Just days after attorneys for Cornelius Gurlitt floated the idea of discussions with survivors and heirs for a possible resolution to the questions about the artworks found in his apartment two years ago that are suspected of having been stolen or sold under duress during the Nazi era (and after the prosecutor was ordered to make a full list available to journalists), the prosecutor in charge of the investigation categorically rejected the possibility of any deal with Gurlitt.
Topics: Erhard Göpel, Frankfurter Allgemeine Zeitung, Stuttgart, Wiesbaden, FAZ, Focus, Hildebrand Gurlitt, Cornelius Gurlitt, Augsburg, Amsterdam, Willi Korte, Schwabinger Kunstfund. Kunstfund München, Marvin Fishman, Reinhard Nemetz, Gurlitt Task Force, Germany, Fall Gurlitt, The Art Newspaper, Gurlitt Collection, Max Beckmann, Karl Buchholz, Robert Looker, Entartete Kunst, Bar Braun, Beutekunst, Schwabing, Magdeburg, LACMA, Ersessene Kunst, Harvard, Gurlitt, Bavaria, Busch-Reisinger, Los Angeles County Museum of Art, degenerate art, the Central Collecting Point, Augsburger Staatsanwalt, www.lostart.de, Nazi art, Sotheby's, Roman Norbert Ketterer, Raubkunst, Verjährung, Mayen Beckmann, National Gallery Berlin, verschollene Kunst, De-Nazification, Selbstbildnis, Self Portrait
One of Cornelius Gurlitt’s attorneys, Hannes Hartung, told the Wall Street Journal last week, and was again quoted in the Frankfurter Allgemeine Zeitung yesterday, that Gurlitt was open to possible resolutions to claims from heirs to the paintings found in his apartment in 2012. According to Hartung, Gurlitt is already in talks with heirs, and wants a “fair and equitable solution.” 
Topics: Frankfurter Allgemeine Zeitung, Ich geb' nichts freiwillig zurück, FAZ, veschollene Kunst, Focus, Hannes Hartung, Cornelius Gurlitt, Schwabinger Kunstfund. Kunstfund München, Fall Gurlitt, The Art Newspaper, Gurlitt Collection, Max Beckmann, Hildebrand Gurlit, Entartete Kunst, Bar Braun, Özlem Gezer, Beutekunst, LACMA, Gurlitt, David D’Arcy, Der Spiegel, Wall Street Journal, Los Angeles County Museum of Art, degenerate art, Raubkunst
The fire hose of Gurlitt collection information continues unabated. For stellar reporting keep track of Bloomberg and the Wall Street Journal in English, the FAZ and Der Spiegel in German. We’ll continue to track the legal fallout of the facts as the journalists continue to uncover them.
Topics: Paris Match, Stuttgart, FAZ, Hildebrand Gurlitt, Cornelius Gurlitt, Steffan Seibert, Munich Hoard, Germany, Nazi-looted art, Gurlitt Collection, Baden-Württemberg, Bloomberg, Entartete Kunst, Munich, Schwabing, Angela Merkel, Restitution, Der Spiegel, Wall Street Journal, World War II, Münchner Kunstfund
Der Spiegel reports today (link in German) about how German museums are joining the chorus of frustration about the lack of information about the Hildebrand and Cornelius Gurlitt collection find. From this perspective, this development is not a surprise. I was speaking to an international law class last night at Sarah Lawrence College, and one of the students asked me what the reaction in Germany would be. My feeling was that sooner rather than later, the German museum community, and likely the federal government, will push for a forward-looking solution. Present-day Germany takes questions about the Holocaust quite seriously, and for this collection to have turned up in Germany is sparking an embarrassment that could lead to more decisive action. The problem right now seems to be that everyone is waiting for someone else to make the first move.
Topics: Jeu de Paume, unbekannte Meisterwerke, February 13 1945, FAZ, Focus, Hildebrand Gurlitt, Dresden firebombing, Max Fisher, Cornelius Gurlitt, S. Lane Faison, Linz Führermuseum, Munich Central Collecting Point, Monopol, Wiesbaden Collecting Point, Dresden, HARP, Reinhard Nemetz, Max Liebermann, WWII, Monuments Men, Gurlitt Collection, Max Beckmann, Otto Dix, Degenerate Art: The Fate of the Avant-Garde in Naz, Auktionshaus Lempertz, Entartete Kunst, Fine Arts and Archives Program, Nazis, Marc Chagall, Organisation Todt, Paul Klee, Entdeckung verschollener Kunst, beschlagnahmte Bilder, Dresdner Bank, Belvedere, Fritz Todt, Holocaust Art Project, Hamburg Kunstverein, MFAA, Roberts Commission, Angela Merkel, Restitution, Wien, Monuments Fine Arts and Archives, Selbstporträt, World War II, degenerate art, Erben, Raubkunst-Bildern, Portrait of Wally, Washi, Löwenbändiger, Austria, Franz Marc, Oskar Kokoschka, Washington Principles, Ernst Ludwig Kirchner, München, Pablo Picasso, Dr. Herman Voss, Museums, Kristallnacht, Riders on the Beach, Hans Posse, Nazi Raubkunst, Vienna, Alfred Weidinger, Henri Matisse, Self Portrait, Emil Nolde
Topics: Jeu de Paume, unbekannte Meisterwerke, February 13 1945, FAZ, Focus, Hildebrand Gurlitt, Dresden firebombing, Max Fisher, Cornelius Gurlitt, S. Lane Faison, Linz Führermuseum, Munich Central Collecting Point, Monopol, Wiesbaden Collecting Point, Dresden, HARP, Reinhard Nemetz, Max Liebermann, WWII, Monuments Men, Gurlitt Collection, Max Beckmann, Degenerate Art: The Fate of the Avant-Garde in Naz, Auktionshaus Lempertz, Entartete Kunst, Fine Arts and Archives Program, Nazis, Marc Chagall, Organisation Todt, Paul Klee, Entdeckung verschollener Kunst, beschlagnahmte Bilder, Dresdner Bank, Belvedere, Fritz Todt, Holocaust Art Project, Hamburg Kunstverein, MFAA, Roberts Commission, Angela Merkel, Restitution, Wien, Monuments Fine Arts and Archives, World War II, degenerate art, Erben, Raubkunst-Bildern, Portrait of Wally, Washi, Löwenbändiger, Austria, Franz Marc, Oskar Kokoschka, Washington Principles, Ernst Ludwig Kirchner, München, Pablo Picasso, Dr. Herman Voss, Kristallnacht, Riders on the Beach, Hans Posse, Nazi Raubkunst, Vienna, Alfred Weidinger, Henri Matisse, Emil Nolde
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