This article is from Sep 13, 2011
From The BLT, The Blog of Legal Times: D.C. Circuit to Consider Case of Art Taken by Nazis
The Hungarian government is appealing the denial of its bid to dismiss a lawsuit filed by heirs to a Jewish Hungarian art collector demanding the return of art taken by the Nazis and Hungarian officials during World War II.
U.S. District Judge Ellen Segal Huvelle denied the bulk of the Hungarian government's motion to dismiss on Sept. 1, finding that the descendants of Baron Mor Lipot Herzog could sue for the return of pieces of Herzog’s collection currently in the possession of Hungarian cultural institutions.
Attorneys for the Hungarian defendants filed notice (PDF) Monday that they intend to challenge Huvelle’s ruling before the U.S. Court of Appeals for the District of Columbia Circuit.
Nixon Peabody partner Thaddeus Stauber, lead counsel for the Hungarian government, said in a statement that his client anticipates “asking the U.S. appellate court to acknowledge that the relevant international agreements and compensation programs in Hungary and the U.S. long ago resolved any modern day claims to the remaining artworks.”
The Hungarian government had argued in its motion to dismiss that it already settled claims to art and other items taken during World War II over the last few decades, including the Herzog collection.
Huvelle did dismiss part of the heirs’ complaint, deferring to a previous ruling by a Hungarian court finding that 11 of the more than 40 pieces in question from the collection did belong to the Hungarian defendants, which include the Hungarian government as well as the Hungarian National Gallery, the Museum of Fine Arts, the Museum of Applied Arts and the Budapest University of Technology and Economics.
Michael Shuster of New York’s Kasowitz, Benson, Torres & Friedman, who is representing Herzog’s heirs, said Tuesday morning that “the issues that Judge Huvelle dealt with in her opinion are all well-grounded in…other precedents.”
“It’s unfortunate that they continue to want to avoid addressing the merits,” he said.
In the Sept. 1 opinion (PDF), Huvelle found that Herzog’s heirs offered “substantial and non-frivolous” claims that the Hungarian government violated international law in taking the paintings, meaning the Hungarian defendants are not immune against litigation under the Foreign Sovereign Immunities Act.
Governments are given wide breadth to take property from its citizens, Huvelle wrote, but in this case, the Hungarian government was accused to taking property from Jewish individuals whose citizenship rights had been stripped away under anti-Semitic laws in effect at the time.
According to the complaint, Herzog’s family had attempted to hide the collection, which included several thousand pieces, after Hungary allied with Nazi Germany, but it was discovered and seized. The plaintiffs in the case are three of Herzog’s great-grandchildren, who are suing on behalf of all of his heirs.
Monday, October 17, 2011
Sunday, October 16, 2011
D.C. Law Firm Sued Over Settlement for Picassos Sold Under Nazi Regime
From The BLT: The Blog of LegalTimes: D.C. Law Firm Sued Over Settlement for Picassos Sold Under Nazi Regime
A Swiss man claiming to be a descendent of the family of a noted German Jewish art collector is accusing a Washington law firm of leaving him out of a settlement over valuable paintings sold during World War II that found their way to U.S. museums.
Thomas Wach, according to a lawsuit (PDF) filed Oct. 7 against Washington-based Byrne Goldenberg & Hamilton, is a descendent of the family of a sister of Paul von Mendelssohn-Bartholdy. Mendelssohn-Bartholdy, before his death in 1935, owned a massive private art collection that included works by Pablo Picasso and other masters.
Lawsuits filed by heirs of Mendelssohn-Bartholdy’s family claimed that he had sold pieces from his collection under duress from the Nazi regime in power at the time.
Two of the paintings, by Picasso, ended up at the Museum of Modern Art and the Solomon Guggenheim Foundation. Various descendents of Mendelssohn-Bartholody, who did not have any children but designated his wife and his sisters as heirs, sued the museums, claiming they had rights to the art.
The heirs were represented by Byrne Goldenberg & Hamilton, which pursued the case in U.S. District Court for the Southern District of New York. There were five sets of heirs, who all agreed to split any recovery equally. In February 2009, just before the case was set to go to trial, the heirs entered into a confidential settlement with the museums.
Wach alleges that the firm never contacted him about the case, even though he is the nephew of one of Mendelssohn-Bartholdy’s sisters, Katharina Wach. In a letter attached to the complaint, name partner John Byrne told Wach that his connection to the family did not make him eligible to be included in the group of heirs.
Curtis Boykin of Washington’s Douglas & Boykin is lead counsel for Wach. He declined to comment. John Byrne did not immediately return a request for comment.
The suit is the latest to come through Washington federal court over claims to artwork owned by Jewish collectors during World War II. In one pending case, the descendants of Baron Mor Lipot Herzog, a Jewish Hungarian collector, are pursuing claims against the Hungarian government over art taken by the Nazis.
A Swiss man claiming to be a descendent of the family of a noted German Jewish art collector is accusing a Washington law firm of leaving him out of a settlement over valuable paintings sold during World War II that found their way to U.S. museums.
Thomas Wach, according to a lawsuit (PDF) filed Oct. 7 against Washington-based Byrne Goldenberg & Hamilton, is a descendent of the family of a sister of Paul von Mendelssohn-Bartholdy. Mendelssohn-Bartholdy, before his death in 1935, owned a massive private art collection that included works by Pablo Picasso and other masters.
Lawsuits filed by heirs of Mendelssohn-Bartholdy’s family claimed that he had sold pieces from his collection under duress from the Nazi regime in power at the time.
Two of the paintings, by Picasso, ended up at the Museum of Modern Art and the Solomon Guggenheim Foundation. Various descendents of Mendelssohn-Bartholody, who did not have any children but designated his wife and his sisters as heirs, sued the museums, claiming they had rights to the art.
The heirs were represented by Byrne Goldenberg & Hamilton, which pursued the case in U.S. District Court for the Southern District of New York. There were five sets of heirs, who all agreed to split any recovery equally. In February 2009, just before the case was set to go to trial, the heirs entered into a confidential settlement with the museums.
Wach alleges that the firm never contacted him about the case, even though he is the nephew of one of Mendelssohn-Bartholdy’s sisters, Katharina Wach. In a letter attached to the complaint, name partner John Byrne told Wach that his connection to the family did not make him eligible to be included in the group of heirs.
Curtis Boykin of Washington’s Douglas & Boykin is lead counsel for Wach. He declined to comment. John Byrne did not immediately return a request for comment.
The suit is the latest to come through Washington federal court over claims to artwork owned by Jewish collectors during World War II. In one pending case, the descendants of Baron Mor Lipot Herzog, a Jewish Hungarian collector, are pursuing claims against the Hungarian government over art taken by the Nazis.
Florida Gallery Investigates Nazi Stolen Art
From Pri's The World: Florida Gallery Investigates Nazi Stolen Art
Anchor Marco Werman talks to Chucha Barber, CEO of the Mary Brogan Museum of Art and Science in Tallahassee, Fla., about a 16th century Italian painting on display now.
While the painting was on display, the museum found out it may have been stolen from an Italian family by the Nazis during World War II.
Read the Transcript
The text below is a phonetic transcript of a radio story broadcast by PRI’s THE WORLD. It has been created on deadline by a contractor for PRI. The transcript is included here to facilitate internet searches for audio content. Please report any transcribing errors to theworld@pri.org. This transcript may not be in its final form, and it may be updated. Please be aware that the authoritative record of material distributed by PRI’s THE WORLD is the program audio.
Marco Werman: I’m Marco Werman, this is The World. Today in Washington US officials formerly returned a painting to the French government. It was a nineteenth century canvas stolen from a French town by German troops at the end of WWII. The painting changed hands many times before ending up in a New York art gallery. That scenario has played out many times in recent years at various American art institutions. It’s happening right now at the Mary Brogan Museum of Art and Science in Tallahassee, Florida. A sixteenth century Italian painting on display there is at the center of an ownership dispute. Chucha Barber is the Brogan Museum’s Chief Executive Officer. She says the painting came as part of a loan from a museum in Milan, Italy.
Chucha Barber: The Brogan Museum borrowed from the Pinacoteca di Brera 50 beautiful masterpieces. And one of them is alleged to have been stolen by Nazis from a private family. And so when the exhibition concluded 49 of the paintings were returned to the Pinacoteca di Brera, but one remains on display at the Brogan Museum.
Werman: So tell us about the painting, what’s its name, who painted it and what do we see in it?
Barber: Well, the translation of the title of the painting was presented to us as Christ with a cross and a Rascal. But the painting has other titles. And it is a beautiful painting by an artist known as Romano, and the cloak that Christ is wearing in the painting is a beautiful tangerine satin. And what makes this painting so brilliant in my opinion is that the artist truly captured the sheen of the satin with his brush strokes. It’s just amazing painting.
Werman: So the painting is on display now. Is it attracting more visitors to the museum?
Barber: It is indeed. The US Attorney’s office wanted the painting to stay in the United States, and so we have an extension for this painting through November 20. When we received permission to maintain custody of the painting and put it on display, we relocated the painting from where it was originally hung in the gallery to a very secure environment. And before we could finalize its relocation we literally had people lining up at the door wanting to come in to see the painting. So yes, it has generated interest and people are coming to the museum expressly to see the painting.
Werman: Where are the grandchildren of the painting’s presumed owners today? Do you know and what are they saying about where it should be?
Barber: I have only had direct contact with one of the grandchildren and he live in London. I know from my conversations with him that he has a sibling that lives in France, and I know he has another sibling that also lives in the United Kingdom. And what Lionel Salem, one of the grandchildren, has shared with me is that he and his family are immensely grateful for the opportunity to have discussion about the recovery of the painting for the family, but he says there are five family members that have a vested interest in the painting and you can’t cut the painting into five pieces. So I believe that the family is very receptive to an opportunity for the Pinacoteca di Brera to continue to have ownership of the painting and display it with some mutually agreed upon text about its history if they receive appropriate compensation.
Werman: And you, Ms. Barber, do you secretly hope this masterpiece by Girolamo Romano will never leave the Brogan?
Barber: No, I do not hope that. I hope that if what is alleged to be true, and I personally believe that it is, I believe that the family deserves to have this matter resolved in their favor. And I believe that the family very much wants this to be a teachable moment. This is a great opportunity to have students and teachers talking about the roles of museums in their communities and repatriation of objects to Native Americans, objects that are deemed to have been stolen from one government or another, it’s all a very, very interesting conversation and I hope it drives home the importance of museums in our communities and in our nation.
Werman: Chucha Barber with the Mary Brogan Museum of Art and Science in Tallahassee, Florida. Thanks so much for your time.
Barber: You’re so welcome.
Saturday, October 15, 2011
American International Fine Art Fair returns to Palm Beach, Florida in February 2012
From ArtDaily.org: American International Fine Art Fair returns to Palm Beach, Florida in February 2012
PALM BEACH, FL.- Now in its 16th year, American International Fine Art Fair (AIFAF) is one of the premier art, antique and jewelry fair in the United States. In 2012, AIFAF will again gather prestigious galleries and distinguished collectors from around the world during its return to the Palm Beach County Convention Center February 4th-12th, 2012, with a VIP Preview on February 3rd.
The carefully selected presentation will include international dealers representing disciplines of fine art from classical antiquity to contemporary, and an extensive collection of haute and period jewelry. The fair is fully vetted by leading museum curators and experts.
Continuing last year's successful format, a full schedule of daily activities to coincide with the exhibitions will be included. These activities are comprised of informative lectures from highly respected museum curators and art experts, as well as cocktail parties and other social events.
To ensure all fair attendees receive full knowledge of the outstanding art exhibited at the fair, AIFAF will again partner with Corfield Morris to offer art advisory services to any visitor throughout the duration of the fair. Their team of independent expert advisers will be on hand to guide guests through the fair or straight to whatever they seek.
New to AIFAF in 2012, world-renowned Fabergé will present a special exhibition and lecture series – “Faberge: The Rebirth of an Icon”- lecture by Geza von Habsburg. Paying homage to the legendary Imperial Eggs created by Peter Carl Fabergé for the Romanov family, and celebrating the Egg as a timeless universal symbol of life, Fabergé has designed a collection of one-of-a-kind High Jewelry Egg Pendants, Les Fameux de Fabergé. Each design illustrates a traditional Russian proverb, through complex, multi-layered concepts brought to life by the finest craftsmanship in the world today. The first of these creations launched in Paris during Couture Week, July 2011, marking the beginning of a series of twelve High Jewelry Egg Pendants, one for every month of the year. Each pendant, a wearable object of desire, involves a lengthy, exacting and in many cases pioneering fabrication process, pushing boundaries of both design and manufacture, and taking contemporary craftsmanship to a new level of sophistication.
Among highlights for AIFAF’s lecture series this year, Victoria Wyeth, granddaughter of “America’s Painter” Andrew Wyeth will present a special lecture and presentation. Her unique personal perspective offers memories and insights unavailable before to the public. Roger Ward, former Chief Curator at the Norton Museum of Art, will present “Who owns that art? Conspicuous Cases of Nazi-Era Restitution” and “Four Rediscovered Old Master Works; Leonardo, Raphael, Breughel and Velazquez.” Bruce Helander, Editor-and-Chief of the Art Economist, will moderate a roundtable discussion and Erin Coe, Curator at the Hyde Collection, will present an informative lecture, “Georgia O’Keeffe at Lake George.”
PALM BEACH, FL.- Now in its 16th year, American International Fine Art Fair (AIFAF) is one of the premier art, antique and jewelry fair in the United States. In 2012, AIFAF will again gather prestigious galleries and distinguished collectors from around the world during its return to the Palm Beach County Convention Center February 4th-12th, 2012, with a VIP Preview on February 3rd.
The carefully selected presentation will include international dealers representing disciplines of fine art from classical antiquity to contemporary, and an extensive collection of haute and period jewelry. The fair is fully vetted by leading museum curators and experts.
Continuing last year's successful format, a full schedule of daily activities to coincide with the exhibitions will be included. These activities are comprised of informative lectures from highly respected museum curators and art experts, as well as cocktail parties and other social events.
To ensure all fair attendees receive full knowledge of the outstanding art exhibited at the fair, AIFAF will again partner with Corfield Morris to offer art advisory services to any visitor throughout the duration of the fair. Their team of independent expert advisers will be on hand to guide guests through the fair or straight to whatever they seek.
New to AIFAF in 2012, world-renowned Fabergé will present a special exhibition and lecture series – “Faberge: The Rebirth of an Icon”- lecture by Geza von Habsburg. Paying homage to the legendary Imperial Eggs created by Peter Carl Fabergé for the Romanov family, and celebrating the Egg as a timeless universal symbol of life, Fabergé has designed a collection of one-of-a-kind High Jewelry Egg Pendants, Les Fameux de Fabergé. Each design illustrates a traditional Russian proverb, through complex, multi-layered concepts brought to life by the finest craftsmanship in the world today. The first of these creations launched in Paris during Couture Week, July 2011, marking the beginning of a series of twelve High Jewelry Egg Pendants, one for every month of the year. Each pendant, a wearable object of desire, involves a lengthy, exacting and in many cases pioneering fabrication process, pushing boundaries of both design and manufacture, and taking contemporary craftsmanship to a new level of sophistication.
Among highlights for AIFAF’s lecture series this year, Victoria Wyeth, granddaughter of “America’s Painter” Andrew Wyeth will present a special lecture and presentation. Her unique personal perspective offers memories and insights unavailable before to the public. Roger Ward, former Chief Curator at the Norton Museum of Art, will present “Who owns that art? Conspicuous Cases of Nazi-Era Restitution” and “Four Rediscovered Old Master Works; Leonardo, Raphael, Breughel and Velazquez.” Bruce Helander, Editor-and-Chief of the Art Economist, will moderate a roundtable discussion and Erin Coe, Curator at the Hyde Collection, will present an informative lecture, “Georgia O’Keeffe at Lake George.”
Wednesday, October 12, 2011
The Shame of the Galleries: Stained Stein, Purloined Picasso
From HuffPostArts: The Shame of the Galleries: Stained Stein, Purloined Picasso
San Francisco has been awash in art this season. Three major shows made the pioneers of modern art hard to avoid: San Francisco Museum of Modern Art (SF MOMA)'s "The Steins Collect," San Francisco Jewish Museum's "Seeing Gertrude Stein: Five Stories," and the de Young Museum's "Masterpieces from the Musée National Picasso."
But instead of a wonderful learning experience, the shows were merely pictures at an exhibition -- a lost opportunity to look at the origins and meaning of art. A teachable moment consciously abandoned. By what they knowingly chose to ignore, these shows lied to us.
The Stein shows were the most egregious. In the early 20th Century, during the moveable feast in Paris and during the war in their homes in the south of France, the Stein family had befriended and supported many developing artists as they forged modern art's form. Their support was certainly welcome, though problematic and not without strings. The Steins had the opportunity to collect substantial pieces which became quite valuable.
The Bay Area, as a home of Gertrude Stein and with its sizable LBGT population, seemed an appropriate venue for the celebration of the Stein family collection. Gertrude Stein, and her long time partner Alice B. Toklas, were in one way at least models for out-of-the-closet lesbianism. Sadly, they were not models in other important ways, ways in which the museums conveniently chose to ignore.
Their collection, particularly of impressionists, was certainly dazzling. But all that glitters is not gold. The Stein exhibits left out some of the most salient facts about Gertrude Stein. How was Stein able to keep her magnificent collection intact and thrive in occupied France as a Jew and lesbian while gays and Jews were systematically rounded up and killed, and their possessions, especially art, seized?
Less heroic than her unabashed lesbianism was Stein's longtime support for Adolf Hitler. As early as 1934 she shared her admiration for Hitler in the New York Times Magazine, campaigning for Hitler to be given the Nobel Peace Prize:
"I say that Hitler ought to have the peace prize," she says, "because he is removing all elements of contest and struggle from Germany. By driving out the Jews and the democratic and Left elements, he is driving out everything that conduces to activity. That means peace."
This was not merely an aberrant position or just a championing of Hitler alone. She supported both fascist dictator of Spain Francisco Franco and the Nazi-backed Vichy government of France, comparing collaborationist traitor Marshal Pétain to George Washington. She intervened on behalf of captured Gestapo. Indeed, it was Alice B. Toklas who funded their friend and protector Bernard Fäy's breakout from prison. Fäy was charged with being a Gestapo agent responsible for deporting nearly 1,000 people to the concentration camps in Germany.
Yet the SF MOMA and the San Francisco Jewish Museum chose not to deal with this "complicated" issue. Instead they collaborated just as did Stein, closeting her Nazi sympathies and actions.
Not to be outdone, the Picasso exhibit at the de Young Museum was a model of obscurantism. There was not a single descriptive note to any of the works. I suppose we were even lucky the works were titled. But notes on their meaning, development, relationship, or the artists intent were remarkable by their absence. Unlike museums in Europe, the Barcelona Picasso Museum or the French National Picasso Museum (the very museum from whence these pictures originated), for example, we are given nothing explaining the politics and relationships which suffused his work, his support for the Left in the Spanish Civil War, his deep anti-fascism, his identification with the oppressed and his prominent membership in the Communist Party.
It is almost cruel to view Picasso's work without explanation, for instance his great "Massacre in Korea," his literal homage to Goya's "Third of May, 1808," without so much as a hint of its parentage or reference to the 1950 Korean War mass-killing of men, women and a large number of children by American and South Korean forces. Picasso, one of the most political of artists, has been neutered, shrink-wrapped, comodified and de-contextualized.
So at the end of the exhibitions, we are left with galleries empty of meaning. Three exhibits of stellar paintings that could have opened a window into their times and issues. But three museums without the courage or energy to look at the meaning and development of art. Form without substance...only pictures at an exhibition.
San Francisco has been awash in art this season. Three major shows made the pioneers of modern art hard to avoid: San Francisco Museum of Modern Art (SF MOMA)'s "The Steins Collect," San Francisco Jewish Museum's "Seeing Gertrude Stein: Five Stories," and the de Young Museum's "Masterpieces from the Musée National Picasso."
But instead of a wonderful learning experience, the shows were merely pictures at an exhibition -- a lost opportunity to look at the origins and meaning of art. A teachable moment consciously abandoned. By what they knowingly chose to ignore, these shows lied to us.
The Stein shows were the most egregious. In the early 20th Century, during the moveable feast in Paris and during the war in their homes in the south of France, the Stein family had befriended and supported many developing artists as they forged modern art's form. Their support was certainly welcome, though problematic and not without strings. The Steins had the opportunity to collect substantial pieces which became quite valuable.
The Bay Area, as a home of Gertrude Stein and with its sizable LBGT population, seemed an appropriate venue for the celebration of the Stein family collection. Gertrude Stein, and her long time partner Alice B. Toklas, were in one way at least models for out-of-the-closet lesbianism. Sadly, they were not models in other important ways, ways in which the museums conveniently chose to ignore.
Their collection, particularly of impressionists, was certainly dazzling. But all that glitters is not gold. The Stein exhibits left out some of the most salient facts about Gertrude Stein. How was Stein able to keep her magnificent collection intact and thrive in occupied France as a Jew and lesbian while gays and Jews were systematically rounded up and killed, and their possessions, especially art, seized?
Less heroic than her unabashed lesbianism was Stein's longtime support for Adolf Hitler. As early as 1934 she shared her admiration for Hitler in the New York Times Magazine, campaigning for Hitler to be given the Nobel Peace Prize:
"I say that Hitler ought to have the peace prize," she says, "because he is removing all elements of contest and struggle from Germany. By driving out the Jews and the democratic and Left elements, he is driving out everything that conduces to activity. That means peace."
This was not merely an aberrant position or just a championing of Hitler alone. She supported both fascist dictator of Spain Francisco Franco and the Nazi-backed Vichy government of France, comparing collaborationist traitor Marshal Pétain to George Washington. She intervened on behalf of captured Gestapo. Indeed, it was Alice B. Toklas who funded their friend and protector Bernard Fäy's breakout from prison. Fäy was charged with being a Gestapo agent responsible for deporting nearly 1,000 people to the concentration camps in Germany.
Yet the SF MOMA and the San Francisco Jewish Museum chose not to deal with this "complicated" issue. Instead they collaborated just as did Stein, closeting her Nazi sympathies and actions.
Not to be outdone, the Picasso exhibit at the de Young Museum was a model of obscurantism. There was not a single descriptive note to any of the works. I suppose we were even lucky the works were titled. But notes on their meaning, development, relationship, or the artists intent were remarkable by their absence. Unlike museums in Europe, the Barcelona Picasso Museum or the French National Picasso Museum (the very museum from whence these pictures originated), for example, we are given nothing explaining the politics and relationships which suffused his work, his support for the Left in the Spanish Civil War, his deep anti-fascism, his identification with the oppressed and his prominent membership in the Communist Party.
It is almost cruel to view Picasso's work without explanation, for instance his great "Massacre in Korea," his literal homage to Goya's "Third of May, 1808," without so much as a hint of its parentage or reference to the 1950 Korean War mass-killing of men, women and a large number of children by American and South Korean forces. Picasso, one of the most political of artists, has been neutered, shrink-wrapped, comodified and de-contextualized.
So at the end of the exhibitions, we are left with galleries empty of meaning. Three exhibits of stellar paintings that could have opened a window into their times and issues. But three museums without the courage or energy to look at the meaning and development of art. Form without substance...only pictures at an exhibition.
Saturday, October 8, 2011
On travel til Wednesday
I'm visiting elderly relatives in Box Elder, SD who do not have internet.
Will try to sneak out now and again to an internet cafe to post, but more than likely will not be posting until Wedneday.
Will try to sneak out now and again to an internet cafe to post, but more than likely will not be posting until Wedneday.
Wednesday, October 5, 2011
Reminder: Lafayette, PA University Conference on Nazi Looted Art
From Caldendar.Layfayette.edu. Lafayette Pennsylvania: Nazi Plunder and Restitution: Conference on Nazi-Looted Art at Lafayette College
When: Wednesday, October 26, 2011 - Friday, October 28, 2011Where: Various campus locationsPrice: FreeThe conference begins the evening of Wednesday, October 26 and concludes at 1:00 on Friday, October 28. The schedule:
Wednesday, 5:30 pm: Dinner with speakers and invited guests
Wednesday, 7 pm: Showing of “The Rape of Europa” followed by a discussion/lecture by Nicole Newnham, one of the movie’s producers/directors/writers
Thursday, noon: Brown bag lecture by Marc Masurovsky (United States Holocaust Memorial Museum, Washington, D.C., and co-founder of Holocaust Art Restitution Project): “A Primer on Nazi/Fascist Cultural Plunder and the Never-Ending Quest for Justice in the Post-War Era”
Thursday, 3 pm : Lecture by Victoria Reed (Monica S. Sadler Curator for Provenance, Museum of Fine Arts, Boston): “Nazi-Era Provenance: The Museum’s Perspective and the Researcher’s Role”
Oct. 27, 4:15 pm: Keynote speech by Professor Jonathan Petropoulos (John V. Croul Professor of European History, Claremont McKenna College): “Nazi Art Plundering, Post-War Restitution, and the Restitution Field Going Forward”
Thursday, 5:30–7 pm: Dinner with speakers, faculty, and students.
Thursday, 7:30 pm: Lecture by Lucian Simmons (Worldwide Director of Provenance and Restitution at Sotheby’s, New York)
Friday, noon: Brown bag lunch lecture and discussion with Austrian Ambassador Hans Winkler (2011 Max Kade Distinguished Lecturer, sponsored by the Austrian Ministry of Foreign Affairs and the Max Kade Foundation): "Late Justice: Austria's efforts to deal with Nazi-looted art in public museums and collections"
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