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

April 4, 2011

Provenance & Art Collections: The Huntington's Scandalous Gainsborough Portrait

by Catherine Schofield Sezgin

Provenance research, establishing the history of an artwork, involves studying various art collections and how the art in each collection was funded and selected. Residents of Pasadena have walking access to two prominent art collections, The Norton Simon Museum and The Huntington Library, Art Collections, and Botanical Gardens. A recent item on The Huntington Library's blog provoked interest with the title, "A Lurid Lady and Two Petulant Painters," posted by Thea Page who provided provenance information on the painting by Thomas Gainsborough to the ARCA blog:
Penelope (Pitt), Viscountess Ligonier
1770
Canvas, 94 1/2 x 61 3/4 in. (238.76 x 156.85 cm)
11.29
Provenance:
Painted for the sitter's father, George Pitt, later 1st Baron Rivers, of Stratfield Saye, Hampshire, and Sudeley Castle, Gloucestershire; by descent to Horace, 6th and last Baron Rivers; General Pitt-Rivers of Rushmore, Salisbury, 1880; A.C. Rivers; W. Pitt Rivers; Charles John Wertheimer of Norfolk Street, Park Lane, c. 1908; sold by his trustees to Duveen, 1911; acquired by Henry E. Huntington, 1911
Henry Edwards Huntington inherited a fortune built on the one of the transcontinental American railways and married his uncle's widow, Arabella Huntington.  The Huntingtons provided an endowment and more than 500 acres for the premier collection guided by art dealer Joseph Duveen.

March 13, 2011

Nazi-looted Art Provenance: Emily Blyze on Museum Guidelines

by Emily Blyze, ARCA Alum 2009
Part three of a five-part weekend series

The crucial purpose of the European Shoah Legacy Institute in Terezin (Terezin Institute) is to follow up on the work of the Prague Conference and the Terezin Declaration. Initiated by the Czech Government, the Terezin Institute is a voluntary forum that facilitates an intergovernmental effort to develop non-binding guidelines and best practices for restitution and compensation of wrongfully seized immovable property. The priorities of the Terezin Institute will be to publish regular reports on activities related to the Terezin Declaration, develop websites to facilitate sharing of information, particularly in the fields of art provenance, as well as maintain and post lists of websites useful for Participating States, organizations representing Holocaust (Shoah) survivors and Nazi victims, and other non-governmental organizations (NGO).

Working Groups (WG) are composed of representatives of institutions with fundamental activities, field experience and research results related to the principal topics of the WG agenda. Each WG has two Co-Chairs (one from the Czech Republic and one from abroad) who are responsible for the overall planning and management of the agenda and schedule. The WGs established are Holocaust Education, Remembrance and Research, Immovable Property (Private and Communal), Looted Art, Judaica and Jewish Cultural Property, and a Special Session – Caring for Victims of Nazism and Their Legacy. Responsibilities of a WG are to prepare the agenda of the expert portion of the Prague conference, discuss the important focal points of their agenda, suggest the framework for presentations at the Prague conference, and draft recommendation for the final declaration.

The Looted Art Working Group prepared expert conclusions that acknowledges the Washington Principles, but “affirms the urgent needs to broaden, deepen and sustain these (Washington Principles) efforts in order to ensure just and fair solutions regarding cultural property looted during the Holocaust era and its aftermath."

March 12, 2011

Continued Discussion on Museum Guidelines for the Provenance of Nazi-Looted Art

Edgar Degas' "Landscape with Smokestacks" (Chicago Art Institute)
by Emily Blyze
ARCA Alum 2009

Part Two of Five in a special weekend series
Three major cases in the late 1990s shed light on the need for museums to have guidelines and policies on how to review their collections for Nazi-looted art.

Gutmann vs Searle: In 1995, Daniel Searle, a Board member of the Art Institute of Chicago, and then owner of the monotype pastel by Edgar Degas, Landscape with Smokestacks, received a claim from the family of Friedrich and Louise Gutmann, Dutch art collectors, who had owned the work prior to World War II. The case was settled in 1998. Searle, who purchased the work in good faith from a New York collector in 1987 on the Art Institute’s advice, had displayed the work on several occasions before receiving notice of the claim. Searle ceded a fifty percent (50%) ownership to the Art Institute and the other fifty percent (50%) was given to the Gutmann heirs, Lili Gutmann and her nephews, the Goodmans, who claimed the painting. As part of the settlement, the Art Institute purchased the Gutmanns’ half interest based on the current appraised value of the work.

Rosenberg vs Seattle Art Museum: The Seattle Art Museum (SAM) received a claim in 1997 from the Paul Rosenberg Family for the Henry Matisse painting, Odalisque. The SAM asked the Holocaust Art Restitution Project (HARP), a Washington, D.C.-based independent research organization, to conduct a thorough, scholarly and impartial investigation of the painting's provenance. Upon the HARP findings, the SAM returned the painting to the Rosenberg heirs.

The Leopold Schiele case: The Museum of Modern Art (MOMA) in New York received claims in 1997 for two paintings, Dead City III and Portrait of Wally, by Egon Schiele on loan from the Leopold Museum in Austria. The U.S. government confiscated the paintings under the National Stolen Property Act when it was on loan from the Leopold, claiming that the museum knew the Nazis had stolen the painting in 1939 from its Jewish owner, Lea Bondi. Dead City III was returned to the Leopold Museum because its former owner had no heirs. The Portrait of Wally case was settled in July 2010: the Leopold Museum paid $19 million to the estate of pre-war owner.

The American Association of Museum Directors (AAMD) established the Task Force on the Spoliation of Art during the Nazi/World War II era (1933-1945) on June 4, 1998. The Task Force recommended that museums review the provenance of their collections. The report's topics include a section entitled Statement of Principles, a section on Guidelines with subcategories that addressed Research Regarding Existing Collections, Future Gifts, Bequests, and Purchases, Access to Museum Records, Discovery of Unlawfully works of Art, Response to Claims Against the Museum, Incoming Loans, and a section with Database Recommendations. An Addendum was released April 30, 2001.

In 1998, the U.S. Federal Government held a series of congressional hearings, forming a Presidential Advisory Commission on Holocaust Assets in the U.S. (PCHA) and hosted the Washington Conference on Holocaust-Era Assets. In connection with the conference, the “Washington Conference Principles on Nazi-Confiscated Art” was released on December 3, 1998. Forty-four governments participated in developing a consensus of the 11 non-binding principles to assist in resolving Nazi-confiscated art issues.

The American Association of Museums (AAM) drafted their guidelines, Unlawful Appropriation of Objects during the Nazi Era, issued in 1999. In 2001, the AAM and AAMD, along with the PCHA, issued their reports defining the standards for disclosure of information and the creation of a searchable central registry of museum object information, as detailed in the AAM Recommended Procedures for Providing Information to the Public about Objects Transferred in Europe during the Nazi Era, adopted in May 2001.

On June 30, 2009, the European Union held a Holocaust Era Assets Conference in Prague and established the Terezin Declaration. The 46 participating nations endorsed the Terezin Declaration that strengthened and reaffirmed the Washington Principles and reinforced the need for continued provenance research. The Terezin Declaration maintains the non-binding nature of the Washington Principles, but also promotes an urgent need to strengthen and sustain the efforts of the principles. The sense of urgency is noted, but why the need for the Terezin Declaration? What can be accomplished with the Terezin Declaration that could not with the Washington Principles? A letter from the Ambassador Miloš Pojar, Chairman of the Organizing Committee states, “It is our moral and political responsibility to support the Holocaust remembrance and education in national, as well as international, frameworks and to fight against all forms of intolerance and hatred.”

The Terezin Declaration conveys a sense of urgency that was much less noticeable within the Washington Principles. Due to the advanced age of those persecuted, the education, remembrance, and the social welfare needs of Holocaust (Shoah) survivors and other victims of Nazi persecution require a time of reflection on the need for tribute. The Terezin Declaration addresses the need to review current practices regarding provenance research and restitution and, where needed, to define new effective instruments to improve these efforts. The term “instrument” can be interpreted several different ways, including her, a working body constructed to carry out the mission of the Holocaust Era Assets Conference.

Part three will be posted tomorrow.