As I prepare for a trip to Vienna for next week’s International Bar Association Annual Meeting, there is some topical restitution news, but it is hardly good. The imminent incarceration of Stephan Templ, a journalist and historian, for the omission of another relative from his mother’s application for Holocaust compensation, is as bizarre as it is disheartening. One hopes that a pardon, his last available recourse, will soon be forthcoming.
Topics: Maria Altmann, Reibpartie, Robert Amsterdam, Portrait of Adele Bloch-Bauer, Der Standard, Stephan Templ, Nazi Looting, Scrubbing Parties, Ringstrasse, Ambassador Manz, Museum of Modern Art, Holocaust, Beethoven Frieze, Lothar Furth, Unser Wien: “Arisierung” auf österreichisch, Heinz Fischer, Restitution, Elisabeth Kretschmer, National Fund of the Republic of Austria for Victi, Egon Schiele, World War II, Eva Blimlinger, Portrait of Wally, Austria, The Missing Image, Natural History Museum, Ruth Beckermann, Gustav Klimt, Albertinaplatz, Our Vienna: “Aryanization” Austrian Style, Kurt Hankiewicz, Vienna, Anschluss, Baldur von Schirach, Limbach Commission, International Bar Association, Tina Walzer
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
A recent loan to the National Gallery in London has grabbed headlines discussing the history of the painting, Portrait of Amalie Zuckerkandl, by Gustav Klimt, surrounding World War II and the persecution of Jews in Austria. Somewhat puzzlingly, the coverage has downplayed the fact that that very painting was already the subjective of an exhaustive proceeding in Austria that denied restitution, a decision reviewed and affirmed by the Austrian Supreme Court (though, apparently, also the subject of more recent requests for reconsideration). Should a claim for restitution or seizure be filed while the painting is outside Austria, in the UK or the US, it could have a troubling effect on respect for final judgments, as well as unintended consequences for restitution claimants who may find their judgments collaterally attacked elsewhere. As difficult as it may seem, the painting cannot be disturbed without putting a great deal more at risk.
Topics: Maria Altmann, Portrait of Adele Bloch-Bauer, Jonathan Jones, National Gallery London, the Guardian, Vita Künstler, Dr. Erich Führer, Beethoven Frieze, Belvedere, the United Nations Convention on the Recognition a, Jugendstil, Portrait of Amalie Zuckerkandl, Hermine Müller-Hofmann, Amalie Zuckerkandl, Restitution, Neue Galerie, World War II, Foreign Sovereign Immunities, Facing the Modern: The Portrait in Vienna in 1900, Kokoschka, Secession, Secession Museum, Austria, Ferdinand Bloch-Bauer, Fin de siècle, Gustav Klimt, Vienna, Anschluss, UNCITRAL
A new piece at the Art Newspaper reflects on the importance of the Portrait of Wally case. Wally was seized in 1998 by customs officials on the theory that it was stolen property when imported into the U.S. The painting sat in a warehouse for 12 years, until a settlement returned the painting to Vienna in 2010 and a payment to Lea Bondi's heirs was made. I recall well the citywide celebrations in the Austrian capital when the painting returned; banners on lampposts proclaimed Bildnis Wally kehrt zurück—Portrait of Wally returns!
Topics: Maria Altmann, Portrait of Adele Bloch-Bauer, Malewicz v. City of Amsterdam, The Art Newspaper, 22 U.S.C. § 2459, FSIA, Foreign Sovereign Immunity Act, IFSA, Foreign Sovereign Immunities, Portrait of Wally, S.B. 2212, Immunity from Seizure Act, Customs, Gustav Klimt, Vienna