In one of the first affirmative steps taken by Cornelius Gurlitt since the revelation of the seizure of a large number of artworks with possible Nazi-seizure connections, Gurlitt has filed a criminal complaint concerning his allegations of violations of his privacy rights. According to Gurlitt’s attorney, “The surrender of investigative information to the press, and with it the severe damage to his personal rights is not tolerable in any way for Mr. Gurlitt. . . . This is a blatant violation of official secrecy.” Another of his lawyers went on to express concern for trust in the process in which details were being given to the media. In particular, Gurlitt’s team were most upset about photographs in the Focus piece that broke the story of Gurlitt’s apartment.
Topics: Stuttgart, Das Alte Schauspielhaus, Cologne, Irina Alter, veschollene Kunst, Schwabinger Kunstfund, Wiedergutmachung, Annette Weber, Hildebrand Gurlitt, Cornelius Gurlitt, Corinna Budras, S. Lane Faison, Universität Heidelberg, Augsburg, Institute for Jewish Studies Heidelberg, Aryanization, Anat Feinberg, Willi Korte, Schwabinger Kunstfund. Kunstfund München, Monuments Man, Gurlitt Task Force, Germany, Fall Gurlitt, Köln, Nazi-looted art, Henry Keazor, Gurlitt Collection, Appropriated Art the Gurlitt Case, Kurpfälzisches Museum Heidelberg, Hochschule für Judische Studien Heidelberg, Eberhard Karls-Universität Tübingen, Emily Löffler, CSU, Williams College, Judische Allgemeine, Hildebrand Gurlit, Entartete Kunst, Universität Zürich, Arisierung, Lehrstuhl für Römisches Recht und Privatrecht, Nürnberger Institut, Rückgabe, Rhein-Neckar Morgenweb, Beutekunst, 'Stürmer-Bibliothek', Magdeburg, Daniel Krochmalnik, Ersessene Kunst, Katja Terlau, Art Loss Recovery Unit, Jim Tobias, Rhein-Neckar Zeitung, Fritz Backhaus, Gurlitt, Bavaria, Johannes Heil, Wien, Sullivan & Worcester LLP, Lucas Elmenhorst, Kunsthistorisches Institut, Nürnberg, Jüdisches Museum Frankfurt, Looted Art, „Sturmer-Library“, degenerate art, Boston, Seminar für Neuere Geschichte, Wolfgang Ernst, www.lostart.de, Nazi art, Raubkunst, Nicholas M. O'Donnell, Frieder Hepp, Verjährung, Vienna, Münchner Kunstfund, New York, FAZ Frankfurt, Felicitas Heiman-Jellinek
I’ve just returned from my presentation in Heidelberg at the Hochschule für Jüdische Studien in Heidelberg at the conference Ersessene Kunst—Der Fall Gurlitt; Appropriated Art—The Gurlitt Case. The presentations were, without exception, outstanding. They ranged from rarely-told case stories, to sharp insights of some of the overarching principles that guide the the Gurlitt case and similar events. As the discussions made clear, this case will not be easily resolved. That in turn makes recent reports that Cornelius Gurlitt has indicated a willingess to discuss the art's return all the more significant.
Topics: Maria Altmann, Leopold Reidemester, Ministerin für Justiz und Kultur, Stuttgart, Das Alte Schauspielhaus, Cologne, Irina Alter, Portrait of Adele Bloch-Bauer, veschollene Kunst, Focus, Schwabinger Kunstfund, Aschbach Castle, Mussolini, Wiedergutmachung, Annette Weber, Monte Cassino, Cornelius Gurlitt, Corinna Budras, S. Lane Faison, Breslau, Universität Heidelberg, Augsburg, Aryanization, Anat Feinberg, Willi Korte, Schwabinger Kunstfund. Kunstfund München, Monuments Man, Jud Süss, Wrocław, Dresden, Gurlitt Task Force, Germany, Silesia, Fall Gurlitt, Wallraf-Richartz Museum, Köln, Nazi-looted art, Henry Keazor, Gurlitt Collection, Appropriated Art the Gurlitt Case, Schloss Aschbach, Die Welt, Kurpfälzische Museum Heidelberg, Hochschule für Judische Studien Heidelberg, Karl Haberstock, Eberhard Karls-Universität Tübingen, Emily Löffler, CSU, Williams College, Hildebrand Gurlit, Entartete Kunst, Universität Zürich, Arisierung, Lehrstuhl für Römisches Recht und Privatrecht, Württemberg, Schlesien, Nürnberger Institut, Hamburg, Otto Förster, Rückgabe, Beutekunst, 'Stürmer-Bibliothek', Magdeburg, Portrait of Amalie Zuckerkandl, Ersessene Kunst, Katja Terlau, Art Loss Recovery Unit, Jim Tobias, Hermitage, Gurlitt, Bavaria, Johannes Heil, Wien, Sullivan & Worcester LLP, Lucas Elmenhorst, Events, Kunsthistorisches Institut, Nürnberg, Jüdisches Museum Frankfurt, Looted Art, „Sturmer-Library“, degenerate art, Seminar für Neuere Geschichte, Wolfgang Ernst, Justizminister, Göring, www.lostart.de, Nazi art, Raubkunst, Nicholas M. O'Donnell, Frieder Hepp, Verjährung, Vienna, Claudius Krausharr, Münchner Kunstfund, Zwickau, Kajetan Mühlmann, New York, Werner Haftmann, FAZ Frankfurt, Felicitas Heiman-Jellinek
The Institute for Jewish Studies in Heidelberg (the Hochschule für Judische Studien Heidelberg) will host a one-day conference on January 26, 2014 entitled “Appropriated Art—The Gurlitt Case” (Ersessene Kunst—Der Fall Gurlitt). Leading academics, journalists, and researchers will put the Gurlitt find into a historical and legal perspective. As listed below, the depth of topics that will be presented is outstanding. Last, and very much least, I will present on the efficacy, challenges, and policy considerations in U.S. art restitution litigation.
Topics: Stuttgart, Das Alte Schauspielhaus, Cologne, Irina Alter, Schwabinger Kunstfund, Wiedergutmachung, Annette Weber, Hildebrand Gurlitt, Cornelius Gurlitt, Corinna Budras, Universität Heidelberg, Institute for Jewish Studies Heidelberg, Aryanization, Anat Feinberg, Fall Gurlitt, Köln, Nazi-looted art, Henry Keazor, Gurlitt Collection, Appropriated Art the Gurlitt Case, Kurpfälzische Museum Heidelberg, Hochschule für Judische Studien Heidelberg, Eberhard Karls-Universität Tübingen, Emily Löffler, Entartete Kunst, Universität Zürich, Arisierung, Lehrstuhl für Römisches Recht und Privatrecht, Nürnberger Institut, Rückgabe, Beutekunst, 'Stürmer-Bibliothek', Daniel Krochmalnik, Ersessene Kunst, Katja Terlau, Jim Tobias, Fritz Backhaus, Johannes Heil, Wien, Sullivan & Worcester LLP, Events, Kunsthistorisches Institut, Nürnberg, Jüdisches Museum Frankfurt, Looted Art, „Sturmer-Library“, degenerate art, Boston, Seminar für Neuere Geschichte, Wolfgang Ernst, Raubkunst, Nicholas M. O'Donnell, Frieder Hepp, Vienna, Münchner Kunstfund, New York, FAZ Frankfurt, Felicitas Heiman-Jellinek
From Dresden to Aschbach to Düsseldorf—New Scholarship in U.S. Archives Traces Hildebrand Gurlitt at War’s End, Could Affect Cornelius Gurlitt’s Claim to Good Faith Ownership
The Main Post has an article today (in German) by Christine Jeske tracing the late-war and post-war trajectory of Hildebrand Gurlitt and his now-infamous collection. The article is fascinating, and sheds considerable light on how the collection came through the war and how Gurlitt evaded greater scrutiny that might have revealed the trove’s whereabouts earlier. It also puts into context any claim Cornelius Gurlitt might now have to argue he took possession of the paintings from his father unaware of their provenance—what will be a critical argument, particularly if yesterday’s Cultural Property Restitution Law proposal by Bavaria becomes federal law in German.
Topics: Wiesbaden, Cultural Property Restitution Law, veschollene Kunst, Franken, Franconia, Hildebrand Gurlitt, Cornelius Gurlitt, George Clooney, Erik Berger, Augsburg, Dresden, Nuremberg, Fall Gurlitt, Monuments Men, Gurlitt Collection, Karl Haberstock, Kunstverein, Entartete Kunst, Munich, Heiner Dikreiter, Beutekunst, Freiherr Gerhard von Pölnitz, Bavaria, Kulturgut-Rückgewähr-Gesetz, Nürnberg, Düsseldorf, Schlüsselfeld, Monuments Fine Arts and Archives, Gemäldegalerie Dresden, Christine Jeske, Walter Paech, degenerate art, Städtische Galerie, München, Main Post, Karl and Magdalene Haberstock Foundation, Raubkunst, Verjährung, Nazi Raubkunst, Aschbach
