Showing posts with label provenance. Show all posts
Showing posts with label provenance. Show all posts

March 31, 2020

Digital Art Viewing and the Researcher


As COVID19 sweeps the globe, the art world is adapting to the unprecedented, widespread closures, cancellations, and postponements of cultural events. 

Two weeks ago, TEFAF closed early due to the growing concerns of the coronavirus after an exhibitor tested positive. Artnet News has created the ever-growing “Coronavirus Cancellation Watch: An Up-to-the-Minute Guide to How the Global Health Crisis is Rewriting the 2020 Art Calendar”. Many of us are taking to computers to peruse museum collections and exhibitions from the confines of our homes. Yet, in the face of a pandemic, the art world continues to move forward. 

Last week marked the launch of Art Basel Online Viewing Rooms (VIPs first and plebeians second), putting forth around 2,100 works of art, from 234 galleries, valued at a total of $270 million. While Art Basel operates predominately within the contemporary art market, the launching of online viewing rooms presents a number of questions: how will this influence ensuing art fairs for all eras of art? What effect will such remote viewing have on provenance-related research?

Think of all the wonders you can see and research from the comfort of your own couch! Granted, I believe the art-viewing experience is greatly diminished when it takes place through a screen rather than in person. However, these online viewing rooms will democratize the art fair circuit, allowing a greater number of people to “attend” fairs that they otherwise may never have the opportunity to see. 

More importantly, online viewing rooms will create a digital, provenance footprint for all works of art that are “displayed”. With a simple click of the mouse, a researcher will have a treasure trove of information at their fingertips: gallery/dealer, provenance (if listed, of course), high-resolution image(s), size, etc, all of which facilitates the provenance research process. Ultimately, an increased digital presence will bring augmented scrutiny. More concerns may be raised regarding questions of authenticity or provenance. 

As more information becomes easily searchable and saveable, we can hope vendors will augment transparency surrounding their art objects and collectors will demand provenance before purchase. While the art market will undoubtedly remain exclusive, online viewing presents a unique opportunity to reform art market practices. In the meantime, art collectors should follow ARCA’s recommendations or seek the advice of qualified researchers in order to mitigate or avoid the risks of buying art objects without clear title.

By:  Aubrey Catrone ARCA Alumna, 2015
Proper Provenance LLC

January 21, 2020

Marc Masurovsky returns to Amelia this summer to teach "Provenance Research, Theory and Practice” at ARCA's Postgraduate Program in Art Crime and Cultural Heritage Protection



By Edgar Tijhuis 

This year, the ARCA Postgraduate Program in Art Crime and Cultural Heritage Protection will be held from May 29 till August 12 in the heart of Umbria in Amelia, Italy. In the months leading up to the start of the program, this year’s professors will be interviewed. In this one, I am speaking with Marc Masurovsky, co-founder of the Holocaust Art Restitution Project. 

Can you tell us something about your background and work? 

I was born and raised in Paris, France, of American artists, one figurative, the other abstract. I took an early interest in history and especially in the politics and economics of fascism and national socialism. My interest further increased as I was able to work at the Office of Special Investigations in Washington, DC, investigating the past of suspected Axis war criminals who acquired US citizenship. Then I was hooked. My independent research focused on the economics of genocide and the recycling of all kinds of assets looted from Jewish victims and the near-absence of postwar justice against those who executed, abetted and profited from those crimes against humanity. I eventually found myself involved with class action lawsuits against Swiss banks which led, inevitably, to the looted art issue with which I have been associated for the past two decades. I am a co-founder of the Holocaust Art Restitution Project and have taught a number of workshops focused exclusively on provenance research as it applies to Nazi/Fascist-era dislocations of Jewish-owned property.

What do you feel is the most relevant aspect of your course?

I teach one course, provenance research. I view it more as a training than as an academic exercise.

What do you hope participants will get out of the course?

I hope that those who take the provenance research workshop, (that’s really what it is), never look at an artistic, cultural, or ritual object, again with the same eyes as they had before they took the course. I want them to become skeptical of everything that they read about the history of those objects and to develop an insatiable curiosity for understanding where those objects come from and the what/where/when/why/how of their pasts by whom and with what.

What would a typical day be like in your classroom?

Every day is different but a main component of the workshop is to ask questions, remain inquisitive and be able to think outside of the proverbial box.

While each year participants are very enthusiastic about your courses, is there anything you learn from them in class?

Each participant comes from a very different background and he/she has his/her own unique relationship towards art objects, culture and history. The gift they bring me is their story, and the way they apprehend the topics that we tackle each hour of every day and, hopefully, be part of the transformation that they go through when confronted with evidence, inquiry, and research.

In anticipation of your courses, what book, article, or movie would you recommend to participants? 

There is no real way to get ready but it would help if participants were a bit savvy about the history of modern Europe, the basic dates, times, and places of major events that provoked these displacements of property. Lynn Nicholas, Hector Feliciano, Jonathan Petropoulos, are some of the authors who produced significant monographs on Nazi plunder, but there are also special investigative reports produced in the early 21st century in the UK, France, the Netherlands, Switzerland, Austria, Germany, and Italy, on Nazi looting. HARP's own Plundered Art blog will provide a more argumentative and polemical approach to the issues of plunder and restitution, while suggesting how research can be conducted on objects with dubious pasts.

Which other course in the program would you love to follow yourself and why?

I enjoyed sitting in on Dick Drent’s course because it humbled me on my ignorance of security issues in museums. Perhaps Christos Tsirogiannis’ course would interest me because of his fierce approach towards the art market and his ability to ferret out looted antiquities. But, seriously, I don’t have any favorites out of fairness to the other professors.

Is there anything you can recommend for future participants to do in Amelia or Umbria?

They should leave their prejudices and assumptions at home and come prepared to be challenged in a small town in central Italy. The structure of the workshop allows them to grow. But they can only grow if they allow themselves to be vulnerable, to listen and to question. The questioning is only credible if it is anchored in evidence. As you know, it’s too easy to say: Why? You need to justify your questions and to challenge based on your own research and be prepared to hear that perhaps you are wrong and be prepared to realize that perhaps you are right. That is part of learning and growing...

-----

For a detailed prospectus and application materials or for general questions about the 2020 postgraduate program please contact us at education@artcrimeresearch.org 

In addition to the postgraduate program, the provenance course is also offered as stand-alone course. ARCA and the US-based Holocaust Art Restitution Project (HARP) have teamed up to offer its 4th annual stand-alone provenance course which tackles the complex issues of cultural plunder. More information can be found here on our website.

Edgar Tijhuis is Academic Director at ARCA and visiting scholar at the Institute of Criminology in Ljubljana. He is responsible for the postgraduate certificate program in the study of art crime and cultural heritage protection. Since 2009, Edgar Tijhuis has taught criminology modules within the ARCA program.

October 6, 2019

Sunday, October 06, 2019 - ,,, No comments

Symposium: Patrimony in Peril

Image Credit: UNC-ILJ
Event:  UNC - International Law Journal Symposium: Patrimony in Peril
Registration Fee:  $65
Location: Rizzo Center
150 DuBose Home Lane, Chapel Hill, North Carolina, 27517
Date: Friday, October 11, 2019
Time: 08:30 - 16:30

This symposium will focus on legal issues involving stolen and looted art, recovering cultural patrimony, and suggested legal reform to improve the current international and domestic laws relating thereto. The event will include three panels: one on cultural heritage law in conflict zones, one on provenance law, and one on asset forfeiture and recovery of looted art.

Attendees can register following the official announcement page here.


April 6, 2019

Interview with Aubrey Catrone, ARCA's 2018 Program Assistant

By Edgar Tijhuis

In 2019, the ARCA program will be held from May 31 through August 15, 2019 in the heart of Umbria in Amelia, Italy. In the months up to the start of the program, a number of this years professors is as well as other staff of ARCA will interviewed. This time I speak with Aubrey Catrone, who served as ARCA's program assistant for the 2018 program.

Can you tell us something about your background?

Can you tell us something about your background? Growing up in Boston, in the shadow of the Isabella Stewart Gardner heist, I have always had a strong passion for the intersection of art, history, and crime. It is this enduring multidisciplinary approach to the art world that has helped shape my career and development as a provenance researcher. From an academic standpoint, I predominantly focused on the history of the Second World War, the French language, art crime, and art history. When I first attended the ARCA Postgraduate Program, it helped broaden my knowledge of the art market. It also further piqued my interest regarding the restitution of art looted in France during the Second World War. My MA in History of Art from University College London enabled me to explore my relationship with the history of art objects. In between what has undoubtedly been thousands of trips to the library, I have worked in art galleries and with art advisories, private collectors, non-profits, and academics. 

You have been ARCA's program assistant in the 2018. Can you tell us about your experiences in this role in Amelia?

Having stayed in Amelia as a participant and an alumna prior to this summer, working as the Program Assistant was definitely quite a shift in my experience with ARCA and Amelia in general. Serving as a critical point of contact for visitors, professors and students meant that I became far more acquainted with the city than I had been before. I can tell you the perfect route to take to get to where you need to go on festival days. I know which bar has the best WiFi. And, I’ve learned enough Italian to confidently travel throughout the countryside on my own. 

In anticipation of a summer in Italy, what do you recommend for participants to prepare for a summer of study in a small town? 

Patience. Amelia is an old city that enchants with its many charms but also infuriates you. Don’t panic when the internet cuts out and a project is due. In the fast-paced, electronically dominated society that we live in, remember to take a breath, smell the sunflowers, and enjoy the opportunity to unplug for a bit. Lynda Albertson, ARCA's CEO, also reminds participants that their largest retrievable databases are their professors as well as their fellow program participants. These sources can be accessed without the need for gigabyte data plans or modern technological accoutrements.

What makes the yearly ARCA PG Cert program unique? 

It is one of the only places in the world where postgraduate students of all ages can come to learn from and interact with world-renowned experts in the field of art crime and cultural heritage protection. Unlike programs in larger cities such as Rome, where teachers and students alike leave the classroom and go their separate ways, Amelia is small enough to bring everyone together on daily basis. Unlike large university settings, it’s a truly intimate environment where the experts are always accessible to share their knowledge and advice beyond the classroom, whether it's over coffee, dinner, or wine. It’s an enriching experience that endures beyond the summer months. 

Is it also possible to audit just one or two of the classes of the program? 

While each course can stand alone, the organisation of the summer program crescendos. For those looking for the full immersion experience, each course builds upon the next to create an in-depth understanding of art crime and cultural heritage protection. But, if someone has singular interests or goals, or less liberty to spend a full summer abroad, the opportunity to audit a single course can also provide unique benefits. 

While the participants always learn a lot in Amelia, what do you learn from them? 

With so many backgrounds and ages represented each year, everyone comes to Amelia with their own academic interests and cultural backgrounds. Over the summer months, Amelia becomes a melting pot for the sharing of ideas. I have heard stories ranging from archaeological digs in Syria, to the ofttimes unbelievable anecdotes of art detectives, to the way New Zealand smells in the summertime.

Which course in the program would you love to follow yourself and why? 

I’m always torn by this question. Marc Masurovsky’s work with provenance and Holocaust-era assets is something I am continually fascinated by and constantly starved to absorb. However, my summer schedule has yet to align with Christos Tsirogiannis’s course on illicit antiquities, a fascinating subject, and one I would be incredibly interested to incorporate into my research capabilities. 

What is your experience with the ARCA conference in June? 

The breadth of subject-matter covered over a single weekend by an international group of academics and experts is unprecedented. Speakers hail from the world’s most prestigious cultural heritage institutions while also including accomplished independent researchers. But, there is also time to enjoy the Italian countryside with organised dinners and cocktails, offering the opportunity to converse with colleagues in a relaxed social environment set against an Umbrian vista. 

Is there anything you can recommend for future students to do in Amelia or Umbria? 

I would always suggest that participants take advantage of the immersive experience. Become an Amerini (the name for the locals of Amelia). Hike through blooming sunflowers. Decorate the streets during Corpus Domini. Try as many local delicacies as your palette allows (affordable truffles and freshly made cheese are not easily attainable luxuries outside of Italy). Go on excursions. And, above all, be curious while you have the chance.

For a detailed prospectus and application materials or for general questions about this postgraduate program please contact us at education@artcrimeresearch.org

Edgar Tijhuis serves as the Academic Director at ARCA and is a visiting scholar at the Institute of Criminology in Ljubljana (Slovenia). He is responsible for the postgraduate certificate program in the study of art crime and cultural heritage protection and since 2009, has taught criminology modules within the ARCA program.

January 4, 2019

Marc Masurovsky returns to Amelia this summer to teach "Provenance Research, Theory and Practice” at ARCA's Postgraduate Program in Art Crime and Cultural Heritage Protection


By Edgar Tijhuis

This year, the ARCA Postgraduate Program in Art Crime and Cultural Heritage Protection will be held from May 31 through August 15, 2019 in the heart of Umbria in Amelia, Italy. In the months leading up to the start of the program, this year’s professors will be interviewed. In this one, I am speaking with Marc Masurovsky, co-founder of the Holocaust Art Restitution Project.

Can you tell us something about your background and work? 

I was born and raised in Paris, France, of American artists, one figurative, the other abstract. I took an early interest in history and especially in the politics and economics of fascism and national socialism.  My interest further increased as I was able to work at the Office of Special Investigations in Washington, DC, investigating the past of suspected Axis war criminals who acquired US citizenship.  Then I was hooked. 

My independent research focused on the economics of genocide and the recycling of all kinds of assets looted from Jewish victims and the near-absence of postwar justice against those who executed, abetted and profited from those crimes against humanity. I eventually found myself involved with class action lawsuits against Swiss banks which led, inevitably, to the looted art issue with which I have been associated for the past two decades. 


I am a co-founder of the Holocaust Art Restitution Project and have taught a number of workshops focused exclusively on provenance research as it applies to Nazi/Fascist-era dislocations of Jewish-owned property.

What do you feel is the most relevant of your course?

I teach one course, provenance research. I view it more as a training than as an academic exercise.

What do you hope participants will get out of the courses?

I hope that those who take the provenance research workshop, (that’s really what it is), never look at an artistic, cultural, or ritual object, again with the same eyes as they had before they took the course. I want them to become skeptical of everything that they read about the history of those objects and to develop an insatiable curiosity for understanding where those objects come from and the what/where/when/why/how of their pasts by whom and with what.

What would a typical day be like in your classroom?

Every day is different but a main component of the workshop is to ask questions, remain inquisitive and be able to think outside of the proverbial box. 

While each year participants are very enthusiastic about your courses, is there anything you learn from them in class?

Each participant comes from a very different background and he/she has his/her own unique relationship towards art objects, culture and history. The gift they bring me is their story, and the way they apprehend the topics that we tackle each hour of every day and, hopefully, be part of the transformation that they go through when confronted with evidence, inquiry, and research.

"Göring train" full of art looted by the Nazis
Berchtesgaden, Germany, 1945
Image: Image Credit: William Vandivert, Time & Life Pictures
In anticipation of your courses, what book, article, or movie would you recommend to participants?

There is no real way to get ready but it would help if participants were a bit savvy about the history of modern Europe, the basic dates, times, and places of major events that provoked these displacements of property. Lynn Nicholas, Hector Feliciano, Jonathan Petropoulos, are some of the authors who produced significant monographs on Nazi plunder, but there are also special investigative reports produced in the early 21st century in the UK, France, the Netherlands, Switzerland, Austria, Germany, and Italy, on Nazi looting. 

HARP's own Plundered Art blog will provide a more argumentative and polemical approach to the issues of plunder and restitution, while suggesting how research can be conducted on objects with dubious pasts.

Which other course in the program would you love to follow yourself and why?

I enjoyed sitting in on Dick Drent’s course because it humbled me on my ignorance of security issues in museums.  Perhaps Christos Tsirogiannis’ course would interest me because of his fierce approach towards the art market and his ability to ferret out looted antiquities. But, seriously, I don’t have any favorites out of fairness to the other professors.

Is there anything you can recommend for future participants to do in Amelia or Umbria?

They should leave their prejudices and assumptions at home and come prepared to be challenged in a small town in central Italy. The structure of the workshop allows them to grow. But they can only grow if they allow themselves to be vulnerable, to listen and to question. 

The questioning is only credible if it is anchored in evidence. As you know, it’s too easy to say: Why? You need to justify your questions and to challenge based on your own research and be prepared to hear that perhaps you are wrong and be prepared to realize that perhaps you are right. That is part of learning and growing.

 -----------

For a detailed prospectus and application materials or for general questions about this postgraduate program please contact us at education@artcrimeresearch.org  


Edgar Tijhuis at the ARCA Library
Edgar Tijhuis is Academic Director at ARCA and visiting scholar at the Institute of Criminology in Ljubljana. He is responsible for the postgraduate certificate program in the study of art crime and cultural heritage protection. Since 2009, Edgar Tijhuis has taught criminology modules within the ARCA program. 

July 3, 2018

Conference: 4th Annual New Zealand Art Crime Symposium - Save the Date and Call for Presentations

Event:  ArtCrime2018 - the 4th Annual New Zealand Art Crime Symposium
Location: City Gallery Wellington, New Zealand
Date: Saturday 22 September 2018

Hosted by the New Zealand Art Crime Research Trust, in conjunction with City Gallery Wellington and other sponsors, ArtCrime2018 will encompass a wide range of presentations on all aspects of, and explore a range of issues relating to, art crime in New Zealand. The programme will favour New Zealand content, but will also encompass international content that highlights or illustrates material of relevance to a primarily New Zealand audience. There will be a range of presentations, plus ample opportunities for networking.

The overall theme of ArtCrime2018 will be "Provenance Matters".

Individuals are invited to submit a 200-word abstracts for 20-minute presentations, within the broad ambit of the overall theme by emailing their interest to:
artcrimenz@gmail.com

Deadline for Abstract Submission: 
Friday,  21 July 2018

Abstract proposals should be pasted into the body of submission email and include a short biography (up to 350 words, and including were appropriate short summaries of relevant publications and previous conference or symposia presentations). 

Successful presenters will be notified by email by Friday 03August 2018 and will have their Symposium's registration fee waived. 

For further information please see ehe New Zealand Art Crime Research Trust  symposium website page

May 19, 2017

Look into my eyes, but also into my collection history.

Collecting ancient art can be an extension of a personal passion, a status symbol or a piece of cultural currency but it also serves as a defacto calling card for the current-day purchaser's own collecting ethics.

As this new video, produced by the UNESCO Beirut Office in the framework of the Emergency Safeguarding of the Syrian Cultural Heritage project, underscores, conscientious and ethical antiquities collectors can and should demand that their source dealer or auction house provide a full and complete provenance record before making a purchase. 


UNESCO reminds collectors to keep an eye out for these red flags:

- Is there dirt on the object? 
- Does the object seem like a broken fragment of what could be a larger artifact? 
- Is there a reference number painted on the base of the object that could indicate it was looted from a museum? 
- Does the object's price seem too good to be true?

and finally...
- Can the seller provide you with the object’s provenance paperwork?

Likewise, ARCA reminds its readership that an object's reported collection history as reported by a dealer or auction house should not always be taken as complete or accurate.  Collection histories can, and often are, faked.

As this blog has reported frequently, many consignors and auction houses omit passages that sometimes reflect irregularities in acquisition or fail to advise would-be purchasers that an antiquity they wish to purchase has passed through the hands of a tainted individual or art dealer already known to have a reputation for illicit trafficking in the antiquities art market. 

The art market’s appetite for antiquities, and the profits to be had from this appetite, will always be a motivation for others to loot them.

It is ultimately up to the collector to demand ethical selling practices from the dealers or collectors they purchase antiquities from.  Prospective buyers should demand to see import and export licenses for the object they are considering and they should require the seller/consignor/auction house make those documents available.

The prudent purchaser should vet the trophy works that they purchase for their collections, cross checking all of the accompanying documentation.  Is there an export license? Does that document look authentic? Has the license been falsified?  Has the country of origin been falsified? Does the country of export match with the country of the object's origin?  Does the object have a find spot?   How far back does the chain of ownership go? and are there any other red flags like "property of an anonymous collector"?

Collectors should not discount the unacceptable buying and selling habits of those profiting from the ancient art market and they should especially be careful when purchasing antiquities from regions of conflict.

Just as property investors thoroughly vet the status and ownership of a property they are interested in, before entering into a business transaction, so should art collectors remember that it is their responsibility to conduct adequate due diligence on the artworks they purchase. 

February 4, 2017

Conference - From Refugees to Restitution: The History of Nazi Looted Art in the UK in Transnational Perspective.


Location: 
University of Cambridge
Newnham College - Cambridge Lucia Windsor Room
Cambridge, UK 

Dates:  
March 23-24, 2017 

Cost: 35£ (25£ for students)
Attendees are asked to register by 1 March 2017 by emailing the conference organizers 

Thursday, March 23, 2017

Opening remarks

Panel I. A Paradigm Shift? From Legal to Moral Solutions in Restitution Practice

Commentator: Victoria Louise Steinwachs (Sotheby’s London)

– Debbie De Girolamo (Queen Mary, University of London), ‘Fair & Just Solutions – A Moniker for Moral Solutions?’

 – Tabitha I. Oost (University of Amsterdam), ‘Restitution policies of Nazi- looted art in The Netherlands and the UK. A change from a legal to a moral paradigm?’

 – Evelien Campfens (Leiden University), ‘Bridging the gap between ethics and law in looted art: the case for a transnational soft-law approach’

Panel II. Loosing Art/Loosing Identity: the Emotions of Material Culture

Commentator: Bianca Gaudenzi (Cambridge/Konstanz)

– Emily Löffler (Landesmuseum Mainz), ‘The J-numbers-collection in Landesmuseum Mainz. A case study on provenance, material culture, & emotions’

 – Michaela Sidenberg (Jewish Museum, Prague), ‘Rescue/Ransom/Restitution: The struggle to preserve the collective memory of Czech and Moravian Jews’

 – Mary Kate Cleary (Art Recovery Group, New York), ‘Marie-Louise von Motesiczky: self-portraits of a woman artist as a refugee’

Roundtable I. From Theory to Practice: Provenance Research in Museums

Chair: Robert Holzbauer (Leopold Museum, Vienna)

– Tessa Rosebrock (Staatliche Kunsthalle, Karlsruhe), ‘Inventory records as a dead-end. On the purchases of French drawings by the Staatliche Kunsthalle Karlsruhe from 1965 to 1990’

 – Laurel Zuckerman (Independent Researcher, Bry sur Marne), ‘Art Provenance Databases: Are They Fulfilling Their Promise? Comparative evaluation of ten major museum databases in the USA and the UK’

 – Shlomit Steinberg (Israel Museum, Jerusalem), ‘What started as a trickle turned into a flow- restitution at the Israel Museum, Jerusalem’

 – Emmanuelle Polack (Institut National d’Histoire de l’Art, Paris), ‘Ethical issues regarding the restitution of Henri Matisse’s Blue Profile in front of the Chimney (1937) or Profil bleu devant la cheminée (1937)’

Friday March 24, 2017

Panel III. The Postwar Art Market: The Impact of a Changing World

Commentator: Richard Aronowitz-Mercer (Sotheby’s London)

– Johannes Nathan (Nathan Fine Art GmbH, Potsdam), ‘Switzerland and Britain: Recontextualizing Fluchtgut’

 – Maike Brueggen (Independent Provenance Researcher, Frankfurt), ‘Arthur Kauffmann – dealing German art in post-war London’

 – Nathalie Neumann (Independent Researcher, Berlin), ‘Have the baby born in England!’ The trans-European itinerary (1933-1941) of the art collector Julius Freund’

 – Diana Kostyrko (Australian National University, Canberra), ‘Mute Witness: the Polish Poetess’

Panel IV. Restitution Initiatives and Postwar Politics in the United Kingdom

Commentator: Simone Gigliotti (Royal Holloway University of London)

– Elizabeth Campbell (University of Denver), ‘Monuments Woman: Anne O. Popham and British Restitution of Nazi-Looted Art’

 – Marc Masurovsky (Holocaust Art Restitution Project), ‘Operation Safehaven (1944-49): Framing the postwar discussion on restitution of Nazi looted art through British lenses’

 – Angelina Giovani (Jewish Claims Conference - Jeu de Paume Database), - A case study: ‘Looting the artist: The modern British paintings that never came back from France’

Panel V. Conflicting Interests: Restitution, National Politics and Vergangenheitsbewältigung across Postwar Europe

Commentator: Lisa Niemeyer (Independent Researcher, Wiesbaden)

– Ulrike Schmiegelt-Rietig (Wiesbaden Museum), ‘Pechora monastery, Russian collection looted by ERR and landed in Wiesbaden CCP’

 – Jennifer Gramer (University of Wisconsin-Madison), ‘Dangerous or Banal? Nazi Art & American Occupation in Postwar Germany and US’

 – Agata Wolska (Independent researcher, Krakow), ‘The Vaucher Committee as International Restitution Body – the Abandoned Idea’

 – Nicholas O’Donnell (Sullivan & Worcester LLP, Boston), ‘Comparison of statutory & regulatory origins of restitutionary commissions in Germany, Austria, NL & UK after WWII’

Roundtable II. From Theory to Practice: Provenance & the Art Market

Chair: Johannes Nathan (Nathan Fine Art GmbH, Potsdam)

– Friederike Schwelle (Art Loss Register, London), ‘The difference between US and UK in resolving claims for Nazi looted art’

 – Isabel von Klitzing (Provenance Research & Art Consulting, Frankfurt) and Pierre Valentin (Constantine Cannon LLP, London), ‘From Theory to practice – when collectors want to do the right thing?’

November 21, 2016

Book Review: Portraits of Pretence by Susan Grossey

Book 4 in the Sam Plank Mystery Series
Author:  Susan Grossey

Review by:  Arthur Tompkins

Constable Sam Plank is a magistrate’s constable in seventeenth century Regency London. In Portraits of Pretence (available in paperback and Kindle formats at Amazon) the fourth Sam Plank novel, Susan Grossey weaves an elegant and polished tale of art crime, forgery, falsified provenance, smuggling, clandestine collecting, dubious art dealers and untimely death, all against a backdrop of the evocative sights, sounds, smells and ambience of crowded and bustling Regency London.

Susan Grossey is, by day, a specialist in combating money laundering, and also the author of the (now) four Sam Plank mysteries (her Amazon author’s page can be found here). In Constable Sam Plank she has created a gentle, thoughtful, careful, indomitable and very likeable investigator of crime in the heart of England’s great capital.  In the first three Sam Plank novels, Sam tackled financial forgery and bank fraud (Fatal Forgery, set in 1824), investment fraud (The Man in the Canary Waistcoat, set in 1825) and blackmail and corruption (Worm in the Blossom, set in 1826). This time around, it is the spring of 1827 and Sam is plunged into the art market and the criminal dishonesty that swirls in and around it in post-Napoleonic England and Europe. An elderly French artist is found dead, clutching an exquisite miniature painted on ivory in his hand.  The trail leads through the vaults under the then newly-built Customs House in riverside London, visits to the blockade-men stationed in Kent, and in and out of various salubrious and not-so salubrious rooms of artists and dealers in London.

Constable Plank is ably assisted in his investigation, as he was in his earlier outings, by his indomitable and perceptive wife, Martha, his able and swift-to-learn (although not always, in matters of the heart) junior constable William, and a widening circle of memorable supporting characters – some based on historical figures, others plausible and fascinating characters circulating in the milieu of a London bursting at the seams and flexing its commercial, financial and international muscle as it enters the period when Great Britain would dominate the known world.

Ms Grossey is meticulous in her research. Her characters’ language, the streets and the buildings they inhabit, and the street-level topography of central London they walk by day and by night, are a delight. To read the story is to live in the streets of a London on the brink of global greatness, thronged by a deeply rich tapestry of life’s all-too-human variety.  The tone of the novel and the writing throughout is eminently readable and light-handed (a not inconsiderable authorial achievement), and briskly-paced.

The historical background is accurate, but not overpowering – personally I liked the passing and accurate references to the historical development of the protection and repatriation of cultural property plundered in war, and various facets of art crime itself. The many manifestations of art crime that Sam encounters are illuminating, especially for students of contemporary art crime, who will quickly realise that nothing that lies beneath the glittering surface of today’s art world is new, and that the same dark currents twisted and ran riot two centuries ago just as they do now.

Three more Sam Plank mysteries are scheduled, the next one due out (a reliable source tells me) in October 2018...

∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞

Arthur Tompkins is a sitting District Court Judge based in Wellington and one of the founders of the New Zealand Art Crime Research Trust.  For 8 years now he has taught the Art in War course module for the annual Postgraduate Certificate Program in Art Crime and Heritage Protection presented by the Association for Research into Crimes against Art in Amelia, Umbria, Italy. He has lectured around New Zealand and abroad on art crime, and is a regular art-crime guest on Kim Hill’s Saturday Morning show on National Radio.

November 20, 2016

Conference: Provenance Research Colloquium, November 30, 2016 - Munich

Delivery of art works at the south entrance
of the Collecting Point, 1945-46
© Zentralinstitut für Kunstgeschichte

Location: 
Zentralinstitut für Kunstgeschichte, Munich Germany

Date:  
30 November 2016

Cost: 
The colloquium is free to the public and registration is not required

Note: 
Language of the colloquium is German and English

The Zentralinstitut für Kunstgeschichte, or ZI for short, in Munich is Germany's only independent art historical research institute. The last panel of the day is worth pondering: is provenance research an academic discipline or an investigative pursuit?

ARCA thinks it is both and for that reason has incorporated a provenance training course into our 2016 postgraduate program lineup.

From the Zentralinstitut für Kunstgeschichte website:

"The ZI was founded in 1946/1947 as an independent research institute in direct connection with the Central Collecting Point (CCP) of the American military government in the former Administrative Building of the National Socialist party. For over 20 years the institute has been researching and publishing its findings on the art history of National Socialism and that of the immediate postwar era. In the specific area of “Provenance Research / Value of Cultural Assets” numerous research, inventory, digitization and database projects have been initiated by the ZI and achieved with various national and international collaborative partners."

A PDF of the day's program can be accessed here.

By: Summer Clowers

November 24, 2014

Gurlitt Art Collection & Provenance Research: A Perspective from Marc Masurovsky, director of the Provenance Training Research Program

by Catherine Sezgin, ARCA blog Editor

I sought out the perspective of Marc Masurovsky, director of the Provenance Research Training Program which will have a new session in Rome next month, on the Kunstmuseum Bern announcement regarding acceptance of the Gurlitt art bequest and its willingness to conduct research to determine if some works had been stolen during the Nazi-era (commonly accepted as 1933-1945).

Q: Today and agreement was reached that the Kunstmuseum Bern would conduct provenance research on the Gurlitt collection before moving the artworks from Germany to Switzerland. What is the process as you understand and what do you anticipate as the strengths and weaknesses?
MM: I thought Germany would handle the provenance. That's how I interpret most press reports from this morning. 
If this is correct, the research is being conducted by individuals hired by the German government under the auspices of the Gurlitt Task Force. 
Frankly, no one is certain about how the research is being conducted. If it were left to us, you'd have to make three distinct piles: auction acquisitions in the Reich, works de-accessioned from German State museums, and works acquired in occupied territories. Those piles lead you to different archives.  The most complex are the French records for works acquired in German-occupied France.  The fundamental weakness behind this process is its opacity and the refusal of the Germans to expand the scope of the research and reach out to those who know a thing or two about these types of losses.  From what we hear, there are only a handful of individuals covering the French archives.
Last but not least, the most complex items to research are the works on paper and especially prints and lithographs.  Who knows where those came from?  To ascertain whether or not they were looted, one would have to go through all files representing losses suffered by victims in France.  The task is staggeringly tedious and complex.

September 18, 2014

Halyna Senyk, Executive Director of the European Shoah Legacy Institute, Speaks on the Importance of Archives in Provenance Research

by Catherine Schofield Sezgin, ARCA Blog Editor

International human rights lawyer Halyna Senyk has joined the European Shoah Legacy Institute (ESLI), an organization based in Prague, which is aiming to make provenance research mandatory in the art market, especially in areas where looting of art was combined with genocidal acts. We spoke briefly last week via Skype about the mission of ESLI.

“Washington principles and the Terezin Declaration “opened the door” for provenance research to become the main catalyst  in restoring justice of the Nazi looting of culture objects," Ms. Senyk explained. "The majority of the European legal systems recognize the bona fide acquirer as a rightful owner, even if s/he bought a stolen art object, besides many countries in Europe has statutory limitations which prevent to claim the property, which was stolen more than 70 years ago.  Only provenance research can challenge the title of a bona fide acquirer and can re-open cases, which have been closed due to the statutory limitation.  When we talk about provenance at large, we’re not just talking about Nazi crimes.

I’ve worked in human rights all my life and I believe in justice – what is important is that people who went through the Holocaust that they see justice – whether it involves issues of stolen property or art and that these items are returned. It doesn’t always mean that items are taken from museums but that title is corrected. This is what we are aiming at. The legislation doesn’t always reflect the historical reality. Who was the bona fide buyer? As we study art history, we should also study the provenance of the cultural object. It’s important to know the history of the object and who was the owner and taken into consideration that only a small percentage of what was looted has been returned. We have only four countries that have made major progress towards implementing the Washington principles and the Terezin Declaration. Part of our main mission is to monitor adherence to the Terezin Declaration, conceptualize the best practices and to assist governments in developing their national policies to bring them in compliance with their obligations. Austria, for instance, is the only country that has mandatory provenance for all state museums."

What are the country models of funding provenance research at an effective level?

Ms. Senyk: “The states have funded provenance research in Germany, and Austria. The Netherlands and Czech Republic have mitigating bodies to resolve disputes over art property injustices inflicted on Holocaust victim and they have been using provenance research as an important tool in resolving them. Some private museums, like the Jewish Museum in Prague, initiated the provenance research of its collection on its own expense.”

How can you develop standards and work with others in the field?

Ms. Senyk: “Provenance research is dictated by restitution disputes either by a museum or a family. What is important for us is that provenance research is independent and impartial and not influenced by one party or the other – when is it done, we’re looking for a report based upon as much information as is fiscally responsible. Sometimes we don’t have access to archives. Researchers try to do everything possible to show that they have done their due diligence. Until now the standards of provenance research reports haven’t been discussed.

“We also discovered that discussing accessibility of archives, how getting information is extremely difficult. Talking about provenance without talking about archives doesn’t make sense because researchers have to be able to look at information in all available sources. We talk a lot about national archives and how to use their archives, how to submit requests and get the information. In these workshops, we list the archives and share the practical experience of the researchers. We believe that sources of information is very important. It is also helpful to have researchers who understand the history and the movement of the cultural property at the time it was stolen.”

June 18, 2014

The Legal Case of the Mummy Mask of Lady Ka-nefer-nefer at the St. Louis Art Museum Ignites Discussion on Museum Security Network after Courthouse News Reports US Court Rules US Government Could Not Prove Theft

by Catherine Sezgin, ARCA Blog Editor

Updated to reflect published comment by Rick St. Hilaire

In 2011, the Saint Louis Art Museum (SLAM) took legal action to keep the  Mummy Mask of Lady Ka-nefer-nefer from being taken by the U.S. government on the grounds that authorities knew about the mask as early as 2005 and that a five-year-statue of limitations period had expired ("St. Louis Art Museum Sues the United States to Preclude a Forfeiture", ARCA blog, Feb. 16, 2011). Jack Bouboushian reported in "Egyptian Mummy Mask Will Stay in St. Louis" for Courthouse News Service on June 17:
(CN) - An ancient Egyptian mummy mask will remain in the St. Louis Art Museum because the U.S. government cannot prove the mask was stolen from Egypt when it went missing 40 years ago, the 8th Circuit ruled.
[Rick St. Hilaire submitted a comment to the ARCA blog which we published and are reprinting here for your ease of reading -- you may also refer to his blog, Cultural Heritage Lawyer:
The CN article is inaccurate. The appeals court did not rule that the U.S. government failed to prove that the mask was stolen from Egypt. Instead, the appeals court ruled that the lower district court did not abuse its discretion by denying the government’s post-dismissal motion asking for leave to file an amended civil forfeiture complaint. That amended complaint, if accepted by the lower court, contained the allegations that the mummy mask was stolen property. Therefore, the substantive case involving whether the mask was stolen was never litigated. That is what prompted appeals court judge Diana Murphy to write a concurring opinion that agreed with the dismissal of the Ka Nefer Nefer case on procedural grounds, but addressing a caution because of the substantive matters raised but never addressed by the case: "Museums and other participants in the international market for art and antiquities need to exercise caution and care in their dealings in order to protect this heritage and to understand that the United States might ultimately be able to recover such purchases."
Security Consultant Ton Cremers, whose emails were cited in SLAM's 2011 complaint (see ARCA Blog post here), initiated a discussion today on Museum Security Network (MSN) then told the ARCA blog:
In cases of looted, stolen and smuggled cultural goods always the laws of the 'consumer' countries prevail, and most unfortunately not the laws of the victim countries. There is no doubt at all that the Ka-nefer-nefer mask was stolen. The Saint Louis Art Museum is not a member of ICOM [International Council of Museums] and never should be as well.
Dick Ellis, retired police officer for Scotland Yard and an ARCA Lecturer on a course on art investigations, wrote on MSN (quoted here with his permission):
If nothing else, this case identifies a lack of understanding in the processes available to those wishing to recover their stolen cultural property. We may not like the laws or legal processes of a country, but they are what you have to work with and if the wrong option is taken in the recovery process and you fail to meet the required deadlines then your case will fail, as it has in this case. 
Having followed the twists and turns of this case and actually obtained a copy of the records that exist in Egypt showing where the mask was at specific dates it is clear to me that the wrong process was adopted. Rather than sue for the return of the mask, Egypt should have resorted to the same process that put Fred Schultz in prison for contravening US property law. This would have resulted in the FBI actually having to investigate the conduct of those involved in the sale of the mask to the museum and the provenance that was provided in support of it. 
If these investigations had produced evidence that criminal offences had been committed within the jurisdiction of the US courts then those responsible may well have faced a trial under the criminal process, and had the provenance as supplied to the museum been proven to be bogus then it is doubtful that the museum would, or could have resisted a subsequent claim for the return of the mask. 
Having worked with the Egyptian authorities on the successful prosecution of Tokeley Parry, Fred Schultz and others, which established the effectiveness of prosecuting under national property laws rather than cultural property laws, it is disappointing to find that the many lessons of that case appear to have been forgotten so quickly.
Virginia Curry, a retired agent for the Federal Bureau of Investigation (FBI), also wrote on MSN (quoted here with her permission):
While I am not an attorney, I've been successful in all my investigations and have investigated hundreds of similar cases involving  international  property theft and smuggling. Generally, a U.S.  Federal Inter-pleader action, which is a civil, not criminal procedure, occurs AFTER the federal criminal case has been proven that property is in fact stolen and has a nexus to interstate-international transportation or communication (Title 18 United States Code Section 2314, 2315.)
  
Dick you will remember that our collaboration (under a Mutual Legal Assistance Treaty Request)  the theft of the Teniers painting by a U.S. citizen was just that.  The painting was proven stolen at federal criminal  trial in the U.S. -- even though it was stolen from a London dealer, in London.  That court trial, which led to the guilty plea of the thief of the action of transporting property internationally, determined that the painting was stolen.  The court then acknowledged the ownership of the property by the London dealer. 
In my opinion, a case which FIRST proved that the mask was illegally imported to the United States, rather than relying on the logical presumption, especially when there is sufficient extant evidence to do so, would have prevailed.  
I agree with Dick: Consulting with field experts such as he and myself and a dozen others with well known, actual convictions with restitution in similar criminal cases can avoid such "procedural issues" -- such as the "untested legal theory" (that I interpret as the presumption of stolen and smuggled, rather than the presentation of evidence) as expressed by Judge Murphy.
For background on the Ka-Nefer-Nefer mask residing at the Saint Louis Museum, Ton Cremers referred readers of MSN to Malcolm Gay's 2006 article "Out of Egypt: From a long-buried pyramid to the Saint Louis Art Museum: The mysterious voyage of the Ka-Nefer-Nefer mask", Riverfront Times, Feb. 15, 2006.

In 2012 at ARCA's Conference on the Study of Art Crime and Cultural Heritage Protection, Leila Amineddoleh discussed the issue of this Egyptian Ka-Nefer-Nefer mask and its probably looted origins.

SLAM's website describes the provenance for the Mummy Mask of the Lady Ka-nefer-nefer:
Provenance:1951/1952 -Mohammed Zakaria Goneim, excavated at Saqqara, Egypt [1]
by 1952 - Unknown Dealer, Brussels, Belgium [2]
- early 1960sKaloterna Collection [3]
early 1960s -Private Collection, Switzerland, acquired from Kaloterna collection [4]
by 1997 - 1998Phoenix Art, S.A. (Hicham Aboutaam), Geneva, Switzerland, purchased from private collection [5]
1998/03/30 -Saint Louis Art Museum, purchased from Phoenix Ancient Art, S.A. [6]
Notes:[1] Excavated by Mohammed Zakaria Goneim, Keeper of the Antiquities of Saqqara, at Saqqara, during his first season (1951-1952) at the site [Goneim, Mohammed Zakaria,"Excavations at Saqqara; Horus Sekhem-Khet, the Unfinished Step Pyramid at Saqqara." Vol. 1. Cairo: Imprimerie de L'Institut Français D'Archéologie Orientale, 1957].
A letter from a scholar, dated December 12, 1999, indicates that the other objects from the Saqqara excavation group were displayed together in the Cairo Museum, suggesting that they were put on display right after Goneim's excavation. The scholar suggests that the mask was never displayed with the other excavated objects and was probably awarded to the excavator himself. This would correspond with its appearance on the European art market soon after its excavation [SLAM document files].
[2] In a letter dated February 11, 1997, Charly Mathez confirms that he saw the mask in a gallery in Brussels in 1952. According to a letter dated October 5, 1999, he did not remember the name of the gallery [SLAM document files].
[3] In a letter dated March 19, 1998, Hicham Aboutaam indicated that an anonymous Swiss collector acquired the mask from the Kaloterna (possibly Kaliterna) family. In a letter of July 2, 1997, addressed to Hicham Aboutaam, the Swiss collector stated that this acquisition took place in the early 1960s [SLAM document files]. The name "Kaloterna" may be a misspelling of the common Croatian name "Kaliterna." The Swiss collector also had an address in Croatia, and it is possible that the collector became acquainted with the Kaloterna (or Kaliterna) family there. 
[4] See note [3]. The Swiss collector requested anonymity.
[5] The Swiss collector's letter of July 2, 1997 confirms the sale of the mask to Aboutaam [SLAM document files]. Aboutaam also states that the mask was in the United States from 1995 until 1997, possibly indicating that it was in the possession of the New York branch of Phoenix Ancient Art, S.A. during that time [letter, September 23, 1997, SLAM document files]. 
[6] Invoice to the Saint Louis Art Museum dated March 12, 1998 [SLAM document files]. Minutes of the Collections Committee of the Board of Trustees, Saint Louis Art Museum, March 18, 1998.
In The New York Times article "Do You Know Where That Art Has Been?" (Rod Stodghill, March 18, 2007) Hicham Aboutaam's legal problems (and that of his gallery, Phoenix Ancient Art were identified:
For the Aboutaams, whose father started the gallery in Beirut in the 1960s, the makeover will require not only overhauling some of its business practices, but also restoring a public image dogged by legal and ethical questions. In 2004, after an investigation by the United States Bureau of Immigration and Customs Enforcement, Hicham Aboutaam pleaded guilty to a misdemeanor in connection with his importing and selling for $950,000 a silver ceremonial drinking vessel that at the time was alleged to be part of the plundered Iranian Western Cave Treasure. He paid a $5,000 fine. That same year, an Egyptian court sentenced Ali Aboutaam in absentia to 15 years in prison after he was accused of smuggling artifacts from Egypt to Switzerland. The charges against him were later dropped by the Egyptian court due to a lack of evidence. Such run-ins with the law have made big museums nervous even when nothing may appear untoward. In 2001, the Kimball Art Museum in Fort Worth returned a 2600 B.C. Sumerian statue it had bought from the brothers for $2.7 million for a refund. Hicham Aboutaam said that questions surrounding the taxes on his parents’ estate unraveled the deal.

May 13, 2014

ARCA Alum ('13) Gerald Fitzgerald publishes opinion piece in Art Papers on art market due diligence concerning provenance and the public record

ARCA Alum '13 and trial lawyer Gerald Fitzgerald published an opinion piece, "Give Us CPR" (May/June issue, 2014) in Art Papers (here's the first two paragraphs, you can read the rest of the text online):
A call for art market due diligence, concerning provenance and the public record. 
Provenance is the origin and history of ownership of a painting or object, and it is essential to determining the object's authenticity, monetary value, and secure title. Although reveling in sales boosted both by new market interest and freshly minted dotcom billionaires, the international art and antiquities market will soon stumble badly unless it embraces new technologies to centralize and to radically increase the scope, quality, and authority of provenance research.
The art market currently generates about $60 billion annually. It does so without meaningful regulation and is myopic in the intelligent use of contemporary tools. It functions almost precisely as it did in the early 19th century. Trust still governs in an increasingly untrustworthy environment. As a result this market is rife with forgery, fakery, looting, and sales of stolen objects, all accompanied by a morass of litigation. The way out of this quagmire lies not with increased legal action but in sewing shut the gaping holes in provenance research that permit such chicanery. The creation of a nonprofit Center for Provenance Research (CPR), funded by a small levy on market sales, is sorely needed to vet the legitimacy of what is traded. The greatest deterrent to fraud on the market is a decreasing ability to get away with it.

November 23, 2013

WSJ: "German Museums Under Pressure to Put Collections Online"

Mary M. Lane and Harriet Torry write in the Wall Street Journal Nov. 22 in "German Museums Under Pressure to Put Collections Online":
BERLIN—German museums are coming under growing international pressure to provide digital access to their full collections, in the wake of the discovery of a suspected plundered art trove in Munich that authorities kept secret for nearly two years. Under international norms adopted in Washington in 1998, German museums are obligated to go through their collections for works that may have been looted by the Nazis. But the museums have balked at going a step further and digitizing their collections to allow independent searches, citing budget restrictions and a lack of staff. That reluctance has for years been a source of tension within the art world, with critics alleging other motives. "They don't want to let people see what they have because they know if they put it online they'll get claims and possibly lose major paintings," Ronald Lauder, a billionaire art collector and president of the World Jewish Congress, said in an interview.
Ronald Lauder is the founder of New York City's Neue Gallerie, home to Gustav Klimt's "Portrait of Adele Bloch-Bauer", a work recovered after it was stolen by the Nazis.

November 12, 2013

Gurlitt Art Collection: Germany listed 25 pieces of art online and will establish task force of provenance researchers to examine 970 works

by Catherine Sezgin, ARCA Blog Editor-in-Chief

Coverage in the last week about the Gurlitt Art Collection has been published in print and online in primary sources in French and German. I have asked readers of the ARCA blog to help with identifying and summarizing into English the articles. One of our readers, Alex Kurys in Vienna, contacted us and recommended an article in ORF.at, the online news he describes as the 'Austrian BBC equivalent' with primary sources of news from Associated Press or Reuters. The article, Fall Gurlitt: Behörden veröffentlichen verdächtige Werke, reports that German authorities have published today a list of 25 works on the page www.lostart.de (The Lost Art Internet Database) from the Gurlitt case with "appropriate urgent suspicion of Nazi persecution conditional withdrawal background" will be posted. The article reports that a task force of six provenance researchers will be assembled to examine 970 works. According to the findings of the Augsburg prosecution, ORF reports, 380 works can be assigned to what the Nazis called "degenerate art" and 590 works will be checked to see if they were taken from their rightful owners during the era of National Socialism persecution. 

The Lost Art Internet Database is operated by:
Koordinierungsstelle Magdeburg, Germany’s central office for the documentation of lost cultural property. It was set up jointly by the Government and the Länder of the Federal Republic of Germany and registers cultural objects which as a result of persecution under the Nazi dictatorship and the Second World War were relocated, moved or seized, especially from Jewish owners.
A search of "Gurlitt" on this Lost Art Internet Database includes a description of Wolfgang Gurlitt as a Berlin dealer and cousin of Hildebrand Gurlitt (father of Cornelius Gurlitt who's art collection was seized by Bavarian custom authorities in February 2012 for suspicion of tax evasion). Wolfgang and Hildebrand Gurlitt are both described by the Lost Art Internet Database as dealers involved in the Nazi cultural robbery. A special report "Spoils of War" from the international conference in Magdeburg in November 2001, highlights the Gurlitt art collection, but it is the collection of Wolfgang, who along with Hildebrand had close contact with Hermann Voss, the art historian who in 1942 was appointed to assemble art for the Führermuseum in Linz. The "Spoils of War" 2001 report highlights the 76 oil paintings and 33 prints Wolfgang Gurlitt sold to the City of LInz in 1953:
Wolfgang Gurlitt was not a National Socialist. There is not a single piece of evidence
among his many surviving letters from that time that he tried to ingratiate himself with
various public offices by using expressively National Socialist language. His lack of
concern in political matters was so marked that in his letters to the office responsible
for the "Linz Special Command" ("Sonderauftrag Linz") he all too often left out the
obligatory closing phrase "Heil Hitler!". His employment of a non-National Socialist,
Walter Kasten, in 1938, matches this image.

On the other hand Wolfgang Gurlitt understood well how to remain in business
between 1933 and 1945. Besides his regular activities as an art dealer he was
successful in getting involved in special projects (although on a modest scale
compared to his cousin, Hildebrand Gurlitt): these included the sale abroad of artwork
confiscated and labeled "degenerate art" ("Entartete Kunst") by the Reich's Ministry
for Propaganda, as well as making purchases for Linz’s "Führer Museum".
The "Spoils of War" 2001 report notes under "results of the research into provenance":
It is demonstrable that Gurlitt acquired artwork of previous Jewish ownership on
several occasions: through direct purchase from the Jewish owner, through auctions,
and probably also through other art dealers. The total scope and the method of
acquisition in respective cases are unclear; the number probably extends beyond those
examples proven unequivocally. Like practically all art dealers who were active
during the rule of the National Socialists, Gurlitt had no qualms about this form of
acquisition. 
Documentation of Results:
The Mayor of the City of Linz initiated the process of examining the Gurlitt
Collection of the New Gallery of the City of Linz as far back as September 17, 1998.
The archive of the City of Linz examined – primarily through existing municipal files
– the provenance and acquisition of the pictures in stock. A comprehensive report
with the results of the research (which have been briefly summarised here), together
with a catalogue including all works in the "Gurlitt Collection" was published in
January 1999.13 The complete report has been accessible since then on the Internet at
http://www.linz.at/archiv, the first public body in Austria to decide to act in this way.
1,800 hits a month (as of February 2002) to the contents of this documentation bears
witness to the active interest of the public in this matter.