Only Sixth Work Revealed As Looted Since 2013
Topics: Cornelius Gurlitt, Nazi-looted art, NS Raubkunst, Deutsches Zentrum Kulturgutverluste, German Center for Cultural Property Losses, Portrait of a Seated Young Woman, Porträt einer sitzenden jungen Frau, Thomas Couture, Georges Mandel, Munich, Salzburg, Gurlitt Task Force, Taskforce Schwabinger Kunstfund, Kunstmuseum Bern, Kulturgutschutzgesetz, Monika Grütters, Rose Valland
Word came this week of two resolutions of claims to Nazi-looted art in museums in New York and Cologne, and a new Nazi-looted claim against Germany filed in Washington. Barely a month after the Neue Galerie (of Austrian and German art) in New York announced that it had discovered a “major work” in its collection had a clouded history, the museum announced an agreement concerning the Karl Schmitt-Rotloff painting Nude (1914). It is not known if the Schmitt-Rotloff is the same work to which the museum referred last month. Around the same time, the Wallraff-Richartz-Museum in Cologne, Germany, announced that it had agreed to return a drawing by Adolf Menzel that had been sold to Hildebrand Gurlitt as its owners fled Nazi Germany in the 1930s. Blick über die Dächer von Schandau (View over the rooves of Schandau) (1886) will be retuned to the heirs of Hamburg attorney Albert Martin Wolffson and his daughter Elsa Helene Cohen. These settlements are examples of constructive dialogue and enlightened treatment of the historical fact. The new litigation likely means the opposite approach from the German defendants.
Topics: Gurlitt, Nazi-looted art, Schwabinger Kunstfund, Gurlitt Task Force, 28 U.S.C. 1605(a)(3), Germany, David Toren, Breslau, Wallraf-Richartz Museum, Cologne, Neue Galerie, New York, Alfred and Tekla Hess, Karl Schmitt-Rotloff, Ernst Ludwig Kirchner, Streen Scene in Berlin, Strassenzene, Adolf Menzel
Sophisticated Analysis of Adolph von Menzel Drawing Distinguishes Itself from Recent Revisionism Elsewhere
As the original term of the Gurlitt Task Force (Taskforce Schwabinger Kunstfund) winds down, the panel has issued a report on a work that it deems appropriate for restitution: Interior of a Gothic Church (Inneres einer gottischen Kirche) by Adolph von Menzel (pencil drawing, signed/dated 1874). The drawing has been called Church in Hofgastein in some English language articles.
Topics: Interior of a Gothic Church, Hildebrand Gurlitt, Cornelius Gurlitt, Nazi Germany, Inneres einer gottischen Kirche, Dresden, Gurlitt Task Force, Adolph von Menzel, Nazi-looted art, Gurlitt Collection, Ernst Julius Wolffson, Washington Principles on Nazi-Looted Art, Advisory Commission, Munich, Albert Martin Wolffson, Salzburg, Restitution, Catrin Lorch, Bavaria, World War II, Switzerland, Süddeutsche Zeitung, Austria, Kunstmuseum Bern, Federal Republic of Germany, Raubkunst, Taskforce Schwabinger Kunstfund, Elsa Helene Cohen, Limbach Commission, Jörg Häntzschel
Even as we creep up on the anniversary of the theatrical announcement of an agreement between Bavaria, Germany, and the Kunstmuseum Bern concerning the bequest of Cornelius Gurlitt, the court challenge by Gurlitt’s family is by no means over. News came this week that the Munich court overseeing the appeal of the initial denial of the will challenge has requested an expert opinion concerning Gurlitt’s psychological state.
Topics: Cornelius Gurlitt, Gurlitt Task Force, Nazi-looted art, Gurlitt Collection, Amtsgericht, Oberlandesgericht, Munich, Restitution, World War II, beschlagnahmte Kunst, Kunstmuseum Bern, Raubkunst
After months of start/stop and hurry up and wait, the Munich court with jurisdiction over the Gurlitt collection has cleared two paintings for restitution to the heirs of their original owners. David Toren and the Rosenberg family will receive Two Riders on the Beach (Ritter am Strand) by Max Liebermann and Seated Woman by Henri Matisse, respectively. This will also result in the resolution of the only lawsuit to date filed over the Gurlitt case (pending in Washington, DC). Toren and the Rosenbergs are to be congratulated for their perseverance, as should their representatives (again, respectively) August Matteis and Christopher Marinello—particularly after some eleventh-hour victim-blaming.
Topics: Gurlitt Task Force, Nazi-looted art, Gurlitt Collection, Two Riders on the Beach, August Mattheis and Christopher Marinello, Munich, Rosenbergs, Gurlitt, Restitution, David Toren, World War II, W Wall Street Journal, Ritter am Strand
Uta Werner has appealed the adverse decision of the Munich court last month with respect to her challenge to Cornelius Gurlitt’s will. Werner, the cousin of Cornelius Gurlitt, argued that the will written by Gurlitt that named the Kunstmuseum Bern as his heir (and thus to his art collection). The Munich court previously upheld the will, making the Bern museum the sole heir to Gurlitt in all respects, including not only the trove found in Munich but some 200 (arguably more significant) works found in his Salzburg, Austria home.
Shortly after reports that two of the objects found in Cornelius Gurlitt’s possession in 2012 would “be restituted “soon” to the families from which they were looted under Nazi auspices pursuant to the three recommendations of the Gurlitt Task Force to date, the Task Force has now issued a fourth recommendation. The newest work to be identified for restitution is a Camille Pissarro painting, The Seine seen from the Pont-Neuf, the Louvre in the background.
Topics: Guelph Treasure, Cornelius Gurlitt, Uta Werner, Gurlitt Task Force, Gurlitt Collection, Salzburg, Restitution, District Court of Munich, World War II, Camille Pissarro, The Seine seen from the Pont-Neuf the Louvre in th, Kunstmuseum Bern, www.lostart.de, Museums, Monika Grütters, Deutsches Zentrum für Kulturgutverluste, German Cultural Property Center, Minister of Culture
A Munich court ruled last week that the will written by Cornelius Gurlitt in the last days of his life that named the Kunstmuseum Bern (an institution with which he had no relationship whatsoever) was valid, rejecting a challenge by Gurlitt’s cousin Uta Werner. It is emblematic of the strange case of Gurlitt and of German’s bizarre handling of the affair, that this decision resolves very few of the pending issues.
Topics: Conny Leaks, Focus, Carl Spitzweg, Hildebrand Gurlitt, Potemkin Village, Cornelius Gurlitt, Breslau, Henri Hinrichsen, German Minister of Culture, Uta Werner, Gurlitt Task Force, Max Liebermann, Germany, Nazi-looted art, Gurlitt Collection, Seated Woman, Two Riders on the Beach, Entartete Kunst, Salzburg, Gurlitt, NS Raubkunst, Seuddeutsche Zeitung, Restitution, Catrin Lorch, Bavaria, David Toren, World War II, degenerate art, beschlagnahmte Kunst, Austria, Kunstmuseum Bern, Monika Grütters, Martha Hinrichsen, David Friedmann, Henri Matisse, Jörg Häntzschel, Paul Rosenberg
With the benefit of (a little) time after the initial announcement that the Kunstmuseum Bern had agreed to accept the inheritance of Cornelius Gurlitt, more information has become available about the agreement with Germany and Bavaria that paved the way for the museum’s decision.
Topics: Hildebrand Gurlitt, Cornelius Gurlitt, Gurlitt Task Force, YouTube, Gurlitt Collection, Christoph Schäublin, Salzburg, Gurlitt, Restitution, Bavaria, World War II, Erklärung der Bundesregierung der Länder und der k, Kunstmuseum Bern, Washington Principles, Museums, Monika Grütters, Washingtoner Einkommen