There’s just no other way to say it: the last 18 months have been extraordinarily hard. Professionally, what I have missed the most is the chance to connect with, and learn from colleagues, particularly those far away. It is therefore with great excitement and pride that I can announce that the International Bar Association’s Intellectual Property Section will hold a live, in-person conference next month on trends in IP law. As my second year as co-chair of the Art, Cultural Institutions and Heritage Law Committee winds down, I am so pleased that we will be contributing a panel to this terrific event about, what else, Non-Fungible Tokens. As anyone who has watched my LinkedIn feed this past summer will know, Berlin holds a very special place in my life and so I look forward to making my first trip overseas in a very long time to a city that is like a second home.

The program, to which the several committees organized, is below and registration is open.

Bis zum nächsten Mal in Berlin!

Topics: Berlin, Art Cultural Institutions and Heritage Committee o, Sullivan & Worcester LLP, Events, IBA, Nicholas M. O'Donnell, Anne-Sophie Nardon, Laurent De Muyter, Blanca Escribano, Frank P Maier-Rigaud, ABC Economics, Anne Vallery, Katharina Garbers-von Boehm, Büsing, Müffelmann & Theye, Martin Wilson, Phillips Auctioneers, Johann König, Elisa Henry, Ruben A Hofmann, Paulina Silva, Grace Nacimiento, Laurent Schummer, Luc Govaert, Joanne Wheeler, Jason Jarvis Jardine, Nazli Cansin Karga Giritli, Novartis, Niko Härting, Sajai Singh, Martin Viciano Gofferje, Borghese Associes, KÖNIG GALERIE, Erik Valgaeren, Özge Atilgan, Corey Salsberg, Felix Engelhardt, Christine Graham, Volodymyr Yakubovskyy

The Stiftung Preussischer Kulturbesitz (Prussian Cultural Heritage Foundation, or SPK) in Berlin announced that it had agreed to restitute a 1537 painting of the biblical figure Lot by Hans Baldung Grien to the heirs of Hans Purrmann, a German painter persecuted as a “degenerate” artist in the infamous Nazi action of the same name. Purrmann sold the Grien painting in 1937.

Topics: Berlin, Expressionist, Hildebrand Gurlitt, Nazi-looted art, Max Beckmann, Karl Buchholz, SPK, Stiftung Preussischer Kulturbesitz, Hermann Goering, Kirchner, Degenerate Art Action, Prussian Cultural Heritage Foundation, Raubkunst, Welfenschatz, Hans Purrmann, Neue Sachlichkeit, Freund, Han Baldung Grien, Ferdinand Möller, Bernhard Böhmer, New Objectivity, Grosz

Debate has peaked in the last year or so about the treatment and possible restitution of so-called colonial artifacts in Western (i.e., European and North American) museums.  The conversation is important for many reasons, but one interesting facet is the way in which the discussion moved from a peripheral topic to one consuming high-level government attention in a very short amount of time.  In the process, institutions that have been devoted for well over a century to artistic, archeologic, and ethnographic displays have found themselves in a very public conversation about the future and even the validity of their mission.  This discourse culminated last fall in a report commissioned by President Emmanuel Macron, authored by Bénédicte Savoy of France and Felwine Sarr of Senegal, recommending (among other things, as discussed below), that objects sent to France should be returned if the country of origin requests it.  Germany has now joined the conversation with the announcement of a collective declaration addressed to the collection of German federal and state museums.  

Topics: Berlin, ICOM, Deutsches Zentrum Kulturgutverluste, Germany, Washington Principles on Nazi-Confiscated Art, SPK, Stiftung Preussischer Kulturbesitz, International Council of Museums, 1970 UNESCO Convention, Monika Grütters, Art Law Report, Capital Requirements Regulation, Bénédicte Savoy, Felwine Sarr, Emmanuel Macron, Humboldt Forum, Unter den Linden, Stadtschloss, Frederick the Great, East Germany, Volkskammer, Collective Declaration, Dahlem, Nama, Namibia, Federal Ministry of Culture, Media, and Sport, Länder, German South West Africa, Deutsches Zentrum Kulturverluste, Ethnological Museum, Gemäldegalerie, Staatliche Museen zu Berlin, Herero

A federal appeals court has upheld the growing consensus that the Foreign Sovereign Immunities Act (FSIA) confers jurisdiction over foreign state actors in possession of art allegedly looted by and/or overseen by the Nazis.  Upholding last year’s District Court decision, the U.S. Court of Appeals for the D.C. Circuit affirmed the ruling in De Csepel v. Republic of Hungary that denied several Budapest museums’ motion to dismiss, while allowing the Republic of Hungary itself out of the case.  This is the heirs second successful trip to the appellate court, where their claims were upheld in 2013.  The case is the subject of a chapter in my newly-released book A Tragic Fate--Law and Ethics in the Battle Over Nazi-Looted Art (ABA Publishing). 

Topics: Berlin, David de Csepel, Angela Maria Herzog, Thyssen-Bornemisza Collection, Foreign Sovereign Immunities Act, Baron Herzog, Budapest University of Technology and Economics, Hungarian National Gallery, SPK, Stiftung Preussischer Kulturbesitz, Budapest Museum of Fine Arts, FSIA, expropriation exception”, Cassirer v. Kingdom of Spain, Federal Republic of Germany, András Herzog, Welfenschatz, genocide

Topics: Berlin, Dr. Peter Raue, Walter Feilchenfeldt, Esther Tisa Francini, Museum Rietberg, Olaf Ossmann, Cornelius Gurlitt, Marc Fehlmann, Art Dealers Association of Switzerland, Between Fairness and Justice for Successors and Po, Oskar Reinhart Museum, Anja Heuss, Kulturstiftung der Länder, Deutsches Zentrum Kulturgutverluste, Claudius Ochsner, Matthias Frehner, Alexander Jolles, Winterthur, Dr. Stephanie Tasch, Kunsthandelsverband der Schweiz, Karin Salm, Universität Salzburg, Thomas Buomberger, Restitution, Events, Johannes Nathan, Looted Art, World War II, Staatsgalerie Stuttgart, Switzerland, Kunstmuseum Bern, Andrea Baresel-Brand, flight goods, Zürich, Prof. Dr. Georg Graf, Radio SRF 2, I. Rosenbaum, Sibylle Ehringhaus

The German Advisory Commission for the Return of Cultural Property Seized as a Result of Nazi Persecution, Especially Jewish Property (Beratende Kommission) has issued its latest decision concerning allegedly Nazi-looted art in German museums. For the second case in a row after the widely (and wisely) derided opinion not to restitute the Welfenschatz or Guelph Treasure at the Stiftung Preussischer Kulturbesitz in Berlin, the commission (known for its presiding member, former German Supreme Constitutional Court judge Jutta Limbach) has recommended against restitution, this time over the claim by heirs of Clara Levy to The Three Graces (Drei Grazien) by Lovis Corinth (1902/1904). The decision (available only in German) is riddled with poor logic and basic historical errors. In short, while it may be that the painting was indeed delivered to Clara Levy’s daughter in the United States at Clark’s express instruction, that is far less clear than the commission states, and its decision further makes a number of assumptions about the circumstances of Jews in occupied or about-to-be occupied territories that undermine its credibility considerably.

Topics: Berlin, Else Bergmann, Schleifmühle, Hildebrand Gurlitt, Cornelius Gurlitt, Ludwig Levy, Fritz Levy, Rita Hubbard, Germany, Nazi-looted art, bill of lading, Especially Jewish Property, Buchholz Gallery, Madame Soler, German Advisory Commission for the Return of Cultu, San Francisco, Entartete Kunst, Beratende Kommission, Stiftung Preussischer Kulturbesitz, FSIA, Curt Valentin, expropriation exception”, Gurlitt, Restitution, Max Huggler, Mendelssohn-Bartholdy, Clara Levy, Sigfried Rosengart, Luxembourg, Henry Zacharias, Compagnie Generale Transatlantique Hol Lesquette, World War II, Foreign Sovereign Immunities, Pinakothek der Moderne, degenerate art, beschlagnahmte Kunst, Jutta Limbach, Kunstmuseum Bern, Drei Grazien, Pablo Picasso, Lovis Corinth, Museums, Three Graces, Bavarian State Painting Collections, Federal Republic of Germany, Paula Levy, Kurt Buchholz, Welfenschatz, Limbach Commission, New York, Bayerische Staatsgemäldesammlungen

Topics: Paul von Mendelssohn Bartholdy, Berlin, commercial activity exception, Cornelius Gurlitt, Florence Kesselstatt, Judge Jed Rakoff, Halldor Soehner, Saint-Jean-Cap-Ferrat, Julius Schoeps, Upper East Side, Prussia, Max Liebermann, Night Café, Gurlitt Collection, Foreign Sovereign Immunities Act, Preussen, France, State Paintings Collection, Madame Soler, Museum of Modern Art, Edelgard von Lavergne-Peguilhen, Van Gogh, Munich, Justin K. Thannhauser, FSIA, expropriation exception”, Nazi persecution, Boy Leading a Horse, Restitution, David Toren, Bayerische Staatsgemäldesammlung, Bavarian State Ministry for Education and Culture, Free State of Bavaria, World War II, Foreign Sovereign Immunities, Pinakothek der Moderne, Bayerisches Staatsministerium für Bildung und Kult, Bundesländer, Altmann v. Republic of Austria, Freistaat Bayern, Le Moulin de la Galette, Kurt Martin, München, Pablo Picasso, Federal Republic of Germany, Limbach Commission, Wissenschaft und Kunst

Topics: Berlin, Ministerin für Justiz und Kultur, Cultural Property Restitution Law, veschollene Kunst, Schwabinger Kunstfund, Cornelius Gurlitt, Gurlitt Task Force, Fall Gurlitt, Gurlitt Collection, Kulturgut, Entartete Kunst, Declaration of the Federal Government the Länder a, Munich, Beutekunst, Schwabing, Bundestag, Bundesrat, Bavaria, Kulturgut-Rückgewähr-Gesetz, degenerate art, Freistaat Bayern, Justizminister, München, Raubkunst, Verjährung, Winfried Bausback

Topics: Berlin, Riven Flamenbaum, Russia, Germany, Ishtar, Assyria, Vorderasiatisches Museum, Restitution, In re Flamenbaum, World War II, gold tablets, Dr. Beate Salje, King Tukulti-Ninurta, Hannah K. Flamenbaum

Topics: Berlin, Lucian Bernhard, Guernsey’s Auctioneers & Brokers, Catherine Hickley, Hans Sachs, Bloomberg, Bundesgerichtshof, Ludwig Hohlwein, Restitution, Henri de Toulouse-Lautrec, Karlsruhe, World War II, Arlan Ettinger, Deutsches Historisches Museum, New York