Restitution policy at the federal and state level in Germany in recent months seems to have taken a certain direction that has been cause for criticism. Whether it is the recent decisions by the Limbach Commission that ignore longstanding law about sales under duress, the odd decision by the Federal Republic of Germany to resist a lawsuit over the Max Liebermann painting found in Cornelius Gurlitt’s apartment that the Gurlitt Task Force has already recommended be restituted, or the resistance to the claims by the Mendelssohn-Bartholdy heirs to Picasso’s Madame Soler, the trend has been towards obstruction and resistance rather than transparency and reconciliation. Notwithstanding the recent announcement of the Center for Cultural Property losses (the Deutsches Zentrum für Kulturgutverluste about which the jury is still out), this is cause for concern.
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Topics:
Katharina Siefert,
Schwabinger Kunstfund,
Cornelius Gurlitt,
Karlsruhe Kunsthalle,
Freien Kunst- und Ritterschießen,
Badische Landesmuseum,
Max Liebermann,
Bamberg,
Gurlitt Collection,
Woman in a Theatre Balcony,
Lothar Franz von Schönborn,
Madame Soler,
Schönborn’sche Löwenpokal,
Heinrich and Emma Budge,
Reich Ministry for Art- and Museum Objects,
Schönborn Lion Cup,
Restitution,
Upper Franconia,
Mendelssohn-Bartholdy,
Mannheim,
Karlsruhe,
Free and Knightly Art of Shooting,
World War II,
Elector-Bishop,
Kurfürst,
Reichserziehungsministerium für Kunst- und Museums,
Kurt Martin,
www.lostart.de,
Center for Cultural Property,
Museums,
Fürst-Bischof,
Picasso,
Federal Republic of Germany,
Deutsches Zentrum für Kulturgutverluste,
Limbach Commission,
Oberfranken,
Prince-Elector of Mainz
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.
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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
