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Manual for Provenance Research in Germany is now available in English

The Ger­man Lost Art Foun­da­tion, in cooperation with Ar­beit­skreis Prove­nien­z­forschung e. V., Ar­beit­skreis Prove­nien­z­forschung und Resti­tu­tion – Bib­lio­theken, Deutsch­er Bib­lio­theksver­band e. V., Deutsch­er Mu­se­ums­bund e. V., and ICOM Deutsch­land e. V. have pub­lished the “Prove­nance Re­search Man­u­al to Iden­ti­fy Cul­tur­al Prop­er­ty Seized Due to Per­se­cu­tion Dur­ing the Na­tion­al So­cial­ist Era”. The En­glish trans­la­tion of the

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PLUNDERED – BUT BY WHOM? Protectorate of Bohemia and Moravia and Occupied Europe in the Light of the Nazi-Art Looting

6th international conference on the confiscation, thefts and transfers of works of art as a result of Nazi rule over Czechoslovakia and Europe during the Second World War and in the post-war period organized by Documentation Centre for Property Transfers of Cultural Assets of WWII Victims p.b.o.

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“Raubkunst”

Vortragsreihe am Institut für Kunstgeschichte der Universität Leipzig, GERMANY
Juni-Juli 2014

Durch das plötzliche Auftauchen der Sammlung Cornelius Gurlitt sowie durch den von George Clooney produzierten Hollywoodfilm Monument Men sind in jüngster Zeit wieder Themenfelder in die allgemeine Wahrnehmung gerückt, die unter dem Begriff “Raubkunst” subsumiert werden und zu den drängenden Problemen kunsthistorischer Forschung wie Praxis gehören. Das Institut für Kunstgeschichte der Universität Leipzig nimmt diese Debatte zum Anlass, um in einer Vortragsreihe zentrale Aspekte der Raub und Zwangsenteignung insbesondere während der NS-Herrschaft sowie die Probleme der Provenienzforschung durch ausgewiesene Spezialistinnen und Spezialisten vorzustellen und so einen Beitrag zu den aktuellen Diskussionen zu liefern.

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Sara Houghteling reports on Hunting for Looted Art in Paris

In Room 38 of the Louvre’s Richelieu Wing hangs “The Astronomer” by the Dutch master Jan Vermeer. It is an exquisite painting. The stargazer sits before a celestial globe, his fingers spanning the constellation Pegasus. He wears a teal Japanese silk robe, a style favored by Dutch burghers in the late 17th century. He is lost in thought and bathed in a golden light.

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Michael Dirda’s review of And the Show Went On: Cultural Life in Nazi-Occupied Paris by Alan Riding

  • Dec . 19 . 2012
  • 0 Comment
  • Looting, Nazis
  • Posted by Provenance Research Associates

Alan Riding is an esteemed journalist, long a European cultural correspondent for the New York Times and, before that, the author of what is still the best modern introduction to Mexico, Distant Neighbors: A Portrait of the Mexicans. Since 1985 the book has sold nearly half a million copies. And the Show Went On deserves

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Holocaust records and photos available online

  • Dec . 19 . 2012
  • 0 Comment
  • Looting, Nazis, WWII
  • Posted by Provenance Research Associates

The National Archives and Records Administration (NARA) makes the internet’s largest Interactive Holocaust Collection available for the first time ever. Included among the National Archives records available online at are concentration camp registers and documents from Dachau, Mauthausen, Auschwitz, and Flossenburg, the “Ardelia Hall Collection” of records relating to the Nazi looting of Jewish possessions,

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Napoleon’s Eye by Peter Brooks

  • Dec . 19 . 2012
  • 0 Comment
  • Looting, Napoleon
  • Posted by Provenance Research Associates

The Louvre, as imagined by the French Revolution—it opened during the Reign of Terror—and then as realized by Baron Dominique-Vivant Denon under Napoleon, was the first encyclopedic public museum, dedicated to providing a new setting for art objects taken from their original location. They would be displayed in a way that would be instructive to a

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Jacques Seligmann & Co. records at the Archives of American Art now online

Jacques Seligmann & Co., Inc., was counted among the foremost French and American art dealers in antiquities and decorative arts and was among the first to foster and support the growth and appreciation for collecting in the field of contemporary European art. The company’s clients included most of the major American and European art collectors

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