The list of restitution claims for art looted by the Nazis or as a result of Nazi persecution is organized by the country in which the paintings were located when the return was requested.
Claim for restitution to Public Galery of Art, New Zealand, for five paintings in the 'école de Macchiaioli.
After an amicable settlement in April 1999, three paintings remained in the museum and two were placed in an auction. The proceeds of the sale were divided between the museum and the heirs.[7][8]
Croatia
Illustration
Artist and artworks
Former owner / Restitution Request
Result
André Derain, "Still Life With a Bottle," and Maurice de Vlaminick's "Landscape by the Water," which were held by the National Museum of Modern Art,
Dane Reichsman
request for restitution of art collection seized by the fascist Ustashe regime[9]
In 2023 three museums restituted artworks to the Reichsmann heirs.[10][11]
In 2014 the advisory board recommended the restitution of a gouache by Philippe Berger from the Albertina to the heirs to Maximilian and Käthe Kellner[24]
In 2014 the advisory board recommended the restitution of the advisory board also recommended the restitution a drawing by Adolf Menzel to the heirs to Leopoldine Mannaberg[24]
Adolph von Menzel's gouache on paper Stehende Rüstungen (1886) ("Standing Suits of Armour")
Restituted to the rightful heirs of Fritz Loewenthal in 1999[28]
Anton Romako, Mädchen mit aufgestütztem Arm (the daughter of the artist), ca.1875 Oil on canvas, 72.5 x 61 cm
Anton Romako, Der Zweikampf (Kämpfende Ritter), Oil on canvas, 110 x 82.5 cm
Anton Romako, Lager im Wald (Zigeunerlager), ca. 1879 Oil on canvas, 41 x 32 cm Anton Romako, Mädchen mit Nusskorb (Tochter des Künstlers), ca. 1880 Oil on canvas, 139 x 89.5 cm
Anton Romako, Ungarische Puszta (Strohschober in Bálványos), ca. 1880 Oil on canvas, 26.5 x 21.5 cm
Anton Romako, Bildnis Karl Schwach, 1854 Oil on canvas, 45.5 x 37 cm
In 2012 restituted to the legal successor of Oskar and Malvine Reichel. The six paintings will continue to be displayed at the LENTOS on permanent loan.[29]
99 paintings seized from the Bondy collection by Nazis in 1938 in Vienna are said to have been restituted to his widow Elizabeth Bondy after the war in 1948, however this was only part of the collection. There were intensive negotiations with Austrian authorities, and serious issues with locating objects and obtaining export licences, as well as pressure to "donate". The Austrian advisory board was still studying the fate of the Bondy collection in 2021.[36]
returned by
Royal Museum of Fine Arts of Belgium (KMSKB)
Looted by the E.R.R., the artwork was recovered by Leo Van Puyvelde after the defeat of the Nazis and transferred to Belgium's Economic Recovery Department which placed it in the Royal Museum of Fine Arts in 1951. It was restituted to the Mayer heirs in February 2022.[43]
In 2017, Grawi's family demanded the restitution of Marc's painting The Foxes (1913) from Düsseldorf's Kunstpalast. It was decided to restitute in 2021.[45][46]
Wilhelm Leibl - Bauernmädchen
Peasant Girl Without a Hat by artist Wilhelm Leibl
Looted, then sold twice at Sotheby's London (in 1946, and 1975), sold to the British Rail Pension Fund, then dealer C. G. Boerner in Düsseldorf who sold it to Kunsthalle Bremen. Identified by the research of Arthur Feldmann's grandson Uri Peled Feldmann. Resituted and purchased back in 2016[52]
Hans von Marées - Selbstbildnis mit gelbem Hut
Hans von Marées
Husband with a Yellow Hat (Selbstbildnus mit gelbem Hut)
The Berlin National Gallery which had acquired Hans von Marées' Husband with a Yellow Hat at the forced Graupe auction of 1935,[55] restituted the painting to the Silberberg heir in July 1999 and then bought it back the same year.
2016: lawsuit filed in U.S. District Court in New York by Michael Hulton of San Francisco and the widow of Flechtheim's nephew and heir Henry Hulton[61]
In 2013, the city of Cologne agreed to return from the Ludwig Museum Kokoshka's portrait of Tilla Durieux[64] and other drawings to the Fleichtheim heirs. The family agreed to let the museum keep drawings by Karl Hofer, Paula Modersohn-Becker, Ernst Barlach, Aristide Maillol and Wilhelm Morgner on display in the museum.[61]
"Lighthouse With Rotating Beam" by Paul Adolf Seehaus
"As part of an agreement with the Schmidl heirs announced on August 17, a similar drawing from the series – Oliver's Shrivelled Leaves – will remain in the gallery with an appropriate acknowledgment and financial compensation."[96]
A Branch with Shrivelled Leaves’, a drawing by Julius Schnorr von Carolsfeld (1794-1872)
Restitution request to German authorities after the painting was discovered in Munich in the hoard of the son of Hitler's art dealer[111]« collection Gurlitt » in 2013[112]
Restitution request to an anonymous private seller at Sotheby's à New York. Put for sale in 2001, the painting was part of Max Stern's collection of 250 artworks
Initially, in November 2018, the Dutch Restitution Decision ruled in favour of the City of Amsterdam and Stedelijk Museum, which housed the canvas, saying the "[i]nterest of the claimant in restitution does not outweigh the interest of the [Museum] in retaining the work."[127][128][129] But the Kohnstamm Committee, which had been established in 2016,[130] and the advocacy of Mondex Corporation,[131] urged an end to the "balance-of-interest" test that had previously reigned[132] in favour of the principle that “unless the facts expressly show otherwise, when assessing restitution applications concerning private individuals who belonged to a persecuted population group, we [will] assume that the loss of possession was involuntary.”[133]
As a result of these changes, the painting was restituted to its rightful owners in February 2022.[134]
IN 2008, the Boijmans received a letter from the representative of the Pringsheim heirs requesting the return.[135] In 2024 the Boijmans museum includes the Pringsheim's majolica in its list of works with a suspicious provenance.[136]
"Woman Seated on the Grass at the Edge of a Meadow and Reading" by Nicolaas van der Waay
Isaak Leefsma and Helene Leefsma-Meijet (deported and murdered in Holocaust)
Boijman's director Dirk Hannema purchased the painting from the Nazi looting agency, Dieststelle Mühlmann, in 1943, shortly after the Jewish owners were deported to their deaths.[137] It remained in the Boijmans until 2000, when it was restituted to the Leefsma heirs.[138]
Old Man with Beard (NK2694)
by Salomon Koninck (1609-1656).
Alphonse Stettiner, Oscar Stettiner and Adele de Jong-Stettiner[139]
Claim for restitution to Dutch authorities (Netherlands Cultural Heritage Agency)
2 February 2015 The Dutch Restitutions Committee recommended rejecting the claim[139][140]
Dune Landscape with Deer Hunt by Gerrit Claesz Bleker
Richard Semmel
claim for restitution Frans Hals Museum in Haarlem
Claim rejected in 2013 by the Dutch commission ("prioritises the interest of museums to keep paintings over the rights of claimants to restitution")[141]
Bernardo Strozzi's Christ and the Samaritan Woman at the Well (1635)
Restituted to the heir of Gustaaf Hamburger in 2015[144]
Jan Davidsz. de Heem (Utrecht 1606-1684 Antwerp), A Banquet still life (NK 2711) also known as Still Life with Glass, Glass Stand and Musical Instruments
Claim to Dutch authorities (on loan to the Centraal Museum, Utrecht)
After many years of efforts to reclaim the paintings, the Lierens family was granted a favorable decision for restitution by the Dutch committee in 2019[146]
Dirck Hals (Haarlem 1591–1656) and Dirck van Delen (Heusden 1604/5-1671 Arnemuiden) A Merry Company in a palatial interior (NK 2584) also known as Banquet Scene with Musicians and Shuffle Board Players in an Interior
Claim to Dutch authorities (on loan to the Frans Hals Museum in Haarlem)
After many years of efforts to reclaim the paintings, the Lierens family was granted a favorable decision for restitution by the Dutch committee in 2019[146]
(confiscated by Dienstelle Mühlmann; anonymous Dorotheum sale (1942); Kunsthistoriches Museum Vienna; Stichtung Nederlands Kunstbesit (1951); NK2782; on loan to Limburg Museum in Venlo until restitution in 2014)
Studio of Bernard van Orley (Brussels c. 1488-1541)
Christ on the Road to Calvary (NK 1414)
Hans Ludwig Larsen
Claim for restitution to
Dutch authorities
Restituted to the heirs of Hans Ludwig Larsen, 2014[152] The Dutch Restitution Committee also decided to restitute NK 1410, NK 1412, NK 1417, NK 1420, NK 1424, NK 1428, NK 1441, NK 1447, NK 1451, NK 2243 and NK 2463 to Larsen's heirs, however it also recommended that payment "in return for restitution" be demanded.[153]
Claim for restitution to Netherlands Institute for Cultural Heritage in Rijswijk (‘ICN’).
The Dutch Restitution Committee issued its recommendation
(1.67) on 4 February 2008, to return the painting Portrait of a man by P. Bordone (NK 1771) and the painting Merry company at a table by H.G. Pot (NK 2244) to the heirs of Rosa and Jakob Oppenheimer.[154]
H.G. Pot, Merry company at a table (NK 2244)
Jacob and Rosa Oppenheimer
Claim for restitution to Netherlands Institute for Cultural Heritage in Rijswijk (‘ICN’).
The Dutch Restitution Committee issued its recommendation
(1.67) on 4 February 2008, to return the painting Portrait of a man by P. Bordone (NK 1771) and the painting Merry company at a table by H.G. Pot (NK 2244) to the heirs of Rosa and Jakob Oppenheimer.[154]
In 1942, Gutmann was forced to sell his collection and was murdered by the Nazis. After the war, the collection was returned to the Dutch government which refused to restitute it to the Gutmann family, compelling the sons to file a lawsuit. In 1952, the courts ruled that the collection would be returned to the Gutmann family "on condition that they pay the Dutch authorities the amount of money their father had received from the Germans for the works". In 2002, the Dutch commission relented, and returned the artworks to the family without obliging them to pay.[155]
Claim for restitution to Netherlands Art Property Collection (Dutch state
On 25 November 2020, the Dutch Restitutions Committee advised the Minister of Education, Culture and Science to restitute the painting NK 2216 The Marriage Feast at Cana by J.G. Platzer to the heirs of Alfred George Mautner (1887-1958) and Franziska Mautner (1909-2003).[156]
"After the case received extensive publicity, the museum and Hedeman's heirs reached an 'agreement' by which the painting would remain in the museum and the latter would pay an undisclosed amount to the heirs."[155]
"Portrait of a Man," by H.W. Wieringa
Claim for restitution to Robert May (1873-1962)
"Portrait of a Man," by H.W. Wieringa. In 2008, restitution claim refused by Dutch authorities.[155]
six paintings, including a Rembrandt
Catalina von Pannwitz-Roth (1876-1959) a German-born Jew of Argentine descent,
In 2006, 202 artworks were returned to the Goudstikker family (out of 1250 pieces that were plundered).[155][159] The New York Times reported that the restitution "raised hackles from some in the government."[160]
After long court battle between Meyer and the Fred Jones Jr. Museum,[167][168] and a 2016 settlement that recognized Meyer's ownership while imposing an obligation to move the painting between Paris and Oklahoma every three years, Meyer asked a French court to break the agreement as unworkable after the Orsay museum objected to "the cost of transporting the work between countries and the physical effect that would have on the fragile painting".[169] The Fred Jones Jr. Museum sued Meyer demanding that she pay a $3.5 million fine.[170] Meyer abandoned her effort to recover her father's Pissarro, saying, "I have no other choice"[171]
In November 2021, Meules de blé (1888), was sold at Christie's for $35 million after a three party restitution agreement involving the heirs of Max Meirowsky, Alexandrine de Rothschild, and representatives for Cox's estate which had purchased the painting from Wildenstein.[176][177]
In 1949, the looted Cranach resurfaced at Sotheby's consigned by Hans W. Lange, whose auction house was known for forced sales of Jewish-owned property. It passed through Hugo Perls and Knoedler gallery before Eugene Thaw bought it around 1968. In April 2021 the Cranach was sold at auction following a settlement between the Eisenmann and Thaw heirs[181]
After insisting that the painting had never belonged to Gutmann, then that Gutmann sold it voluntarily, Searle ceded to public criticism[182] and reached a settlement with the Gutmann family in 1998.[183]
Lucas Cranach the Elder :
Adam and Eve
pair of paintings, oil on panel, around 1530
The pair of paintings was auctioned off in 1931 at the Rudolph Lepke auction house as part of the Stroganoff collection and acquired by Goudstikker; after 1945 restituted by the Dutch government to George Stroganoff, who sold it to Spencer Samuels, who sold it to Norton Winfred Simon.[185]
Claims from two families of Holocaust victims, Maylaender and Heinrich Rieger against Lehman in 2019 for the Schiele acquired in 1964 from Marlborough Gallery in London.[188][189]
Vincent Van Gogh
La cueillette des olives (The Olive Picking, 1889)
Heirs of Hedwig Stern
lawsuit filed against the
Metropolitan Museum of Art in New York and Basil & Elise Goulandris Foundation in Athens, Greece[190]
Lawsuit filed in December 2022 alleges that the provenance published for Van Gogh's La cueillette des olives (The Olive Picking, 1889) omitted Hedwig Stern and that "the Met acquired it in 1956 and then 'secretly sold' it in 1972 to avoid facing restitution claims.[190]
Sunflowers (Vase with Fifteen Sunflowers) by Vincent van Gogh
Paul von Mendelssohn-Bartholdy,
lawsuit filed against
Sompo Holdings, a Japan-based insurance holding company[191]
On 13 December 2022, the descendant of Mendelssohn-Bartholdy filed a lawsuit in federal court in Chicago against Sompo Holdings, the successor firm to Yasuda Fire & Marine which had purchased the painting for $39.9m (including fees) in 1987, alleging that the firm had been "recklessly indifferent" to the painting's past.[191]
Salomon van Ruysdael - View of Beverwijk - 1982.396 - Museum of Fine Arts, restituted to heirs of Ferenc Chorin in 2021
"View of Beverwijk" by
Salomon van Ruysdael
Heirs of Ferenc Chorin
to Museum of Fine Arts, Boston
Looted in 1945, the painting was sold in 1982 by London art dealer Edward Speelman to the MFA, Boston. The provenance was false. Deaccessioned on 7 October 2021 for restitution to the heirs of Ferenc Chorin.[192][193]
In 2000, Gentili di Giuseppe's heirs contacted the Museum of Fine Arts (MFA) Boston concerning the restitution of the painting "Adoration of the Magi", by Corrado Giaquinto. The MFA had purchased the painting from Thomas Agnew & Sons, Ltd, which had acquired it at Christie's. A settlement involving a "part purchase-part donation agreement" was reached in October 2000.[194][195]
Settlement reached in 2000 between the heirs and the Art Institute of Chicago, which had purchased the bust from London art dealer Anthony Roth in 1989.[196]
The painting and the entire collection of the Czartoryski family in Warsaw were confiscated in 1942, brought to Austria and probably stolen there by American military personnel after the end of the war. In 1949 it came into the possession of the VMFA.
The VMFA started an inventory review in 1998 and identified the painting as looted art. It was returned to the Czartorsky Foundation in Warsaw in 2004.
Belonged to art dealer Ambroise Vollard. Acquired by Gertrude Stein and Leo Stein, around 1907 to 1913. Paul von Mendelssohn-Bartholdy acquired in 1934 or 1935. Mendelssohn-Bartholdy sold before his death to the Jewish art gallery of Justin Thannhauser. Thannhauser fled Germany and spent most of war living in Switzerland. He then sold painting to former chairman of the Museum of Modern Art William S. Paley in 1936. Paley gifted to the Museum of Modern Art in 1964.[206]
Julius Schoeps, Director of the Moses Mendelssohn Center for European-Jewish Studies at the University of Potsdam, as speaker for Mendelssohn-Bartholdy family, sued Museum of Modern Art in 2007 for the painting. Jed S. Rakoff ruled that Paul von Mendelssohn-Bartholdy had been forced to sell the painting by the Nazi Party. The dispute was settled out of court in February 2009, with the museum retaining the work.[206][207]
In 2016, heir of Leffmann sued Metropolitan Museum of Art in U.S. federal court, seeking return of the painting on the ground that Leffman had sold it under duress.[208] In 2018, U.S. District Court for the Southern District of New York ruled in favor of the Met, ruling that the plaintiff could not show, under New York law, that the painting was sold under duress. The U.S. Court of Appeals for the Second Circuit affirmed the dismissal on the ground that the claim was raised too late (72 years after the work was sold and 58 years after it was donated to the art museum).[209]
The picture was returned to the heirs in 2020.[214]
Pablo Picasso
Still Life with a Portrait
1906 oil on canvas
Belonged to Dr Meyer-Udewald, murdered (Auschwitz ) in the Holocaust[215]Her premature death activated the terms of the 1925 Will of Ernst Schlesinger.
Interior of a Church, that has been attributed to the School of 16th-century Flemish artist Pieter Neeffs the Elder, to the heirs of its original owner, Dr. Arthur Feldmann. The drawing, looted by the Nazis in 1939,will be returned by the Metropolitan Museum of Art to Uri Peled, grandson of Dr. Feldmann.
Claim to the Parke-Bernet auction house, New York
The painting was confiscated in France during World War II; In 1969 it was auctioned in New York; its whereabouts are unknown.
No returns, the auction house (now Sotheby's) did not disclose the name of the buyer.[220]
The painting was confiscated at a retrospective exhibition in New York in 1998, but was returned to the Leopold Foundation in Vienna in the same year after a court order.
Egon Schiele :
Portrait of Walburga Neuzil (Wally)
Oil on wood, 1912
The painting was confiscated from a retrospective exhibition in New York in 1998.[225] After twelve years of negotiations, the painting was returned to the Leopold Foundation in July 2010, which pays compensation of 19 million dollars to the heirs.
Madonna and Child Enthroned with SaintsNicholas of Tolentino and Sebastian
After refusing to restitute to Aram who died in 1978, the Metropolitan modified the provenance which had omitted Siegried Aram's previous ownership to mention him in 2020.[229]
Portrait of a Man and Woman in an Interior (1665–67) by Dutch artist Eglon van der Neer (1634–1703)
Claim for restitution to the Metropolitan Museum of Art in New York and the Museum of Heraklion (Greece). Le tableau avait été mis en sécurité lors de l'entrée des troupes allemandes à Budapest en 1944 ; on ne sait pas comment il a refait surface dans le marché de l'art en 1945.
The painting was looted in 1941 by the 'ERR in Bruxelles. After the war it turned up in a private collection in the United States. In 1966, Erna Menzel learned of its location and demanded restitution.[236]
Court battle was decided by the New York Supreme Court on 22 October 1966. Restituted. Menzil V. List was the first restitution case in the United States.[237]
The Detroit Museum of Art rejected the claim arguing that Michigan's three-year statute of limitations precluded the court or a jury from deciding the merits of the case.[250][251]
Case against the MoMa was dismissed due to statute of limitations.[253]
Degas painting "Danseuses"
Est. of Kainer v. UBS AG, No. 76, 2021 WL 5927040 (N.Y. 16 Dec. 2021).[254]
The Court of Appeals affirmed dismissal citing the doctrine of forum non conveniens[255]
Seine at Asnières by Claude Monet
Mme F. Helphen
Detroit Institute of Art
The DIA purchased the Monet through Fine Arts Associates (Otto Gerson) in 1948. After it was discovered to have been looted it was returned to Mme F. Helphen.[256]
The Pompidou Center's Musée national d'art moderne (Mnam) had purchased the Braque from Heinz Berggruen in 1981. After investigation of the Kann claim, and intervention by a judge, a settlement agreement was reached between the French state and the Kann heirs in 2005.[260][261][262]
Claim of Restitution made to Paris Museum for the Art and History of Judaism.[267]
David Cender survived the war and in 1958, in France, he submitted a request for war loss compensation from the government of West Germany, but was unsuccessful.[268][269] Sometime between the late 1940s and early 1950s, Chagall himself reacquired the artwork, presumably without knowing its provenance,[270] and in 1988 Le Père was donated by Chagall's heirs to the Musée National d'Art Moderne in Paris, which then transferred it to the Paris Museum for the Art and History of Judaism.[271]
In 2015 Mondex Corporation began researching the painting and in 2020 submitted a restitution claim, which the museum accepted.[272] In order to complete the restitution, though, Mondex continued advocating on behalf of Cender's heirs for the creation of a legal exception to France's standard practice of not deaccessioning artworks in state museums.[273] This exception came to be when the Assemblée Nationale passed a bill pertaining to the restitution of Le Père and fourteen other artworks, on February 21, 2022.[274][275]
Restitution request to this painting and two others at the Courtauld Institute in London
In January 2007, the heirs and the Institute reached an agreement: two paintings were returned and the third remained in the museum.
View of Hampton Court Palace (1710), by Jan Griffier the Elder
The painting was owned by a Jewish banker from Düsseldorf who was killed by the Nazis in the late 1930s. His children, who made the claim, were sent to Britain, where their mother joined them after spending time in a concentration camp.[294]
"The Government has agreed to pay the £125,000 based on the recommendations of a panel that was established to help resolve claims from people who lost cultural objects during the Nazi era that are held by British collections."[294]
Claim for restutution to the Hungarian National collection[295]
In July 2010, the heirs filed a lawsuit against the Republic of Hungary with the Washington District Court for the return of this and 39 other paintings.[296]
Restitution request to
Foundation E.G. Bührle Collection[305]
Juan Carlos Emden demanded for years that the Bühlre Foundation clarify the Nazi-era gaps in the provenance [306] The Foundation rejected Emden's claim.[307]
Settlement agreement 8 July 1998:[309] painting remains in museum
Ferdinand Hodler - Stockhornkette mit Thunersee
Ferdinand Hodler
Thunersee mit Stockhornkette
Max Silberberg
Simon and Charlotte Frick Stiftung, St Gallen Museum[310]
In 2023 an agreement was reached between the heirs of Holocaust victim Max Silberberg and the Simon and Charlotte Frick Foundation in Switzerland.[311]
the Origins Unknown Agency, a Dutch organization that investigates cases of looted art, was commissioned by the Conference on Jewish Material Claims Against Germany, to investigate art looted from Dutch Jews that ended up in Poland[323]
Links to Restitution Reports from National Committees
^"In apparent first, Croatia restores looted art to grandson of Holocaust victim". Times of Israel. The artworks returned include paintings by André Derain, "Still Life With a Bottle," and Maurice de Vlaminick's "Landscape by the Water," which were held by the National Museum of Modern Art, and lithographs from the Croatian Academy of Sciences and Arts by Pablo Picasso, Pierre-Auguste Renoir, Paul Cézanne and Pierre Bonnard.
^"Family given hope over art the Nazis stole". www.thejc.com. Retrieved 11 February 2024. The heirs of Jenny Steiner have been battling for years for the return of Häuser am Meer, by the 20th-century impressionist Egon Schiele. Estimated to be worth £10m, it was taken after Mrs Steiner and her family fled Vienna in 1938.
^"PROVENANCE RESEARCH AT THE LENTOS KUNSTMUSEUM LINZ Interim Report October 2019"(PDF). 2009 Gustav Klimt, Damenbildnis (Portrait Ria Munk III), 1917/18 Oil on canvas, 180.7 x 89.9 cm Restituted to the rightful heirs of Aranka Munk The portrait of the daughter of Viennese industrialists Alexander and Aranka Munk, Ria, who committed suicide at the age of 24 in 1911, was kept by her mother in the Munks' villa in Bad Aussee. In 1941, Aranka Munk was deported to Łódź, where she was subsequently murdered. After Aranka's deportation the portrait was unaccounted for. The circumstances under which it was acquired by Wolfgang Gurlitt, who sold it to the City of Linz in 1956, are likewise unclear. The City of Linz fully acknowledged that Aranka Munk was a victim of Nazi persecution and restituted the painting to her heirs in 2009.
^"Heirs to Auction Nazi-Looted Art from Albertina". Artnet News. 9 September 2014. Archived from the original on 4 December 2019. Retrieved 18 May 2021. OTS reported in March that Adele Pächter, who was Jewish, was persecuted by the Nazis and was forced to dispose of her deceased husband's collection. Hermann Pächter had died in 1902. She was able to bring the collection to auction in 1940 via her son in law, under extreme pressure. In 1943, she was murdered at the Theresienstadt concentration camp.
^"Heirs to Auction Nazi-Looted Art from Albertina". Artnet News. 9 September 2014. Archived from the original on 4 December 2019. Retrieved 18 May 2021. The artwork to be sold at Villa Grisebach is Adolph von Menzel's gouache on paper Stehende Rüstungen (1886). It is estimated to fetch €100,000–150,000 at the auction this fall. The piece had been on display in Vienna's Albertina museum until research conducted by the Austrian government's Art Restitution Advisory Board determined that Adele Pächter "was forced to sell works" during the time of National Socialism in Germany. Florian Illies, a partner at Villa Grisebach, revealed to the Art Newspaper that the research conducted by the Austrian Art Restitution board also discovered other works by von Menzel that the Pächter family had to sell during Nazi regime.
^"PROVENANCE RESEARCH AT THE LENTOS KUNSTMUSEUM LINZ Interim Report October 2019"(PDF). Archived(PDF) from the original on 11 May 2021. 2015 Emil Nolde, Maienwiese (Maiwiese), 1915 Oil on canvas, 48 x 79 cm Restituted to the rightful heirs of Otto Siegfried Julius. Until September 1938, the painting was part of the collection of the Hamburg urologist Otto Siegfried Julius, who in 1938 fled from racist persecution first to Switzerland and then, in 1939, to the United States. Julius's Hamburg housekeeper tried to ship the priceless collection to Switzerland, but none of the works actually arrived in that country. In November 1953, the City of Linz acquired Emil Nolde's landscape Maienwiese from the Salzburg gallerist Friedrich Welz. How Welz came by the Nolde is unclear. On the recommendation of Austria's Art Restitution Board the City Council decided in favour of restitution in 2015.
^"PROVENANCE RESEARCH AT THE LENTOS KUNSTMUSEUM LINZ Interim Report 2019"(PDF). Archived(PDF) from the original on 11 May 2021. 1999. Lesser Ury, Die Näherin, 1883. Oil on canvas, 52 x 42.5 cm. Restituted to the rightful heirs of Fritz Loewenthal. Loewenthal's father-in-law William Bennigson was compelled to leave this painting and many other works of art in Berlin prior to his deportation and entrusted them to Wolfgang Gurlitt. In the presence of a witness Gurlitt then gave an undertaking to either return these works of art or to make full payment for them. As early as July 1950, Fritz Loewenthal, who had emigrated to Israel, contacted Wolfgang Gurlitt asking him, among other things, about the whereabouts of the Lesser Ury painting. Gurlitt refused to return the painting. In 1999, the City of Linz formally acknowledged that the Loewenthals had been persecuted and that the sale of the painting had taken place under duress. The painting was restituted
^"PROVENANCE RESEARCH AT THE LENTOS KUNSTMUSEUM LINZ Interim Report October 2019"(PDF). Acquired from Wolfgang Gurlitt in 1953–56, all six Romakos were part until 1938/39 of the collection of Oskar Reichel, a medical doctor in Vienna. The fact that as a victim of racist persecution Reichel was forced to sell up under duress after the Anschluss only became known to the City of Linz in the course of systematic provenance research. The paintings were restituted to the Reichels' legal successor. Today they are on display at the LENTOS on permanent loan.
^"Austrian gallery ordered to return Nazi-stolen Romako works". www.lootedart.com. Retrieved 11 February 2024. Vienna's Albertina art gallery was told Tuesday to return six works by Anton Romako to the descendants of Jewish art collector Oskar Reichel, whose collection was stolen by the Nazis.
^Bohlen, Celestine (27 April 2002). "Judge Revives Case Of Nazi-Looted Art". The New York Times. ISSN0362-4331. Retrieved 11 February 2024. In an opinion issued two weeks ago, Judge Michael B. Mukasey ruled that the painting, which had come to New York from a private Austrian museum, was stolen property and that a trial should be held to determine which of two competing claimants is the rightful owner.
^Blenkinsop, Philip (10 February 2022). "Belgium museum returns painting to Jewish family after 71 years". Reuters. Retrieved 14 February 2022. BRUSSELS, Feb 10 (Reuters) - Belgium's leading art museum has returned a painting it held for 71 years to the great-grandchildren of a Jewish couple whose property was looted by the Nazis after they fled on the eve of World War Two. The family's Berlin-based law firm approached the Royal Museums of Fine Arts of Belgium in Brussels more than five years ago and on Thursday, after a briefing signing ceremony, workers took down the painting and wheeled it off to be packed. "Altogether the family is looking for 30 artworks," said lawyer Imke Gielen. "This is the first that has been really identified because unfortunately we have no images of the missing paintings."
^Selvin, Claire (29 April 2021). "Düsseldorf Committee Votes to Return Franz Marc Painting to Former Owner's Heirs". ARTnews.com. Retrieved 14 February 2022. Kurt Grawi bought the painting in 1928. His businesses and properties were seized by the Nazi Party in 1935, and in 1938, he was imprisoned at the Sachsenhausen concentration camp in Germany for several weeks. He wrote in a 1939 letter that he would use the funds from the sale of the work to flee Germany, via Belgium, for Chile.
^"(#8) Wilhelm Leibl". Sothebys.com. Retrieved 11 February 2024. Provenance. Deutscher Kunst-Verein (1898). Oscar Rothschild (acquired in the. Deutscher Kunst-Verein tombola on 29 November 1898). Dr Alexander Lewin, Berlin and Guben (co-owner and director of the Berlin-Gubener Hutfabrik AG). Expropriated from the above under the National Socialist regime. Deutsches Reich for the planned Hitler museum in Linz (by 1938). Central Collecting Point, Munich (by 1945). Bundesrepublik Deutschland (on loan to the Kunsthalle Bremen since 1966). Restituted to the heirs of Alexander Lewin (2009)
^"Recommendation of the Advisory Commission for the Return of Cultural Property Seized as a Result of Nazi Persecution"(PDF). Archived from the original(PDF) on 13 April 2021. Retrieved 14 April 2021. This case concerned the painting "Bauernmädchen ohne Hut mit weißem Halstuch" ('Peasant Girl without a Hat and with a White Headcloth') (1897) by Wilhelm Leibl. The Advisory Commission recommended that the German Federal Government return the piece to the heirs of Dr Alexander Lewin. The recommendation is based on the following facts: Dr Alexander Lewin (1879 – 1942) was the Chairman of the Board of Management at the hat manufacturer Berlin-Gubener Hutfabrik AG until 1938. His comprehensive art collection included Leibl's 'Peasant Girl'. In summer 1938, Dr Lewin emigrated to Switzerland as a result of persecution, having been identified as a so-called 'Jewish Mischling (half-breed) of the first degree'. At the beginning of September 1938, Dr Lewin left the Board of Management at Berlin-Gubener Hutfabrik AG and in early March 1939, he gave notification that he would not be returning to Germany, which led to him being denied access to his entire estate as a result of a so-called 'security order' issued on 10th March 1939. On 4th August 1941, the German Reichsminister of the Interior deprived Dr Lewin of his German citizenship. His property was seized from him. The painting 'Peasant Girl' had come into Dr Lewin's possession at 1930 at the latest. In May 1938, the commission agent Litthauer from Berlin tried to sell the piece to Galerie Heinemann in Munich at Lewin's request, but the gallery did not buy the painting. By spring 1939 at the latest, the painting ended up in the hands of the German Reich, namely in the "Fuehrerbau", Adolf Hitler's office building in Munich, where the artwork for the planned "Fuehrer Museum" for Hitler in Linz, Austria, was being gathered.
^"HCPO Gallery: Dr. Arthur Feldmann - biography". Department of Financial Services. Archived from the original on 11 May 2021. Retrieved 13 June 2021. The Feldmann Collection included Old Master of the German, Italian, Dutch, Flemish, and French Schools from the 15th to the 18th Centuries. His collection was well known internationally throughout the art world. Drawings from his collection were published in the most important and renowned art periodicals and written about by important and renowned art historians both before and after the war. On the day the Nazis entered Brno, March 15, 1939, the Gestapo confiscated Dr. Feldmann's villa, which contained amongst other possessions his valuable collection of drawings. Dr. Feldmann and his wife had to flee the villa within a couple of hours of the occupation. Shortly afterwards, Feldmann was arrested by the Gestapo, imprisoned and tortured at the infamous Špilberk prison and consequently died of a heart attack in March 1941. He was 64 at the time of his death.
^"SMB-digital | Selbstbildnis mit gelbem Hut". www.smb-digital.de. Retrieved 26 January 2022. Provenienz – 5.6.1887 bis 1907 Nachlaß Marées (von Adolf von Hildebrand in San Francesco di Paolo bei Florenz aufgefunden) – Sammlung Adolf von Hildebrand, München/Florenz – bis 1935 Sammlung Max Silberberg, Breslau – 23.3.1935 Kunstauktion Paul Graupe, Berlin – 1935 bis 1999 Nationalgalerie, Berlin (Kauf) – 1999 bis 2002 Greta Silberberg, Erbin von Max Silberberg, Leicester (England) (Restitution)
^Berman, Lazar. "Why is a German museum hanging a Nazi-looted painting backward?". The Times of Israel. Retrieved 14 February 2022. The Nazis pressured Silberberg to sell his impressive art collection– which included Monet, Renoir, Degas, and Van Gogh — at an auction in Berlin in 1934. He and his wife were sent to a concentration camp in 1941, and were ultimately murdered in Auschwitz.
^"Nazi looted art cases remain unsolved mysteries | Arts | DW.COM | 20.06.2013". DW (Deutsche Welle). 2 July 2015. Archived from the original on 2 July 2015. Retrieved 6 February 2022. On Monday June 17, 2013, the city authorities in Cologne announced that the painting would be returned to the family of Jewish art dealer Alfred Flechtheim, the former owner of the work. The return of the painting follows advice issued by a specialist arbitration committee and marks the end of four years of legal wrangling.
^"Ferdinand Georg Waldmüller - 19th Century Paintings 2021/06/07 - Realized price: EUR 296,100 - Dorotheum". www.dorotheum.com. Retrieved 11 February 2024. Provenance: Oscar Löwenstein Collection (1868–1942), Vienna/London; Thence by descent to his widow Irma Löwenstein (1890–1975), Vienna/London; 1938 Forced sale to Maria Almas Dietrich, Munich; Führermuseum Linz, inv. no. 100; 1945 Central Collecting Point, Munich, inv. no. 8593; 1949 Regional Finance Office, Berlin; On loan from the Federal Republic of Germany to the German Historical Museum, Berlin and the Von der Heydt Museum, Wuppertal.2019 Restitution to the heirs of Oscar and Irma Löwenstein. The painting is being sold for the benefit of the "sight loss charity" of the Vision Foundation, UK.
^"KVDB - Startseite - Besuch der Großeltern". kunstverwaltung.bund.de. Retrieved 9 June 2021. Bis zum Jahre 1938 befand sich das Gemälde im Eigentum von Irma Löwenstein (1892–?), geb. Samec, Wien.[2] Sie erwarb es höchstwahrscheinlich im Jahre 1934 als Schenkung ihres Ehemannes Oscar Löwenstein (1868–vermutlich 1955),[3] dem Gründer und Herausgeber der Tageszeitung „Neues Wiener Journal".[4]
^"Art treasure looted by Nazis finally returned to family". The Guardian. 14 March 2000. Archived from the original on 24 August 2013. Retrieved 9 June 2021. After decades of the family being told by the German authorities that they had no case in law, because their claim was lodged too late, it took just 10 weeks to resolve the case.
^ ab"Staatsgalerie Stuttgart (State Gallery Stuttgart)". www.lootedart.com. Archived from the original on 25 November 2010. Retrieved 22 May 2021. Museum Staatsgalerie Stuttgart (State Gallery Stuttgart). Research into Nazi-confiscated works of art in the museum's collection. In 2000 the painting Marchesa Imperiale mit Tochter (Marchesa Imperiale with her daughter) by Rubens in the museum's collection was claimed by a French legal firm on behalf of the community of heirs of Jacob and Rosa Oppenheimer. The museum had purchased the painting in 1964 from a private collector. Research by the museum confirmed that the collector had bought it at an auction at Berlin dealer Paul Graupe on 26/27 April 1935. The auction was a forced sale of the works of Berlin art firms Galerie Van Diemen & Co./GmbH, Altkunst und Antiquitäten/GmbH and Dr. Otto Burchard & Co GmbH.
^"PROPERTY FROM THE HEIRS OF HEINRICH RIEGER. Egon Schiele. Kauernder weiblicher Akt (Crouching Female Nude)". sothebys. Heinrich Rieger, Vienna (acquired before 1938) . Walter Geyerhahn, Rio de Janeiro (until 1965). Marianne Feilchenfeldt, Zurich (acquired from the above through Christian M. Nebehay, Vienna). Wallraf-Richartz Museum, Cologne (acquired from the above through the Freunde des Wallraf-Richartz-Museums in July 1966). Museum Ludwig, Cologne (transferred from the above in 1976). Restituted to the present owner in 2021
^ ab"National Gallery of Art Returns World War II-Era Duress-Sale Drawing to Heirs". www.nga.gov. Retrieved 17 January 2022. The National Gallery of Art has returned a drawing in its collection, A Branch with Shriveled Leaves (1817) by 19th-century German artist Julius Schnorr von Carolsfeld, to the heirs of Dr. Marianne Schmidl (1890–1942). As a result of compelling new biographical information on Dr. Schmidl and documentation provided by her heirs, the Gallery has concluded the known 1939 sale of the drawing was a direct result of the persecution by the Nazis of Dr. Schmidl, the owner of the drawing
^"German Lost Art Foundation - News - Oetker art collection restitutes Nazi-confiscated property". www.kulturgutverluste.de. Retrieved 3 April 2021. Leo Bendel, a Polish tobacco dealer, lived with his wife Else Bendel (née Golze) in Berlin and Vienna until he lost his job in 1935 due to his Jewish faith and shortly thereafter gave up his residence in Berlin. He sold the painting to Galerie Heinemann in Munich in 1937. In 1938, Leo Bendel gave up his Polish citizenship and he and his wife converted to Catholicism. Nevertheless, in September 1939 he was arrested by the Nazis in Vienna and deported to Buchenwald concentration camp, where he was murdered in March 1940. His non-Jewish wife survived.
^"FBI New York Art Crime Team Returns Vases Stolen During Nazi Rule in Germany — FBI". www.fbi.gov. FBI. Retrieved 17 March 2021. Harry and Lucie Mayer Fuld lived in Germany in the 1930s. Mr. Fuld died in 1932. The Nazis took power in 1933, seizing Lucie's bank accounts and placing an exit tax on her if she left the country. She fled Germany in 1939 with only a few of her possessions, leaving behind her home and much of the artwork in it. In July 1940, an auction house in Berlin listed for sale items from the Fuld's estate. The Nazi government determined proceeds from the auction satisfied the exit tax they put on Lucie
^"FERDINAND GEORG WALDMÜLLER (VIENNA 1793-1865 HINTERBRÜHL)". www.christies.com. Archived from the original on 1 May 2021. Retrieved 1 May 2021. Dr. Hermann Eissler (1860-1953), Vienna, by 1930. Banned from export under the Nazi regime and held in the apartment of the above, 29 October 1938. Berta Morelli (1893 – 1975), Vienna, by December 1938, acquired as a gift from her father, Dr Hermann Eissler. Purchased by Maria Almas Dietrich, Munich, together with two other paintings by Waldmüller from the above and Hortense Eissler for Reich Chancellery in May 1939. Reich Chancellery, by whom acquired from the above as part of the collection for the planned Linz Museum (Linz no. 734). Recovered by the Monuments, Fine Arts and Archives Section for the Salt Mines, Alt Aussee (no. 6442), and transferred to the Central Collecting Point, Munich, 22 October 1945 (MCCP no. 11228). with Galerie Nathan, Zurich. Transferred into the custody of the Bavarian Ministerpräsident, December 1948, thereafter into the custody of the German federal government, June 1949. On loan from the above to the Staatliche Kunsthalle Karlsruhe, 1966 (inv. no. Lg 755). Restituted to the heirs of Dr Herman Eissler in 2020.
^Gunnar Schnabel, Monika Tatzkow : Nazi Looted Art. Handbuch. Kunstrestitution weltweit, page 439 et suivantes.
^"Paintings stolen by Nazis still hang in Canadian galleries. Paltry government funding is hampering efforts to identify and return them". www.lootedart.com. Archived from the original on 24 November 2015. Retrieved 25 April 2021. In the late 1990s, the National Gallery of Canada discovered that Édouard Vuillard's The Salon of Madame Aron (1904, reworked in 1934), which it had purchased in 1956, belonged to the Lindon family in France. The gallery contacted the descendant who, surprisingly, insisted that the artwork had never belonged to his family. The NGC maintained that the evidence was incontrovertible and encouraged the Lindon family to make a claim, which it finally did in 2003. The gallery returned the work in 2006.
^Siegal, Nina (11 November 2018). "In a Netherlands Museum Director, the Nazis Found an Ally". The New York Times. ISSN0362-4331. Archived from the original on 12 November 2018. Retrieved 13 November 2021. Mr. Hannema, who served as the top museum official for the Dutch shadow government set up by the Nazis, must have known what sort of ugly business the art clearing house, the Mühlmann Agency, was up to, historians say. He bought the Leefsmas' painting, which would remain in the Dutch museum for the next 57 years until its return to the heirs of the family in 2000.
^"Larsen | Restitutiecommissie". www.restitutiecommissie.nl. Archived from the original on 16 November 2021. Retrieved 16 November 2021. The Restitutions Committee advises the Minister for Education, Culture and Science to grant the application for restitution by the applicants and to return the artworks NK 1410, NK 1412, NK 1414, NK 1417, NK 1420, NK 1424, NK 1428, NK 1441, NK 1447, NK 1451, NK 2243 and NK 2463 to the persons entitled to the said works. In addition, the Restitutions Committee advises the Minister for Education, Culture and Science to impose a payment obligation to the amount of EUR 325,000 in return for the restitution. Adopted at the meeting of 1 July 2009 by W.J.M. Davids (chair), J.Th.M. Bank, J.C.M. Leijten, P.J.N. van Os, E.J. van Straaten, H.M. Verrijn Stuart, I.C. van der Vlies (vice-chair), and signed by the chair and the secretary. (W.J.M. Davids, chair)(E. Campfens, secretary)
^"The Netherlands Is Still Hoarding a Massive Collection of Art Looted From Jews by Nazis". Haaretz. Retrieved 11 February 2024. During the war, Jacques Hedeman, a textile merchant, stored a painting he owned by the 17th-century artist Jacob Gerritsz, in the vault of an Amsterdam bank, before escaping to Switzerland. The bank turned the painting, "Shepherdess with Child in Landscape," over to the Germans. In 2002, the Dordrecht Museum purchased the work from a private individual in Germany.
^"Composition with Blue". philamuseum.org. Retrieved 16 January 2022. Consigned by the artist to Sophie Küppers (1891-1978), Hanover, Germany, 1926(?) [1]; Hanover Provinzialmuseum/Landesmuseum, Hanover, Germany, 1926(?)-August 17, 1937 [2]; confiscated by the Reichsministerium für Volksaufklärung und Propaganda, Berlin, and stored in Schloss Niederschönhausen, EK inventory number 7035, August 17, 1937 – January 27, 1939 [3]; sold to Buch- und Kunsthandlung [[Karl Buchholz (art dealer)|]], Berlin, January 27, 1939; with Curt Valentin, Buchholz Gallery, New York, 1939 [4]; sold to A. E. Gallatin (1881-1952), New York, 24 August 1939 [5]; bequest to PMA, 1952.1.
^Kutner, Max (4 October 2016). "How a painting stolen by the Nazis ended up at the University of Oklahoma". Newsweek. Archived from the original on 9 October 2016. Retrieved 12 February 2022. After the Swiss court decision, the painting crossed the Atlantic and made its way to a gallery in New York City. In 1957, a wealthy woman from Oklahoma bought it. Clara Weitzenhoffer's father and husband were Oklahoma oilmen, and she channeled her fortune into collecting English furniture, Chinese porcelain and paintings resembling her beloved Dalmatians.
^"VINCENT VAN GOGH (1853-1890)". www.christies.com. Archived from the original on 12 February 2022. Retrieved 12 February 2022. Theo van Gogh, Paris (acquired from the artist). Johanna van Gogh-Bonger, Paris (by descent from the above). Gustave Fayet, Igny (acquired from the above, January 1907). Galerie E. Druet, Paris. Max Meirowsky, Berlin, later Amsterdam and Geneva (acquired from the above, 1913, until circa 1938). Paul Graupe & Cie., Paris (circa 1938). Alexandrine de Rothschild, Paris (by 1940). Seized from the above during the Occupation of France and transferred to the Jeu de Paume, Paris (April 1941); transferred to Schloss Kogl, St. Georgen im Attergau (18 June 1941; ERR no. R 905). Private collection. Wildenstein & Co. Inc., New York (acquired from the above, 1978). Acquired from the above by the late owner, 1979.
^Matthews • •, Karen. "Van Gogh Artwork Looted by Nazis to Be Auctioned by Christie's". NBC 5 Dallas-Fort Worth. Retrieved 12 February 2022. It was purchased in 1913 by industrialist Max Meirowsky, who fled Germany for Amsterdam in 1938 fearing Nazi persecution. Meirowsky entrusted "Wheatstacks" to a Paris-based art dealer, who sold it to Alexandrine de Rothschild, a member of the renowned Jewish banking family. Rothschild fled to Switzerland at the onset of World War II and her art collection, including the van Gogh watercolor, was confiscated by the Nazis during the Occupation.
^"Stunning $30m Van Gogh watercolour resurfaces at Christie's New York following complex behind-the-scenes deal". The Art Newspaper - International art news and events. 14 October 2021. Retrieved 21 January 2023. After the war De Rothschild tried to recover Wheatstacks but failed. The watercolour's immediate post-war history is unclear, but in 1978 it was with the New York branch of the Wildenstein gallery, owned by a Parisian-based Jewish family. Wildenstein sold the Van Gogh to Cox the following year.
^"Ownership of Nazi-looted art 'Adam' and 'Eve' at Pasadena's Norton Simon Museum disputed". Pasadena Star News. 25 June 2014. Retrieved 19 January 2023. In 1971, Spencer Samuels, a New York art dealer, acquired the Cranachs from Stroganoff, which were sold to the Norton Simon Art Foundation. The Norton Simon said in a statement it believes the Dutch government transferred the paintings to the Stroganoff family as a restitution of claims that arose from the auction before the war. In her complaint, von Saher said the paintings were wrongly returned to Stroganoff because although the Cranachs were sold with Stroganoff's collection, the diptych had come from the Church of the Holy Trinity and were not owned by Stroganoff.
^"View of Beverwijk – Works – Museum of Fine Arts, Boston". 25 January 2022. Archived from the original on 25 January 2022. Retrieved 20 January 2023. The painting was included in a 1998 publication on Hungarian war losses, but because it was published with an incorrect image and description, the MFA was not aware that the View of Beverwijk had belonged to Chorin or was considered missing
^"New evidence cited in restitution claim for Panama Papers Modigliani". www.theartnewspaper.com. Archived from the original on 10 August 2020. Retrieved 29 May 2021. Stettiner was a Jewish art dealer who fled Paris before the Germans invaded, leaving his valuable art collection behind. His property was sold off by an administrator appointed by the Nazi occupiers. He tried to recover his lost Modigliani after the war. A public investigator discovered that it had been purchased by a man named Jean Van der Klip in 1944 and Stettiner won a lawsuit that entitled him to regain possession of it. Confronted by a bailiff in 1947, Van der Klip claimed he had already sold it on to a buyer, who, in turn, said he had sold it to a US officer.
^"Warin v Wildenstein & Co., Inc". Justia Law. Archived from the original on 16 June 2021. Retrieved 16 June 2021. Plaintiffs Frances Warin, individually and En Memoire D'Alphonse Kann, an unincorporated association of plaintiff Warin's relatives, as successors-in-interest to Alphonse Kann, seek to recover from the defendants eight rare illuminated manuscripts which plaintiffs claim were stolen by the Nazis from Mr. Kann's residence at 7 rue des B cherons in Saint Germaine-en-Laye, a small town on the outskirts of Paris, in October 1940, and which plaintiffs claim are now wrongfully in the possession of the defendants Wildenstein & Co., Inc., a New York corporation, Daniel Wildenstein, Alec Wildenstein and Guy Wildenstein.
^"PICASSO'S STILL LIFE WITH PORTRAIT TO BE OFFERED AT CHRISTIE'S NEW YORK"(PDF). The painting comes to auction following a settlement between the current owner, Duncan V. Phillips, grandson of the legendary collector, Duncan C. Phillips, founder of The Phillips Collection in Washington, D.C., and the heirs of its pre-World War II owner, Ernst Schlesinger, a collector from Hamburg.
^"Hearst Castle gives back art looted by Nazis | The Seattle Times". 22 August 2017. Archived from the original on 22 August 2017. Retrieved 17 March 2021. They also conferred with the San Diego Museum of Art, which had settled with relatives in 2004 over their claim for Peter Paul Rubens' "Allegory of Eternity."
^Bowley, Graham (1 March 2020). "Met Museum Adjusts Painting's History to Note Former Jewish Owner". The New York Times. Archived from the original on 1 March 2020. Retrieved 17 March 2021. "We updated the online provenance information, with the confirmation that the painting in dispute between Aram and Sommers was the same as the Met's," the museum said in a statement.
^[dead link]; Gunnar Schnabel, Monika Tatzkow : Nazi Looted Art. Handbuch. Kunstrestitution weltweit, page 326
^"Le Grand Pont – Weinmann Heirs and Yale University Art Gallery — Centre du droit de l'art". plone.unige.ch. Archived from the original on 3 June 2021. Retrieved 9 February 2021. 1938: The Weinmann family fled Germany from Nazi persecution. The family's assets in Germany were seized and liquidated by the Nazis.[4] Herbert Schaefer, a German lawyer and member of the anti-Semitic "brown shirts", acquired the painting around the same time.
^Grandjean, Patricia (18 March 2001). "A Nazi Cloud Hangs Over a Painting on Loan to Yale". The New York Times. ISSN0362-4331. Retrieved 20 February 2022. As a result of this case, the Yale Art Gallery has been thrown in the role of intermediary for Mr. Schaefer. Since 1981, he has placed 47 paintings in the university's care.
^"Museums Respond to Biting Report on Nazi-Looted Art". Observer. 2 July 2015. Retrieved 11 February 2024. On June 25, the World Jewish Restitution Organization published a report condemning U.S. Museums for using the legal system to dismiss rather than resolve cases where previous owners request restitution for Nazi-era looted art. Two of the museums mentioned in the report provided the Observer with official statements in response to the accusations: the Toledo Museum of Art and the Detroit Institute of Arts.
^WORLD JEWISH RESTITUTION ORGANIZATION. "REPORT CONCERNING CURRENT APPROACHES OF UNITED STATES MUSEUMS TO HOLOCAUST-ERA ART CLAIMS JUNE 25, 2015"(PDF). Archived(PDF) from the original on 24 July 2015. Archived (PDF) from the original on 24 July 2015. In Detroit Institute, the museum asserted that Michigan's three-year statute of limitations precluded the court or a jury from deciding the merits of the case. According to the museum, the claim was time-barred because it had accrued in 1938, when Ms. Nathan originally sold the paintings to the same European art dealers who purchased the Gaugin "Street Scene in Tahiti" painting at issue in the Toledo Museum case. The court agreed with the museum that the claim had been filed too late and that the discovery rule, under which the clock on the claim would not have begun to tick until the heirs discovered or reasonably should have discovered the basis for their claims to the painting, did not apply. That meant that Ms. Nathan would have had to bring a claim against the museum no later than 1941, when World War II raged across Europe and when Ms. Nathan could not have known that the museum had the painting.
^"Case Law Corner – Archives 2021". Center for Art Law. Retrieved 19 January 2023. Plaintiff, the estate of Margaret Kainer, commenced this action in the Supreme Court of New York in January 2013. Plaintiff alleged claims of conversion, unjust enrichment, and conspiracy based on a 2009 sale of an Edgar Degas painting, Danseuses, stolen from Kainer by the Nazis in the 1930s. Plaintiffs asserted that the predecessor of Defendant Norbert Stiftung ("the Foundation") improperly obtained Kainer's assets and that Kainer's extensive art collection passed to them under French intestacy law.
^"NY court says fight over Nazi-stolen Degas doesn't belong here". www.courthousenews.com. Retrieved 19 January 2023. 11 heirs of Kainer brought a suit in New York that claimed the foundation was a sham entity created by the Swiss bank UBS. In a dispute where the parties are spread across the globe, however, the state trial court said it could not be regarded as a convenient venue.
^Gunnar Schnabel, Monika Tatzkow : Nazi Looted Art. Handbuch. Kunstrestitution weltweit, page 398 et suivantes.
^"REDISCOVERED MASTERPIECE"(PDF). Christies. the Grünwald collection, including Wilted Sunflowers (Autumn Sun II), was confiscated in Strasbourg, where it had been placed in storage by Grünwald and sold at auction in 1942. Karl Grünwald escaped the war, but spent most of his life searching relentlessly for his collection. He only had limited success until he passed away in November 1964, when his family continued this pursuit. Karl Grünwald had four children, Hannah, Frederic, Lena and François Grünwald. Tragically Karl's wife Steffany and their daughter Lena died in a concentration camp.
^"Sotheby's to auction a masterpiece by Camille Pissarro". www.theartwolf.com. Retrieved 17 March 2021. Max Silberberg, a Jewish industrialist based in Breslau, who assembled one of the finest pre-war collections of 19th and 20th Century art in Germany. Forced by the Nazis to sell his entire collection, he later died in the Holocaust.
^"A Renaissance Painting Seized by the Nazis Is Rediscovered | Barnebys Magazine". Barnebys.com. 26 August 2020. Retrieved 23 December 2021. when Arens passed away, the painting was inherited by his eldest daughter Ann and her husband Friedrich Unger. And from here begins the mystery. Two years later, the entire collection of the Arens family was seized by the Nazi authorities and then returned under the payment of a ransom.
^Hickley, Catherine (11 October 2021). "A Nazi Legacy Haunts a Museum's New Galleries". The New York Times. ISSN0362-4331. Retrieved 12 February 2024. According to Gloor, the foundation faces no "substantive" outstanding restitution claims. But Juan Carlos Emden would beg to differ. He has been trying for almost a decade to recover Monet's Poppy Field Near Vétheuil (around 1879), which once belonged to his grandfather, Max Emden, a Jewish department-store owner who lost much of his wealth as a result of Nazi persecution.
^"St. Gallens verschämter "Hodler"". NZZ. Simon Frick wollte nie auf das Ansinnen der Erbin Gerta Silberberg eintreten, vermögensrechtliche Fragen zu klären. Heute stehen sich die Frick-Stiftung und der Gerta Silberberg Discretionary Trust, vertreten durch das Berliner Anwaltsbüro «von Trott zu Solz Lammek», gegenüber.
^"Masterpiece to Stay in St. Gallen: An Agreement is Reached on Ferdinand Hodler's "Thunersee mit Stockhornkette"". www.lootedart.com. Retrieved 11 February 2024. Ferdinand Hodler's famous painting "Thunersee mit Stockhornkette" (Lake Thun with Stockhorn Chain) (around 1913) will remain on public display at Kunstmuseum St. Gallen thanks to a long-anticipated agreement with the Simon und Charlotte Frick Foundation. Frick, the former State Councillor of St. Gallen, and his wife acquired the painting at auction at Galerie Kornfeld in Bern in 1985. At the time, the auction catalog erroneously documented a flawless Swiss provenance. Later, contrary to these claims, it was revealed that a previous owner of the painting had been the German Jewish collector Max Silberberg who, along with his wife Johanna, was murdered by the Nazis in 1942.
^"'I've Regained a Part of My Family': Unusual Swiss Restitution Case Brings John Constable Painting Home to Heirs in France". www.lootedart.com. Retrieved 12 February 2024. On March 12, after a grueling decade-plus struggle from his home base outside Paris, Alain Monteagle recovered a painting by John Constable, Dedham from Langham (1813), that had been stolen in 1942 from his grandfather's aunt. "I've regained a part of my family," Monteagle said at an emotional ceremony at the Musée des Beaux-Arts in La Chaux-de-Fonds, Switzerland.
^swissinfo.ch, Michèle Laird, Traduction de l'anglais: Frédéric Burnand. "Les musées suisses face au pillage nazi". SWI swissinfo.ch (in French). Archived from the original on 5 August 2015. Retrieved 21 March 2021. Autre cas avec un tableau de Max Lieberman vendu par le collectionneur d'art Max Silberberg en 1934. Il a été établi que la vente a eu lieu sous la contrainte des nazis. Le Musée d'art de Coire, qui avait reçu en donation la peinture en 1992, a décidé en 2000 de la retourner à l'héritier de Max Silberberg.((cite web)): CS1 maint: multiple names: authors list (link)
Robbing the Jews : the confiscation of Jewish property in the Holocaust, 1933-1945, Martin Dean, Cambridge : Cambridge University Press, dr. 2011.[2]
Le marche de l'art sous l'Occupation : 1940–1944, Emmanuelle Polack; Laurence Bertrand Dorleac, Paris : Tallandier, 2020[3]
Göring's man in Paris : the story of a Nazi art plunderer and his world, Jonathan Petropoulos, New Haven : Yale University Press, [2021][4]
(de)Thomas Armbruster, Rückerstattung der Nazi-Beute, die Suche, Bergung und Restitution von Kulturgütern durch die westlichen Alliierten nach dem Zweiten Weltkrieg, Zurich, de Gruyter, Berlin 2007, ISBN978-3-89949-542-3, (Schriften zum Kulturgüterschutz), (et aussi Zurich, université, Dissertation, 2007)
(de)Ulf Häder, Beiträge öffentlicher Einrichtungen der Bundesrepublik Deutschland zum Umgang mit Kulturgütern aus ehemaligem jüdischen Besitz. Koordinierungsstelle für Kulturgutverluste, Magdebourg 2001, ISBN3-00-008868-7, (Veröffentlichungen der Koordinierungsstelle für Kulturgutverluste 1).
(de)Jonathan Petropoulos, Kunstraub und Sammelwahn. Kunst und Politik im Dritten Reich. Propyläen, Berlin 1999, ISBN3-549-05594-3.
(de)Alexandra Reininghaus, Recollecting. Raub und Restitution. Passagen-Verlag, Vienne 2008, ISBN978-3-85165-887-3.
(de)Gunnar Schnabel, Monika Tatzkow, Nazi Looted Art. Handbuch Kunstrestitution weltweit. Proprietas-Verlag, Berlin 2007, ISBN978-3-00-019368-2.
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