Websites and Resources
Conferences and Events
Welcome to lootedart.com
This site contains two fully searchable databases.
The Information Database contains information and documentation from forty nine countries, including laws and policies, reports and publications, archival records and resources, current cases and relevant websites.
The Object Database contains details of over 25,000 objects of all kinds – paintings, drawings, antiquities, Judaica, etc – looted, missing and/or identified from over fifteen countries.
All images on the site are published under fair use conditions for the purpose of criticism and research.
Following the September 2017 UK Spoliation Conference '70 Years and Counting: The Final Opportunity?', the recommendations that emerged from each panel and which were summarised in the final session, were compiled as an Action Plan and published on the UK Government Spoliation webpage. The governments of the UK, Austria, France, Germany and the Netherlands have agreed the Action Plan as a shared statement of intent. Last month, October 2018, representatives of the five claims panels of those countries met in London and agreed to create a permanent working group to promote closer engagement, improved information sharing and to address the recommendations in the Action Plan. Further details of the working group are to be announced .
The recommendations include establishing common definitions of loss, consistency of standards in claims handling, producing best practice guidance and providing central sources of information for claimants in each country. To see the Action Plan, click here.
Available online until 20 November, the subject of the 45 minute German language documentary by Jan N. Lorenzen and Michael Schönherr is the auctioneer Hans Klemm of Leipzig, who bought up the property of fleeing or deported Jews between 1933-1944, documenting every item purchased and sold. His lists include beds and sheets, socks and shirts, cupboards, plates, violins, pictures and porcelain.
The eagerness of the auctioneers and the German population to buy this Jewish property and profit from the fate of the Jews is shown in striking photographs and footage of the time, giving the lie to any idea that no one knew what was happening. The profiteering is shown in the innumerable valuations and invoices listing the items bought from the Jews at minimal prices. Families who still own that Jewish property are interviewed. To watch the film,click here.
In its latest Binding Opinion issued on 1 Novbember 2018 on a claim opened in 2013, the Committee considered the case of a Kandinsky painting acquired at auction in October 1940 from the Lewenstein family by the Amsterdam City Council on behalf of the Stedelijk Museum.
While acknowledging the 1940 sale 'cannot be considered in isolation from the Nazi regime' and that it had not been established that the 'loss of possession of the work was voluntary and that the loss of possession cannot be linked to the Nazi regime', the Committee considered that the sale was also due to pre-existing financial difficulties 'well before the German invasion' [of May 1940].
The Committee wrote that at that time family members had already left Holland or knew they would be subject to persecution there. In the Committee’s view this provided 'a less powerful basis for restitution than a case in which there was theft or confiscation'.
As regards the museum's acquisition, the Committee stated that 'the mere fact that at a sale in October 1940 the City Council purchased a work that came from a Jewish owner does not mean that this transaction did not take place in good faith'.
Consequently the Committee concluded that and, as regards the outcome of the claim, 'the determining factor is therefore the weighing up of interests' . This refers to the 'balance of interests test' in which the interest of the two parties in the art work is weighed against each other. In this regard, the claimant wrote, ‘For me, as far as it matters, I think the story simply may not end with people, institutions, governments, or anyone, getting away with what they wrongfully did. This is about more than the painting itself. Returning the ownership of the painting would do justice to the memory of [the family] and to those who stand near them’.
The Committee stated that the Stedelijk museum 'has had the work in its possession since . Its contention that the work has important art historical value and is an essential link in the limited overview of Kandinsky’s work in the Museum’s collection, has a corresponding place in that collection, and is included in the permanent display has been insufficiently contested by the [claimant] and is in accordance with the Committee’s own opinion. As regards the interests of the [claimant], all that is known is that she is acting as heir [of the owner] without declaring any past emotional or other intense bond with the work.
Taking all this into account, the Committee concludes that the interest of the [claimant] in restitution does not outweigh the interest of the City Council in retaining the work.'
To read the full decision RC 3.141, click here.
The biographical details of over 400,000 people from the 1939 German Minority Census
Tracing the Past has announced the launch of their Mapping the Lives site at https://www.mappingthelives.org/. The details of the over 400,000 individuals taken from the 1939 Census have been expanded with data from the German Federal Archives and other sources and tied in to interactive maps showing where the individuals lived. The site is and English or German and an introductory video, detailed instructions and a user guide are available. Tracing the Past is a non-profit organization dedicated to researching and memorializing the persecuted in Europe 1933–1945.
The French government issued an order reorganising the administration that deals with claims on art held by museums and public institutions, with the aim of streamlining the process. Going forward, any investigations and proposals for restitution will be done by a special unit created under the authority of the Prime Minister.
The independent Centre, whose establishment was announced two years ago by the Dutch government, has now opened under the auspices of the Ministry of Education, Culture and Science (OCW) and the Royal Netherlands Academy of Arts and Sciences (KNAW) and is sited at the NIOD (Institute for War, Holocaust and Genocide Studies) in Amsterdam. See the NIOD announcement here.
The Centre combines the expertise of the Research Department of the Restitutions Committee and of the Origins Unknown Agency.
The Centre has two purposes as set out in a Decree of the Dutch Government of 20 September 2018:
One purpose is to carry out research for the Dutch Restitution Committee, set up by the government in 2001 to deal with all claims in The Netherlands.
The second and entirely new purpose is to provide an alternative route for decision-making. Rather than having to submit all claims to the Committee, claimants and institutions will now be able to request that the Centre conduct an impartial fact-finding investigation. On the basis of the independent investigation, parties may then arrive at a mutually acceptable solution. If they need additional guidanc or assistance, they may seek mediation or advice in the form they desire, including a recommendation from the Restitutions Committee.
The intention of this new purpose which gives the claimant and the current owner a more central role in the restitution procedure than they had previously, was first set out in a letter of 4 October 2016 from Mrs Bussemaker, the Minister of Culture to the House of Representatives, in which she stated:
“The applicant and the current owner will be given a more central role in the procedure for restituting art stolen by the Nazis than they had previously. They are primarily responsible for finding a mutually satisfactory solution. The parties can decide jointly to submit their case to the Restitutions Committee. However, they can also decide first to commission a factual report from the Centre of Expertise, which they can use to decide whether they can arrive at a solution that is satisfactory to both of them. The factual report gives them initial guidance for making a decision. If they cannot find a mutually satisfactory solution, they can still submit their case to the Restitutions Committee.”
For further details, click here.
The Commission for Looted Art in Europe seeks an experienced German-speaking art historian as a full-time provenance researcher in London. For further details, click here.
The Stern Cooperation Project (SCP), a joint German, Israei and Canadian project based at Munich's Zentralinstitut für Kunstgeschichte (Central Institute for Art History), started work in July 2018. The project deals with the history of the German Jewish art dealer family of Julius, Selma, Max, Hedi and Gerda Stern, and the history of the galleries owned by the Stern family from 1913-1987: Galerie Stern (Dusseldorf), West's Galleries (London ) and Dominion Gallery (Montreal).
This field of research has been studied since 2002 by the Max Stern Art Restitution Project (MSARP) under the direction of Drs Clarence Epstein and Willi Korte. This concentrated on the identification and return of individual stolen art works. SCP is taking a broader approach and, through international and interdisciplinary cooperation, it will try to reconstruct the persecution-related migration history of both the family and their art business.
For full details, click here.
The 3-0 ruling against the claim for two Cranach paintings depicting Adam and Eve invoked the act of state doctrine, where U.S. courts typically defer to foreign governments’ sovereign actions and avoid interfering with the executive branch’s ability to conduct foreign policy. Judge Margaret McKeown said ruling for von Saher would require nullifying three “official” Dutch government actions: their 1966 sale to George Stroganoff-Scherbatoff, a onetime U.S. Navy commander and descendant of Russian aristocracy who sold the painting to the Norton Simon Museum, a 1999 decision not to restore von Saher’s rights, and a 2006 decision that her claim had been “settled.” “Without question, the Nazi plunder of artwork was a moral atrocity that compels an appropriate governmental response,” McKeown wrote. “But the record ... reveals an official conveyance from the Dutch government to Stroganoff thrice ‘settled’ by Dutch authorities. For all the reasons the doctrine exists, we decline the invitation to invalidate the official actions of the Netherlands.” To read the ruling, click here.
The 301-page searchable dossier provides the full results of provenance research into 85 paintings and 9 sculptures, the status of some of which remains questionable. Only 17 of the paintings are listed on lostart.de here and with minimal information. The dossier, published as a pdf, can be reviewed here. It contains extensive information on the provenance of and literature on each work of art.
Sourced from the archive of the Kunsthistorisches Museum (KHM) (5,900 file cards) and the Federal Monuments Office (BDA) (5,600 file cards), the two Central Depot card indexes provide a record of objects from private art collections in Vienna confiscated from Jews after March 1938 by the Nazi regime and subsequently dispersed in museums, including the planned Führer Museum in Linz.
The Central Depot for Confiscated Collections was established in autumn 1938 on the first floor of the Neue Burg in Vienna, as a depository for objects from Viennese collections confiscated from Jews by the Nazi regime from mid-March 1938 onwards for subsequent dispersal in various museums. They included artworks belonging to the collectors Emmy Aldor, Bernhard Altmann, Alois Bauer, Leo Fürst, David Goldmann, Rudolf Gutmann, Felix Haas, Felix Kornfeld, Moritz Kuffner, Wally Kulka, Otto Pick, N. Pilzer, Valentin Viktor Rosenfeld, Alphonse Rothschild, Louis Rothschild and Alfons Thorsch, as well as objects of unknown origin.
The Central Depot was initiated by Fritz Dworschak, director of the Kunsthistorisches Museum in Vienna, whose idea was to create a central collection point where the artworks, hitherto stored at different locations, could be united under one roof, his own. Together with the KHM employees Leopold Ruprecht and Karl Pollhammer, who were responsible for cataloguing the objects, and employees of other state museums (Heinrich Leporini, Ignaz Schlosser), Dworschak acted until July 1940 as manager of the depot. At his instigation, Julius Scherb and Paul Frankenstein photographed the most important confiscated objects until late summer 1939. At the start of the war, the first objects were transferred from the Central Depot, and from July 1940 it was managed by the Institute for Monument Protection, the present-day Federal Monuments Office, until the depot was gradually closed in 1941.
To access the site which is now in English and German, click here.
On 18 and 19 November 1938, 43 works from the 'O.' collection of Frankfurt am Main, designated in the auction catalogue as 'non-Aryan' or 'Nichtarischer Besitz', were sold by the Hans Lange auction house in Berlin. They included paintings by Aert van der Neer, Jacob Ruysdael, Thomas Wijck, Franz von Lenbach, Adolf Lier, Caspar Scheuren, Carl Spitzweg and Adolf von Menzel. If anyone has information on the identity of the owner of the 'O' collection, please write to firstname.lastname@example.org. To see the Lange catalogue, click here.
Leibl Rosenberg, in charge of the project on looted books in the City Library, has, almost single-handedly, over the last few years, identified and effected the return of hundreds of books to their former owners in eleven countries. The most recent list of former owners of looted books still in the library and which come from all over Europe has been published on the Library website and on this website as a searchable list and he writes:
'We ask you once again today to give the victims a little bit of justice after all this time. This project was, is and remains pro bono, there are no costs for the applicants. Please read our latest search list on the homepage of the City Library and make this project known to your friends and partners by publishing this link on your pages. There are still many people waiting for these fragments of memory.'
For information in German on the history of the collection, which originates in the library of Julius Streicher, and details on how to make a claim, click here. For information in English, click here
In the International Tracing Service archive in Bad Arolsen, Germany, there are nearly 3,000 personal effects from concentration camps: pocket watches and wristwatches, engraved wedding rings, wallets, family photos, letters, everyday items such as combs and powder compacts, etc. Often they were the last remaining belongings of the victims of Nazi persecution, the last items they had with them at the time of their detention by the National Socialists. The personal effects are mainly from the concentration camps of Neuengamme and Dachau, Natzweiler and Bergen-Belsen, as well as the transit camps of Amersfoort and Compiègne. In addition there are some from prisoners of the Hamburg Gestapo.
Through an initiative of the Commission for Looted Art in Europe, efforts began by the ITS in 2008 to document and return these effects, and, as a result, several hundred were returned. In 2018, the ITS started an international campaign to return the remaining personal possessions. In January and February 2018 an exhibition #StolenMemory was mounted at UNESCO in Paris showing what it means to people to have back these mementoes and showing objects whose owners the ITS has yet to find.
See the names list here
The International Research Portal for Records Related to Nazi-era Cultural Property, till now hosted by the US National Archives (NARA), is now hosted by the European Holocaust Research Infrastructure (EHRI) as part of the suite of Holocaust-related research resources available through the EHRI website.
The Portal links researchers to archival materials at 22 participating institutions, consisting of descriptions of records and, in many cases, digital images of the records that relate to cultural property that was stolen, looted, seized, forcibly sold, or otherwise lost during the Nazi era. The International Research Portal is an important resource for provenance, claims, and academic researchers to locate relevant archival materials across institutions.
The Portal was enhanced prior to the move to enable searching simultaneously across many of the resources available through the Portal that previously had to be accessed individually. This additional capability greatly improves the ability of researchers to access archival materials across multiple institutions while conducting cross-institutional research. A short article outlining the new search features can be found here. For further information about the Portal and the records available, click here.
Museums are increasingly putting their collections online, most with images. The Metropolitan Museum in New York has 1.5 million objects of which 447,000 are currently online, 307,000 with images. The Smithsonian Institution in Washington DC which encompasses 19 museums has 154 million objects, 10 million of which are available online, 2.2 million of them with images. The Rijksmuseum in Amsterdam has 1 million objects of which 602,000 are online, all of them with images. The UK has put online the country's 200,000 oil paintings in 3,250 public venues from museums to hospitals and even a lighthouse, all with images, some which had never been photographed before. There are also watercolours and works on paper. Among the online collections are the following:
ArtUK: 200,000 oil paintings, watercolours and works on paper, all with images https://artuk.org/
Bavarian State Paintings Collections, Munich (18 museums): 25,000 works online https://www.pinakothek.de/sammlung
Berlin State Museums (17 collections): 180,000 works online, all with images http://www.smb-digital.de/eMuseumPlus
- also Ancient Bronzes in Berlin: 8,200 objects online acquired by 1945 http://ww2.smb.museum/antikebronzenberlin/index.htm
British Museum, London: 4 million works online, 1 million with one or more images https://www.britishmuseum.org/research/collection_online/search.aspx
Dresden State Collections: No information about the number of works online; only published are those with 'cleared' provenances http://skd-online-collection.skd.museum/
Louvre, Paris: 30,000 objects online with images, all are works on display http://cartelen.louvre.fr/cartelen/visite?srv=crt_frm_rs&langue=en&initCritere=true
Metropolitan Museum, New York: 447,000 works online 307,000 with images http://www.metmuseum.org/art/collection
Museum of Modern Art (MoMA), New York: 75,000 works online (of 200,000 in total in the collection), 63,000 with images https://www.moma.org/collection/
Prado Museum, Madrid: 3,500 works online with images https://www.museodelprado.es/en/the-collection/art-works
Rijksmuseum, Amsterdam: 604,000 works online, all with images https://www.rijksmuseum.nl/en/search?ii=0&p=1
Smithsonian, Washington: 10 million works online, 1.6 million with images http://collections.si.edu/search/about.htm
V&A, London: 1.2 million works online, 675,000 with images https://collections.vam.ac.uk/
Copies of lawsuits filed in various cases, stages and jurisdictions are provided on this site. Cases with recent filings include the claim on 3 March 2017 by the Lewenstein heirs for the Kandinsky painting owned by Munich's Bavarian Landesbank, the claim by the heirs of Alice Leffmann for the Picasso painting 'The Actor' in the Metropolitan Museum NY, the claim for the Guelph Treasure against the Prussian Cultural Heritage Foundation and the Federal Republic of Germany, and the claim by the heirs of Fritz Grunbaum for a Schiele drawing owned by Richard Nagy. To view the filings, click here.
Country-specific information is available on this site for 48 countries, from Albania to Yugoslavia, in the Information by Country section. Details of important, non country-specific, online resources are available in the International section of the site which contains several categories of information. For example:
Restitutions and Case News: provides details of claims and cases ruled on or settled outside the courts with copies of reports and rulings. Full details of a comprehensive range of cases can be found in the News Archive, which is fully searchable by name of family, artwork, museum, city, etc.
Lawsuits: provides details of claims and cases ruled on or being settled in court with copies of court filings and judgements.
Research Resources: provides details of family records, tracing services, art historical resources, texts of post-war reports, and books and publications.
Web Resources: provides details of various online databases of looted paintings, results of provenance research in countries around the world, archival records available online and other research materials.
Seeking Owners of Identified Looted Property: provides lists of names of individuals whose looted property has been identified in institutions in Germany and whose heirs are being sought.
Other categories of information include Governmental Conferences and Hearings, Laws, Policies and Guidelines, Art Trade, and Press, Television, Radio and Film. To explore all these sections, click here.
The site is regularly updated with new resources and developments. To provide details of resources or cases to add to the site, please email email@example.com.
On 25 June CLAE published its groundbreaking original research showing that Germany returned Nazi looted artworks to the high-ranking Nazi families who stole it rather than to the families from whom this was taken, and that this remarkable scandal has been covered up by Germany for decades. At the same time, the looted families had their claims thrown out or impossible hurdles created to prevent them recovering their artworks - and this continues today. CLAE is now calling for a full accounting of these shameful transactions with the high-ranking Nazis and the way they have been hidden, as well as for three essential changes in the way Germany handles research and restitution:
1. Lists of all artworks in German collections whose provenance is unclear or problematic must be published so families have a chance of finding their missing paintings; there can be no more waiting for individual item provenance research to be done first;
2. All relevant records must be open and accessible. In particular, the records of the Bavarian Museums must be handed over to the State Archives in accordance with German law;
3. Germany must create a single, fair, transparent and accountable claims process that applies to all collections throughout Germany, at both federal and state level, so that all families can be confident their claims will be dealt with justly.
Germany already made these commitments 18 years ago at the Washington Conference on Holocaust-Era Assets, but has not implemented them. CLAE says that without total transparency and accountability, the victims of the Nazi looting will continue to be denied the justice that is so long overdue.