Wally Story” had this Schiele painting not been stolen from its rightful owner, Lea Bondi Jarai, a Viennese Jewish gallery owner. <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgluJP5IV6jiot7LxmyPsolvDZ2kz2t38-sYpiWOTwF0c_GzRhhgAXmOMtwrCKRc-846u50r_RN4rFyef_o-fkcxZFg9nVIQJFFz_BlufESCe04Y9YwHk3BoxCp_NVIZEXQa4ISjw7HeO3f/s1600/lbondi.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="189" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgluJP5IV6jiot7LxmyPsolvDZ2kz2t38-sYpiWOTwF0c_GzRhhgAXmOMtwrCKRc-846u50r_RN4rFyef_o-fkcxZFg9nVIQJFFz_BlufESCe04Y9YwHk3BoxCp_NVIZEXQa4ISjw7HeO3f/s200/lbondi.jpg" width="200" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Lea Bondi Jarai Source: ArtsJournal</td></tr> </tbody></table> The thief was a self-avowed Nazi art collector and dealer, <a href="http://de.wikipedia.org/wiki/Friedrich_Welz">Friedrich Welz,</a> who had become emboldened by the March 1938 Anchluss-the willing absorption of Austria into Hitler’s Greater German Reich. This would have been yet another story of Nazi thefts of cultural assets belonging to Jews had it not been for an unscrupulous art dealer and collector named <a href="http://www.nytimes.com/2010/06/30/arts/30leopold.html">Rudolf Leopold</a>, who with his wife, Elisabeth, built up one of the world’s largest postwar collections of works by Egon Schiele, a collection that verges on idolatry and self-aggrandizing fetishism. By the time the Leopolds had “acquired” Wally through an illegal exchange with a leading Viennese museum in the 1950s, Lea was living in exile in London where she had resumed her art trading activities. She died in 1969, heartbroken at not having recovered the painting which she continually sought in the postwar years, pleading with Leopold to help her. Unbeknownst to her, Leopold now possessed it, despite the lies that he had spewed at her to disguise his machinations aimed at deceiving her so as to be able to acquire Wally and make her his to possess forever. <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/AVvXsEjn1UB3rbTO-eFerjWPIEgCGqNJaFb7bmuMbGzZI6nJjR7GX2Dv6psRTUCKl76BtLdVdqS1ZFyHLsex75wEo3-VmgWUB7uNZPSK4TQe6Go0ucQ6k6N_63Pw2etYZRpI4_Y2iJl44WmjbbSb/s1600/Prof_Rudolf_Leopold.jpg.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn1UB3rbTO-eFerjWPIEgCGqNJaFb7bmuMbGzZI6nJjR7GX2Dv6psRTUCKl76BtLdVdqS1ZFyHLsex75wEo3-VmgWUB7uNZPSK4TQe6Go0ucQ6k6N_63Pw2etYZRpI4_Y2iJl44WmjbbSb/s320/Prof_Rudolf_Leopold.jpg.jpg" width="320" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Rudolf Leopold Source: The Arts Newspaper</td></tr> </tbody></table> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2_KYjmW5WJ_i3BpKri39MI3HQTys2eOxadZBjNB7XLzA7wsH9SNZlEqN4GrzL4X6Vk6J27BR0hV4tPnOoVC0XZL5kkh4YiOIei4IhqHA_IpOfndu9YyXkCPGNwQ4soAWpLZmlOIGAk07V/s1600/frauleopold.jpg" /></td></tr> <tr><td class="tr-caption" style="text-align: center;">Elisabeth Leopold Source: Google Images</td></tr> </tbody></table> The story could have just ended there in all of its sordid details, a story of unremitting greed and lust displayed by a Viennese couple enraptured with Schiele’s works, who had openly flirted with and benefited from the Nazi years and the postwar continuum of Nazi influence in Austrian society, taking full advantage of the plight of Viennese Jews to build up their Schiele collection, revered the world over, in particular by American collectors and dealers, most explicitly those centered in New York City. The official story of what we have come to know as the Wally Case entered its prelude in <a href="http://www.moma.org/interactives/exhibitions/1997/schiele/artistwork.html">October 1997 when the Leopold Museum exhibited its treasures at the Museum of Modern Art</a>, whose chairman, Ronald Lauder, was a self-admitted Schiele fan and collector. Needless to say, the exhibit was a success but the presence of Wally on its walls ruined it all for MoMA, for its director, <a href="http://en.wikipedia.org/wiki/Glenn_D._Lowry">Glenn Lowry</a>, for Leopold, and especially for the Bondi family, next of kin of Lea Bondi Jaraj, who had discovered that the painting was in the United States exhibited under their very noses, with a provenance worthy of a second-rate work of fiction—no mention of Lea’s true ownership of the work, a fictitious sequence of individuals who had nothing to do with the painting’s pedigree. But, as we know, provenances, more often than not, are mere adornments, however fanciful they might be. <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"> <tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU7bOxQ6AaowNTYdKVO-IKNhb009vcS_21ihm0dHPSqr9qPpyBVzY78ANNEHbUi4KrVO3_JhZkip25wmsaVfy-x3AWg52YbkzEgoyj9G3FAcqlDc6bNJuus2ajfQReEAOyi1A6joKThZkW/s1600/willi.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU7bOxQ6AaowNTYdKVO-IKNhb009vcS_21ihm0dHPSqr9qPpyBVzY78ANNEHbUi4KrVO3_JhZkip25wmsaVfy-x3AWg52YbkzEgoyj9G3FAcqlDc6bNJuus2ajfQReEAOyi1A6joKThZkW/s1600/willi.jpg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Willi Korte Source: Zimbio</td></tr> </tbody> </table> The “Wally case” began after the Bondis attempted to clarify the true ownership of the work and failed to convince MoMA’s leadership and Leopold to engage in a dialogue over the ownership of the painting so as to determine its fate. After numerous futile attempts, MoMA invited the Bondi heirs to sue them in order to prevent the painting from leaving the US and returning to Vienna where there would have been no “fair hearing.” <a href="http://www.zoominfo.com/#%21search/profile/person?personId=33233875&targetid=profile">Willi Korte,  </a>veteran researcher, historian, jurist and investigator of looted cultural property and a co-founder of the Holocaust Art Restitution Project (HARP) helped Henri Bondi get his research ducks in order to prepare for a full-frontal campaign to get Wally back. Others like Marc Masurovsky, Ori Soltes and their legal counsel, Jeanine Benton, also of HARP, were urging Senate Banking Committee staff, Jewish organizations and law enforcement agencies to step into the breach and do “something” to keep the painting in the US. By early January 1998, it didn’t look good. After Senator D’Amato demanded the seizure of the collection, he recused himself almost as dramatically, having received a phone call from one of his most ardent campaign donors who asked him to reconsider his rash statement. And so he did. US Customs—now ICE—in the person of Special Agent Bonnie Goldblatt were ready to pounce but were left out in the cold because of D’Amato’s sudden withdrawal and the equally callous abandonment by other Federal officials at State and Commerce who had ruled that this was indeed a private matter which should not require official American governmental interference that might intrude on the good relations between the United States and Austria. <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/AVvXsEjBhq2xYmgmniIoDjRim2R4TQqyM6079jUP5T61P3euHF-9KIlO_AdkxDG9wpVhLYpmT8z-gmNG4G3bPnwb1-lqaGpoGD-0kH0wwpITHdzhJcMBwTM_jlkIK813x9CRhbKG5PjJshymw5Qd/s1600/Goldblatt.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBhq2xYmgmniIoDjRim2R4TQqyM6079jUP5T61P3euHF-9KIlO_AdkxDG9wpVhLYpmT8z-gmNG4G3bPnwb1-lqaGpoGD-0kH0wwpITHdzhJcMBwTM_jlkIK813x9CRhbKG5PjJshymw5Qd/s320/Goldblatt.jpg" width="320" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Special Agent Bonnie Goldblatt Source: ArtsJournal</td></tr> </tbody></table> <div class="separator" style="clear: both; text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU7bOxQ6AaowNTYdKVO-IKNhb009vcS_21ihm0dHPSqr9qPpyBVzY78ANNEHbUi4KrVO3_JhZkip25wmsaVfy-x3AWg52YbkzEgoyj9G3FAcqlDc6bNJuus2ajfQReEAOyi1A6joKThZkW/s1600/willi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"> </a></div> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRTtq7fXkegUK6qoA0Sx7cRicCNugWCQhAhjkhU0MRFfwTzX1hilCnFbyFzEk_5SxhyphenhyphenweX66n-jNQAAhU38OThT_9FMGopyoldZuUgcJA9BHR2MdTLt-bqo1jYTEfWUA6yd2ZZriJygnY5/s1600/robert.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRTtq7fXkegUK6qoA0Sx7cRicCNugWCQhAhjkhU0MRFfwTzX1hilCnFbyFzEk_5SxhyphenhyphenweX66n-jNQAAhU38OThT_9FMGopyoldZuUgcJA9BHR2MdTLt-bqo1jYTEfWUA6yd2ZZriJygnY5/s1600/robert.jpg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Robert Morgenthau Source: Google Images</td></tr> </tbody></table> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRTtq7fXkegUK6qoA0Sx7cRicCNugWCQhAhjkhU0MRFfwTzX1hilCnFbyFzEk_5SxhyphenhyphenweX66n-jNQAAhU38OThT_9FMGopyoldZuUgcJA9BHR2MdTLt-bqo1jYTEfWUA6yd2ZZriJygnY5/s1600/robert.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a>All this to say that all five of us were rather alone that first week of January, dismayed at the cowardice displayed by elected and appointed officials alike, the cynicism of the art world, and the apparent indifference of American Jewish groups including the World Jewish Congress and the American Jewish Committee, who refused to lift a finger on behalf of the Bondis, the legitimate heirs of a victim of Nazi persecution. Is it a coincidence that the chairman of the board of MoMA was also the secretary-treasurer of the WJC? We’ll leave that alone for now… The last hope was Robert Morgenthau, District Attorney of Manhattan. He emerged as the ultimate mensch of the Wally story, consistent with his lineage—a grandfather, Harry, who had blown the whistle on Ottoman massacres of Armenian civilians in 1915 before resigning as a foreign service official during President Wilson’s tenure; a father, Henry, Treasury Secretary under Franklin Roosevelt (FDR) and the most ardent anti-Nazi member in FDR’s government—its only “cabinet Jew.” HARP forwarded a set of documents to Morgenthau’s office before and after New Year’s of 1998 outlining the weaknesses of MoMA and Leopold’s position—in their haste to exhibit the Schiele works, MoMA and Leopold had forgotten to “immunize” or shield the collection against any possibility of legal challenges arising from claims to rightful ownership while the works were on display in the United States—a foreshadowing of the proposed Senate Bill 2212 currently stalled in the Senate Judiciary Committee. The paintings were thus vulnerable to any legal action taken against them on US territory, especially arising out of a claim of rightful ownership. For Morgenthau, the presence of stolen property in his jurisdiction was, in his own words, “unacceptable.” During that first week of January 1998, the skies were bleak, the prospect of a fair hearing for the Bondi heirs seemed more like a remote fantasy than an impending reality. With no one left to uphold their interests, MoMA and Leopold were about to breathe a sigh of relief, except that they did not factor in the unlikely and outrageous possibility that something drastic might just prevent the paintings from leaving the United States. On January 7, 1998, Morgenthau obtained the necessary legal instruments by which to order the seizure of Wally and another painting, Dead City III, until the ownership of these works could be clarified. The men in blue entered MoMA’s front doors on 53rd Street and made arrangements to have Wally and Dead City III sequestered. For the first time in recent memory, an American official had directly intervened with a cultural event in an American museum by ordering the seizure of works on loan for display there. End of Part One.</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/2012/04/wild-weekend-with-wallypart-one.html' itemprop='url'/> <a class='timestamp-link' href='https://plundered-art.blogspot.com/2012/04/wild-weekend-with-wallypart-one.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2012-04-30T14:26:00-04:00'>14:26</abbr></a> <a href='https://www.blogger.com/email-post/5918154958856402553/7937376144501273133' 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=7937376144501273133&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=7937376144501273133&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=7937376144501273133&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=7937376144501273133&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=7937376144501273133&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/Andrew%20Shea' rel='tag'>Andrew Shea</a>, <a href='https://plundered-art.blogspot.com/search/label/David%20D%27Arcy' rel='tag'>David D'Arcy</a>, <a href='https://plundered-art.blogspot.com/search/label/Egon%20Schiele' rel='tag'>Egon Schiele</a>, <a href='https://plundered-art.blogspot.com/search/label/Friedrich%20Welz' rel='tag'>Friedrich Welz</a>, <a href='https://plundered-art.blogspot.com/search/label/Henri%20Bondi' rel='tag'>Henri Bondi</a>, <a href='https://plundered-art.blogspot.com/search/label/Lea%20Bondi%20Jaray' rel='tag'>Lea Bondi Jaray</a>, <a href='https://plundered-art.blogspot.com/search/label/Leopold%20Museum' rel='tag'>Leopold Museum</a>, <a href='https://plundered-art.blogspot.com/search/label/MOMA' rel='tag'>MOMA</a>, <a href='https://plundered-art.blogspot.com/search/label/Ori%20Soltes' rel='tag'>Ori Soltes</a>, <a href='https://plundered-art.blogspot.com/search/label/Robert%20Morgenthau' rel='tag'>Robert Morgenthau</a>, <a href='https://plundered-art.blogspot.com/search/label/Ronald%20Lauder' rel='tag'>Ronald Lauder</a>, <a href='https://plundered-art.blogspot.com/search/label/Rudolf%20Leopold' rel='tag'>Rudolf Leopold</a>, <a href='https://plundered-art.blogspot.com/search/label/Walburga%20%28Wally%29%20Neuzil' rel='tag'>Walburga (Wally) Neuzil</a>, <a href='https://plundered-art.blogspot.com/search/label/Willi%20Korte' rel='tag'>Willi Korte</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'>26 June 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='http://www.knust.edu.gh/images/profiles/pics/img1292010_1715.jpg' itemprop='image_url'/> <meta content='5918154958856402553' itemprop='blogId'/> <meta content='1698208977920316088' itemprop='postId'/> <a name='1698208977920316088'></a> <h3 class='post-title entry-title' itemprop='name'> <a href='https://plundered-art.blogspot.com/2011/06/leopold-museum-where-north-and-south.html'>The Leopold Museum: where North and South meet</a> </h3> <div class='post-header'> <div class='post-header-line-1'></div> </div> <div class='post-body entry-content' id='post-body-1698208977920316088' itemprop='description articleBody'> On 3 May 2011, <a href="http://www.dorotheum.com/en/dorotheum/press/news/archive/presseberichte/masken-und-magie-3-mai-dorotheum-auktion-stammeskunsttribal-art-aus-afrika-mit-objekten-aus-der.html">the Dorotheum auction house in Vienna</a> inaugurated its new section on “Tribal Art” by organizing a sale of over 100 high-quality items of African origin acquired over the decades by the late Dr. Rudolf Leopold. The Dr. Leopold who prolonged for decades the agony of the Bondi family by refusing to restitute to them their “Portrait of Walli” which had been misappropriated after the Anschluss of March 1938 by a Nazi art dealer, Friedrich Welz. <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="http://www.knust.edu.gh/images/profiles/pics/img1292010_1715.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_tDr6txfnY6bfNMwndDmKsDbzdYlnQFU9wep6vgsguPdVNTHYoc1zOLu5GnrglUGFuo1OtiZjSUw8lHsXxo9PWuFLcQk5SBbqPU7pG6ZTgG4QU4f2FxIdWm_pqlDD0YI_p6N34=s0-d"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Dr. Kwame Opoku-Bonsu Source: Kwame Nkrumah University of Science and Technology</td></tr> </tbody></table> This same Dr. Leopold turned out to be an enthusiast of African art. Who would have known? Even the <a href="http://www.modernghana.com/news/327185/1/auction-of-african-art-by-dorotheum-vienna-but-wha.html">“Modern Ghana” author, Dr. Kwame Opoku,</a> expresses his surprise, a surprise also shared by the Dorotheum. <div style="text-align: right;"> </div> Dr. Opuku wonders why there is a total absence of information on past ownership and sources for the African pieces sold by the Dorotheum, a situation that afflicts nearly all African artifacts available in developed nations. Surprise, surprise… In short, the opaque and dubious practices of the Leopold Museum in acquiring 19th and 20th century works of art extended as well to African artifacts. Hence, North meets South at the Leopold Museum as the plight of African cultures to recover their prized possessions intersects with that of claimants seeking the return of their works of art looted during the Nazi era and currently owned by institutions such as the Leopold Museum. <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/2011/06/leopold-museum-where-north-and-south.html' itemprop='url'/> <a class='timestamp-link' href='https://plundered-art.blogspot.com/2011/06/leopold-museum-where-north-and-south.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2011-06-26T14:52:00-04:00'>14:52</abbr></a> <a class='comment-link' href='https://plundered-art.blogspot.com/2011/06/leopold-museum-where-north-and-south.html#comment-form' onclick=''> 1 comment: </a> <a href='https://www.blogger.com/email-post/5918154958856402553/1698208977920316088' 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=1698208977920316088&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=1698208977920316088&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=1698208977920316088&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=1698208977920316088&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=1698208977920316088&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/African' rel='tag'>African</a>, <a href='https://plundered-art.blogspot.com/search/label/Dorotheum' rel='tag'>Dorotheum</a>, <a href='https://plundered-art.blogspot.com/search/label/Erwin%20Melchardt' rel='tag'>Erwin Melchardt</a>, <a href='https://plundered-art.blogspot.com/search/label/Friedrich%20Welz' rel='tag'>Friedrich Welz</a>, <a href='https://plundered-art.blogspot.com/search/label/Ghana' rel='tag'>Ghana</a>, <a href='https://plundered-art.blogspot.com/search/label/Kwame%20Opuku' rel='tag'>Kwame Opuku</a>, <a href='https://plundered-art.blogspot.com/search/label/Leopold%20Museum' rel='tag'>Leopold Museum</a>, <a href='https://plundered-art.blogspot.com/search/label/Vienna' rel='tag'>Vienna</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'>20 June 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='http://images.derstandard.at/t/12/2011/06/22/1308683697469.jpg' itemprop='image_url'/> <meta content='5918154958856402553' itemprop='blogId'/> <meta content='3796612902047709853' itemprop='postId'/> <a name='3796612902047709853'></a> <h3 class='post-title entry-title' itemprop='name'> <a href='https://plundered-art.blogspot.com/2011/06/leopold-museum-strategy-regarding-nazi.html'>The Leopold Museum strategy regarding Nazi art claims</a> </h3> <div class='post-header'> <div class='post-header-line-1'></div> </div> <div class='post-body entry-content' id='post-body-3796612902047709853' itemprop='description articleBody'> The Leopold Museum in Vienna has just settled another looted art case with the family of a former Czech citizen from Brno, Moriz Eisler. Several points stand out in the way in which the story was reported by <a href="http://www.bloomberg.com/news/2011-06-20/vienna-s-leopold-settles-with-heir-on-nazi-looted-paintings.html">Catherine Hickley for Bloomerg News.</a> <ol> <li>the Leopold Museum presumes that the works in its collection were acquired in good faith. That stance alone is extraordinary in view of the checkered history of its late founder, Dr. Rudolpf Leopold, who amassed a collection of works by Schiele that had once belonged to Jewish families. And he, like anyone else, was well aware of what had happened to those families. Good faith usually means that the acquirer of the work of art did not ask questions and did not really worry about the origin of the art object that he or she was purchasing.  In most cases, good faith rested on willful ignorance, writ large, ignorance of history, ignorance of the past, ignorance of one's environment, ignorance of the fact that twelve years of Nazi rule, a Holocaust, and a global war, occurred which might have disrupted the normal chains of ownership and cost the lives of the owners of the works being acquired "in good faith." As the 1960s saying goes, "ignorance is bliss." </li> <li>Since Dr. Leopold’s death last year, his son, Diethard Leopold, pledged to settle all outstanding claims against the Leopold Museum pertaining to looted art from the Holocaust era. Although he is making good on his pledge, settling is not restituting. Moreover, the strategy of settlement is predicated on his argument that the Museum holds art acquired in good faith. Had it not been purchased in good faith, the legal strategy might be a bit different or, at least, more exacting on the Museum. There is nothing new in waving money at claimants, especially when the alternative, seeking restitution, can become very costly due to the refusal of cultural institutions like the Leopold Museum to even consider restitution as a plausible means of "doing the right thing." Look at how long it took to settle the “Walli’ case.</li> </ol> If the Leopold family’s settlement strategy is a harbinger of things to come, few works of art will be restituted to their rightful owners. The question of the day is: Does the offer of a financial settlement carry within it the denial of restitution? <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="http://images.derstandard.at/t/12/2011/06/22/1308683697469.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_tq3Oz8lqPw9NJzc0N4FnBS-7tfc5gQTc77UIisSL9kKeyO8SuwZbAMk6wvWQnMKVu84Y-KXpIfZVT_7KUQA_MNqCNsiJaliHbF8-nhS-mVLpHYoMPcT_i2Kz5O4jP4xN5o=s0-d"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">"Protestaktion vor dem Leopold Museum: 'Restituieren!'",  22 Jun 2011 Source: Der Standard</td></tr> </tbody></table> <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="http://images.derstandard.at/t/12/2011/06/22/1308683754691.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_spz5iSM59LCbnO4C8FE_s6Ei_dHLMm2JfqMrT9SXcLPETqWbdPxHFG7F_vJJwXvHHLzwN0rUsqgl7qjPECaxhAZA-TbwuJ8QUPhWR_-4cgkVQgTLHHXnfP5ENMbDhJd-Fh=s0-d"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">"Protestaktion vor dem Leopold Museum: 'Restituieren!'", 22 Jun 2011 Source: Der Standard</td></tr> </tbody></table> <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="http://images.derstandard.at/t/12/2011/06/22/1308683753242.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_sqoCOTcbZvHP4EKF8i0fmIOgwZ9IScUnDhQqjT49qlvm_JKtEQZfEH42LJKbNq9i50O5MwWwvtJfheiOFaFuocp6Ug3BY0DQVVCCxsKaDWOuaL7R15mznHdGVK9gHS7-o=s0-d"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">"Protestaktion vor dem Leopold Museum: 'Restituieren!'", 22 Jun 2011 Source: Der Standard</td></tr> </tbody></table> <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="http://images.derstandard.at/t/12/2011/06/22/1308683696717.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_uL87E7pnS2GO6-eD_fJjmIWtson1MeKjL1V7pUJ1xbgv6C6kaV0RRBh4cPeuzKSRmWNCQ6wXSUZrB8gjrYPhS3pQASEjYKMld1aYDM0g0ViI5gl8joLK6c2QD7gYhVToQU=s0-d" width="199"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">"Protestaktion vor dem Leopold Museum: 'Restitueren!'", 22 Jun 2011 Source: Der Standard</td></tr> </tbody></table> <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/2011/06/leopold-museum-strategy-regarding-nazi.html' itemprop='url'/> <a class='timestamp-link' href='https://plundered-art.blogspot.com/2011/06/leopold-museum-strategy-regarding-nazi.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2011-06-20T10:45:00-04:00'>10:45</abbr></a> <a class='comment-link' 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<div class='blog-feeds'> <div class='feed-links'> Subscribe to: <a class='feed-link' href='https://plundered-art.blogspot.com/feeds/posts/default' target='_blank' type='application/atom+xml'>Posts (Atom)</a> </div> </div> </div></div> </div> </div> <div class='column-left-outer'> <div class='column-left-inner'> <aside> </aside> </div> </div> <div class='column-right-outer'> <div class='column-right-inner'> <aside> <div class='sidebar section' id='sidebar-right-1'><div class='widget BlogSearch' data-version='1' id='BlogSearch1'> <h2 class='title'>Search</h2> <div class='widget-content'> <div id='BlogSearch1_form'> <form action='https://plundered-art.blogspot.com/search' class='gsc-search-box' target='_top'> <table cellpadding='0' cellspacing='0' class='gsc-search-box'> <tbody> <tr> <td class='gsc-input'> <input autocomplete='off' class='gsc-input' name='q' size='10' title='search' type='text' value=''/> </td> <td class='gsc-search-button'> <input class='gsc-search-button' title='search' 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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_vvrwBFs3u6tvo12Q4vy-cU_LbwOAhVZ-Wt4hOwdBEGUYacMjb1rmquA33wUZuNkCJ2XY_LoIaJ4A3Ch_GFd0V3qI-JHaxCIqkCTzm0rjFc7Nuf1KWQTHX3k9TMHRPihrRLArCzYgDk=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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href='https://plundered-art.blogspot.com/search/label/Louis%20XVI'>Louis XVI</a> (1) <a dir='ltr' href='https://plundered-art.blogspot.com/search/label/Louis%20XVIII'>Louis XVIII</a> (1) <a dir='ltr' href='https://plundered-art.blogspot.com/search/label/Louvre'>Louvre</a> (5) <a dir='ltr' href='https://plundered-art.blogspot.com/search/label/Lovis%20Corinth'>Lovis Corinth</a> (2) <a dir='ltr' href='https://plundered-art.blogspot.com/search/label/Lowenstein'>Lowenstein</a> (1) <a dir='ltr' href='https://plundered-art.blogspot.com/search/label/Lubavitch'>Lubavitch</a> (1) <a dir='ltr' href='https://plundered-art.blogspot.com/search/label/Lucas%20Cranach%20the%20Elder'>Lucas Cranach the Elder</a> (1) <a dir='ltr' href='https://plundered-art.blogspot.com/search/label/Lucerne'>Lucerne</a> (1) <a dir='ltr' href='https://plundered-art.blogspot.com/search/label/Lucian%20Simmons'>Lucian Simmons</a> (3) <a dir='ltr' 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href='https://plundered-art.blogspot.com/search/label/Macquarie%20University'>Macquarie University</a> (1) <a dir='ltr' href='https://plundered-art.blogspot.com/search/label/M%C3%A4dchen%20mit%20Sonnenbrillen'>Mädchen mit Sonnenbrillen</a> (1) <a dir='ltr' href='https://plundered-art.blogspot.com/search/label/Madeleine%20Castaing'>Madeleine Castaing</a> (2) <a dir='ltr' href='https://plundered-art.blogspot.com/search/label/Mader'>Mader</a> (1) <a dir='ltr' href='https://plundered-art.blogspot.com/search/label/Madonna%20and%20Child%20in%20a%20Landscape'>Madonna and Child in a Landscape</a> (1) <a dir='ltr' href='https://plundered-art.blogspot.com/search/label/MAEE'>MAEE</a> (1) <a dir='ltr' href='https://plundered-art.blogspot.com/search/label/Magdeburg'>Magdeburg</a> (5) <a dir='ltr' href='https://plundered-art.blogspot.com/search/label/Magen%20David'>Magen David</a> (1) <a dir='ltr' href='https://plundered-art.blogspot.com/search/label/Magyar%20Nemzeti%20M%C3%BAzeum'>Magyar Nemzeti 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