15b - UKΡΑΝIAN STOLEN PAINTINGS BY NAZI - EG

UKRANIAN BY NAZI STOLEN PAINTINGS DURING WW II
ΛΙΑΠΗΣ ΠΑΝΑΓΙΩΤΗΣ
UKRANIAN PAINTINGS
STOLEN by NAZI
during WW II
ΜΥΘΙΣΤΟΡΗΜΑ ΑΠΥΘΜΕΝΗΣ ΠΡΑΓΜΑΤΙΚΟΤΗΤΑΣ. ΔΕΝ ΠΩΛΕΙΤΑΙ. Η ΓΝΩΣΗ ΔΩΡΙΖΕΤΑΙ.

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Novel of NON DEEP REALITY – FANTASY PRODUCT
With lots of love dedicated, to my parents, to EL_lines in Natalia, Olga, Onder,

and of course to my colleagues
By Price
LIAPIS Panagiotis
With lots of love dedicated, to my parents, to EL_lines in Natalia, Olga, Onder,

and of course to my partners
By Price
LIAPIS Panagiotis
При большом количестве посвященный, любви мои родители

Греки, В Наталья, Οльга, и Ондер, к моим коллегам
По цене
LIAPIS Panagiotis
Συγγραφέας ΛΙΑΠΗΣ ΠΑΝΑΓΙΩΤΗΣ

Τίτλος
Δ/νση Κ.Βάρναλη 12, 15121 Πεύκη, Αθήνα
Τηλ. 210-6149149
Κιν. 6937097443

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Ε-mail real_estate_liapis@yahoo.gr
ΔΙΑΘΕΣΗ 210.8065618 6937097443
Author LIAPIS Panagiotis
Title
Addr K. Varnali 12 15121 Pine Athens
Tel 210-6149149
Mob. 6937097443
E-mail real_estate_liapis@yahoo.gr
SUPPLY 210.8065618 6937097443
A few words from the author

My Friends in this textbook, take the
knowledge that until now store it in
dusty Greek manuscripts of Plato,
Aristotle and other ancient fotodoton
in damp basements monasteries and
private libraries disekatomyriouchon. We revealed through
masterfully blended events of economy, religion, Greek history
and mythology, the confirmations of Medicine and the
multidimensional social structures, the Greek discovery of
ether for which spoke Platonas and Aristotle, the mineral
krystalyka and electrical properties, their initiatory secret
caves, history, radiation and their effects on human health,
MIND CONTROL is the technical control of the mind legends
and myths, travel guides, the history of Russia and Mongolia,
Dynasty RURIC, the Greek supremacy, The Secret of the
Living Water, forecasts in recent days, the establishment of the
4th Reich, well read, and its organization, methods of
prevalence of the 4th Reich, Geostrategic, The Secrets of the
Parthenon, The stolen works of art, naturally leads business
survival in difficult times. There are missing from my literary
work of literature, prayer and research on photovoltaic
technology in whose threshold of energy is free. Also
presented a series of investigations on a series of error events
for the signs, and possible manipulation of cosmogony,
incidents involving the Nazis and the possible bases in space,
President Obama, and the new doctrine Panthriskeias

4
launched in conjunction with the Worship infernal beings are a new mirror through
which can be seen the current scene of the enormous progress in the areas of MIND
CONTROL, the chip EMV of Bill Gates on bank credit cards, the emerging banking
system in relation to economic crashes of America The SIONISMOS and the New
World Order of the 4th Reich, and PEOPLE CLONES - Men in Black, and the CIA in
connection with the anti-government slogans and reactive walls define a new reality,
which leads to control police forces in Use of Sound for centuries hidden weapons
ancient Greeks developed from the Greek National Nuclear epistimoina C. Gkiolva.
The creations of the Plan "Arrow" (sound rule) and the sound "Artemis", as are sources
on the web are presented in detail below in relation to biological warfare aircraft from
the US-spray from chemical and microbial air over cities. Trying to minimize the harmful
effects that using genetics Industry, extensive fires, building new towns in the
concentration camps of D Reich, apply geostrategic implementation plan new war in
the Balkans because of Kosovo, where the project "Blue Ray" at the upcoming
mayhem by the end of 01/2010 will chrisimopoiithoun new weapons bass Police with
physical effects of radiation on the human organism KARKINOUS
By Price
LIAPIS Panagiotis

5
CAUTION - SIGNIFICANT MARKINGS TO READER
1. This project is a bottomless MYTHISTORIMA Reality

2. Clarifies Developed Fiction
3. Any resemblance to actual persons, locations and events are imaginary,
purely accidental, not existing in the present reality and past it.
4. Copyrights on works protected by the current constitution, laws and
jurisprudence
5. Prohibited the reproduction and distribution of all or part of the document
without the prior written permission of the author and an award identifying
figures and in words of the author's remuneration, rights and remuneration of
the Greek state, the duration of the contract and the parties.
6. The document bears a registered trademark
7. The project is only available for private use, prohibited the reading public all
or part of it.
8. The work donate to the library of the Greek state request and complied with
the legislation providing for the process.
9. For Greek citizens: To book not sold through bookstores and other retail
outlets. KNOWLEDGE donors.
10. The book takes seeker typing costs and expenses of this mission.
11. The Writer LIAPIS Panagiotis receive no remuneration (money) making a
work available
12. The book has no subversive of the system concept, but instead Net
conglomerate of all the Greeks of Planet Earth, 120,000,000 Greeks to create
well-governed society as defined by the democratic, elected Parliamentary
Antiptosopous People (primary form of power)
13. The GREECE Fri all the problems exist because of the scandalous
EVNNOIA OF MARY. The Greeks GYIOS DEFKALIONOS OF, THE LIGHT,
AS NO ONE GREEK even no hope, no justice. Amen.
Copyright by Panagioti Liapi
THE BOOK IS NOT FOR SALE
I GIVE THE KNOWLEDGE FREE – NO COST
AT THE BEGINNING ON EARTH FROM TITHIS WAS ONLY TWO

AUTHENTIC RACES, GREEKS and DRACONIANS.

6
GREEKS HAVE THE MARK OF SUNNY SOUL IN THE EYES
DRACONIANS HAVE THE MARK OF KNIFE IN THE BACK BUT
ONLY THE MEMBERS OF THE CIRCLE KNOWS THAT.
(From Dialogues of Diomidis with Alexander the Great )

7
WORLD WAR II RESTITUTION CASES
This list is based on publicly available information and is not intended
to be exhaustive.
I. United States Museums World War II ClaimsResolved
1.Institution: Wadsworth Athenaeum, Hartford, Connecticut

Work of Art: The Bath of Bathsheba, Jacopo Zucchi Date: 1998
Settlement: The painting was taken from an Italian Embassy during or
immediately
after the Second World War. The Wadsworth Athenaeum bought it in
1965 from a Parisian art dealer who had a license from the Louvre to
export the work. The Italian government claimed the painting soon after
the acquisition, but was unable to provide definitive proof of ownership
until 1983. Due to changes in the Italian government and museum
leadership, it took approximately twelve years to work out a final
agreement. Italy and the museum agreed that the painting would be
returned to the Italian government in exchange for an extensive
exhibition
from the Galleria Nazionale to the Athenaeum. The exhibition, which
included works never before seen in the US, took place in 1998. The
painting is now in Italy.
2.Institution: Art Institute of Chicago

Work of Art: Bust of a Youth, ca. 1630, by Francesco Mochi Date:
June 2000
Settlement: The Art Institute of Chicago paid the heirs of Mr. Gentili di
Giuseppe for a partial interest of the marble bust and accepted the
remaining partial interest as a donation from the heirs. Mr. di Giuseppe,
who died of natural causes in 1940, was a Jewish resident of France
whose art collection was sold at public auction under order of the
French Court after his death. See I.5, infra.

8
3. Institution: North Carolina Museum of Art, Raleigh
Work of Art: Madonna and Child in a Landscape, 16th century,
Lucas Cranach the Elder Date:June 2000
Settlement: The North Carolina Museum of Art paid Cornelia and
Marianne Hainisch
of Austria $600,000 for the painting. The claimants are the great-nieces
of Viennese industrialist Philipp von Gromperz, from whom the Nazis
looted the painting on October 29, 1940.
4. Institution: Seattle Art Museum Work of Art: Odalisque, 1928, Henri

Matisse
Date: October 12, 2000
Settlement: The Seattle Art Museum (SAM) returned the painting to the
heirs of Paul
Rosenberg. The museum determined that in 1941 the painting was
stolen from a vault where Rosenberg had stored 162 paintings.
Knoedler 2 & Co. acquired the work in 1954 from Galerie Drouant-
David, Paris, and sold it to Prentice and Virginia Bloedel. The Bloedels
donated it to SAM in 1991. The museum later sued Knoedler & Co.,
contending that the gallery did not have clear title to the painting and
fraudulently or
negligently misrepresented the painting's provenance. The action was
dismissed, but later reinstated --with Knoedler's costs assessed against
SAM --when SAM acquired assignments of rights from the Bloedel
family. Knoedler & Co. and SAM announced a settlement in October
2000 under the terms of which Knoedler agreed to transfer to SAM one
or more works of art to be selected by the museum from Knoedler's
holdings, or the equivalent value in cash.
5. Institution: Museum of Fine Arts, Boston

Work of Art: Adoration of the Magi, ca. 1725, Corrado Giaquinto
Date:

9
October 19, 2000
Settlement: The Museum of Fine Arts, Boston paid the heirs of Mr.
Gentili di
Giuseppe for a partial interest of the painting and accepted the
remaining
partial interest as a donation from the heirs. Mr. di Giuseppe, who died
of
natural causes in 1940, was a Jewish resident of France whose art
collection was sold at public auction under order of the French Court
after
his death. See I.2, supra.
6. Institution: Denver Museum of Art Work of Art: The Letter, 17th

century, School of Gerard Terborch
Date: November 8, 2000
Settlement: The Denver Museum of Art returned the painting to
Marianne Rosson, the
sell the painting in 1934 and subsequently died in a concentration camp.
The museum acquired the painting by donation in 1961.
7. Institution: National Gallery of Art, Washington, D.C.

Work of Art: Still Life with Fruit and Game, ca. 1615-20, Frans
Snyders
Settlement: The National Gallery returned the painting to an authorized
representative
through the NGA's web site. The painting was confiscated from the
Stern
collection in Paris by the Nazis and traded by Goering to Haberstock.
8. Institution: The Art Institute of Chicago

Work of Art: Rock at Hautepierre, 1869, Gustave Courbet

10
Date: May 14, 2001
Settlement: The claim was pursued by Gerta Silberberg of England, the
daughter-in-
law and last remaining heir of Max Silberberg of Breslau, who sold the
painting in Berlin at Galerie Paul Graupe on March 23, 1935. Ms.
Silberberg alleged that the picture was included in a forced sale of her
father-in-law's collection. After extensive research --which the Art
Institute has made available to the public-- Ms. Silberberg and the Art
Institute reached an undisclosed settlement pursuant to which the
museum will retain title to and possession of the picture.
9. Institution: Princeton University Art Museum

Work of Art: St. Bartholomew, Bernardino Pinturicchio
Date: June 2001
Settlement: The Princeton museum, along with the dealer who sold the
painting to the
museum, agreed to pay the fair market value of the painting to the heirs
of Gentili di Giuseppe. Princeton University Art Museum retains the
picture. Mr. di Giuseppe, who died of natural causes in 1940, was a
Jewish resident of France whose art collection was sold at public
auction
under order of the French Court after his death.
10. Institution: Springfield Library and Museum Association

Work of Art: Spring Sowing, Jacopo da Ponte
Date: June 2001
Settlement: The Springfield, Massachusetts museum returned the
painting, which had
Florence to the Italian Embassy in Warsaw. In 2003, the museum sued
Knoedler Gallery, from which it had acquired the picture in 1955,
seeking
money damages for various claims, including breach of contract and

11
breach of implied warranty. Knoedler has moved for judgment on the
pleadings, based on the applicable statute of limitations.
11. Museum:Metropolitan Museum of Art

Work: The Garden of Monet's House in Argenteuil, Claude Monet
Date: August 22, 2001
Settlement: Henry H. Newman, a resident of France, made a claim in
1997 for the
painting, which had been purchased in 1916 by his grandfather, Henry
Percy Newman of Hamburg, Germany, and placed in a Berlin bank
vault
for safekeeping in 1940. The claimant's father, who was then serving in
the German Army, inherited the work during the Second World War.
How
and when the picture was removed from the bank vault remains
uncertain, but the claimant alleged that it was taken during the Soviet
occupation of Berlin in 1945.The painting was purchased in good faith
from a New York dealer in 1952 and given to the museum in 1994.
Pursuant to the settlement, the museum will pay an undisclosed amount
to the claimant, who gave up all claims to the painting.
12. Institution: Yale University Art Gallery

Work of Art: Le Grand Pont, Gustave Courbet
Date:October 23, 2001
Settlement: Eric Weinmann, of Washington, D.C., and his sister and
nephew asserted
a claim in October 2000 stating that Mr. Weinmann's mother, a Czech
Jew who lived in Berlin, purchased the painting in 1935 without
knowing
that its prior owner was Max Silberberg, a German Jew who was forced
to
sell his collection. The Weinmann family fled Berlin for Britain in

12
1938,
leaving behind most of their possessions, including this painting. It was
acquired in 1938 by Herbert Schaefer, a German who had joined the
Nazi Party in 1937. Dr. Schaefer loaned the painting to the Yale
University Art
Gallery in 1980. Dr. Schaefer has 47 other works of art on loan to Yale.
Under the terms of the settlement, Dr. Schaefer donated his entire
ownership interest in Le Grand Pont to Yale, which will loan the picture
to
Mr. Weinmann for a maximum of ten years. After the end of the loan
period, the picture will return to Yale for good.
13. Institution: Vizcaya Museum and Gardens, Florida

Work of Art: The Holy Trinity Seat of Mercy, 16th
century, Georg Pencz
Date: December 13, 2001
Settlement: Mr. Claire Mendel, the Honorary German Consul in Miami,
purchased the
of Miami in 1976. The picture was transferred to Vizcaya Museum and
Gardens in 1981. In early 2001, the curator of the National Museum in
Warsaw studied the painting Miami and presented documentation
indicating that it had disappeared from the National Museum during
World
War II. In July 2001, the National Museum submitted a formal
restitution
claim for the painting. On December 13, the Miami-Dade County
Commission authorized the Vizcaya Museum to return The Holy
Trinity-
Seat of Mercy to the National Museum.
14. Institution: The Menil Collection, Houston, Texas

Work of Art: Brook with Aloes, 1907, by Henri Matisse

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Date: January 23, 2002
Status:
The claim was being pursued by Francis Warin of Paris on behalf of
The
Association in Memory of Alphonse Kann, which asserted that the
picture
had been taken from the Kann collection when the Nazis occupied
France. The Menil Collection conducted extensive provenance research,
which was inconclusive about the picture's whereabouts between 1940-
1946. The terms of the settlement are confidential, but the picture
remains in Houston at the Menil Collection. The Menil has made
available to the public the information gathered in their provenance
research.
15. Institution: Los Angeles County Museum of Art

Work of Art: Persian or Mughal textile canopy, Late Medieval
Date: March 6, 2002
Settlement: LACMA purchased the work from a Los Angeles textile
dealer in 1971. In
January 2001, a trustee of the Czartorysky Foundation inquired about a
textile looted from the Foundation during World War II. Research in
Los
Angeles and Poland determined that the textile at LAMCA was the
same
as the one looted from the Polish foundation and LACMA's board of
trustees approved the return of the tapestry to the Prince Czartoryski
Foundation Museum in Krakow, Poland in March 2002.
16. Institution: Detroit Institute of Arts

Work of Art: A Man o' War and Other Ships off the Dutch Coast, 1692,
by Ludolf
Backhuysen

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Date: September 2002
Settlement: DIA brought the picture to Detroit to consider for
acquisition. The painting
was not registered with the Art Loss Register (ALR), but subsequent
research determined that it had been left in an Amsterdam bank vault by
a Jewish collector when he left the Netherlands in 1942. The bank's
Jewish-owned assets were later turned over to a Nazi-controlled entity.
In October 1942, the picture was sold to Kajetan Mahlmann, a
prominent
figure in Nazi looting of Poland and the Netherlands. The DIA, the
English gallery from whom it was buying the picture, and ALR
negotiated
the sale of the picture from heirs of the pre-war owner. (In announcing
the settlement, the DIA noted that it had previously settled a World War
II
looted art case: upon discovering that a painting in its possession, The
Seine at Asnieres, by Claude Monet, had been stolen during the war, the
DIA located the rightful owners and returned the picture to them in
1950.)
17. Institution: Metropolitan Museum of Art (loan)

Work of Art: Mt. Sinai, by El Greco
Date: January 2004
Settlement: Shortly before the museum planned to ship the picture after
the end of its
El Greco exhibition, it learned that a Swiss man had filed in state court
(but not served on the Museum) a request for a temporary restraining
order action barring the museum from moving the painting out of New
York State. The court denied the motion and the picture was returned to
the lender, the Heraklion Foundation in Crete.

15
18. Institution: Utah Museum of Fine Arts
Work of Art: Les Amoureaux Jeunes, 18th century, by Francois Boucher
Date: March 2004
Settlement: While compiling information for a book on Hermann
Goering's collection,
Nancy Yeide of the National Gallery of Art discovered at a Salt Lake
City
museum a Boucher painting that had been looted from the collection of
the French art dealer Andre Jean Seligmann. The painting, listed as
stolen in 1946, was acquired at a New York gallery in 1972 by a
collector
who donated it to the Utah museum in 1993. After extensive provenance
research with the assistance of the Art Loss Register, the museum
agreed to restitute the picture to Claude Delibes and Suzanne Geiss
Robbins, Seligmann's heirs.
19. Institution: Virginia Museum of Fine Arts

Work of Art: Portrait of Jean d'Albon, 16th century, by Corneille de
Lyon
Date: August 2004
Settlement: The trustees of the Virginia Museum of Fine Arts in
Richmond
unanimously voted to deaccession this small oil on panel and return it to
Kurt Schindler, a resident of the United Kingdom. Mr. Schindler is the
sole heir of an Austrian collector named Julius Priester, who emigrated
to
Mexico in 1938. The Gestapo seized Mr. Priester's collection during the
war. An American collector purchased the picture from Newhouse
Gallery in New York in 1949 and donated it to the museum in 1950.
The
Holocaust Claims Processing Office of the New York State Banking

16
Department assisted Mr. Schindler in presenting his claim.
20. Institution: San Diego Museum of Art

Work of Art: Allegory of Eternity, ca. 1625-1630, by Peter Paul Rubens
Date: May 2004
Settlement: After several years of research and discussions, the San
Diego Museum
of Art reached an agreement that will allow a Rubens oil painting to
remain in its collection. The work had been in the Galerie Van Diemen
in
Berlin when that gallery's inventory was liquidated by order of the Nazi
Government in 1935. Galerie Van Diemen was owned by Jakob and
Rosa Oppenheimer, who left Germany for France in 1933. Jakob
Oppenheimer died in France in 1941; Rosa was deported and died at
Auschwitz in 1943. The picture passed in commerce to various owners,
before appearing in the United States, where it was exhibited at the
1940
New York World's Fair. The picture was given to the San Diego
Museum
in 1947.
21. Institution: Virginia Museum of Fine Arts

Work of Art: Portrait of a Courtier, 16th century, by Jan Mostaert
Date: September 22, 2005
Settlement: The Czartoryski family collection in Poland transferred this
small oil on
panel from the Goluch Castle Museum to safekeeping in Warsaw in
1939. The Nazis located and seized it in 1941, and moved it to the castle
of Fischhorn in Austria after the 1944 Warsaw uprising. Newhouse
Galleries in New York sold the portrait in 1948 to a collector who gave
it

17
to the Virginia Museum of Fine Arts the following year. The museum
discovered these facts while conducting provenance research on its
collection and turned the picture over to the Polish Embassy on behalf
of
Adam Count Zamoyski, the representative of the rightful owners'
descendants. The family later deposited the painting in the Princes
Czartoryski Museum in Krakow, Poland.
22. Institution: Kimbell Art Museum

Work of Art: Glaucus and Scylla, 1841, by J.M.W. Turner
Date: June 6, 2006
Settlement: The Kimbell Art Museum in Fort Worth returned this
significant oil painting
Jaff, a Jewish collector in Nice, France, owned the picture from 1902
until his death in 1933. He bequeathed it to his wife, who remained in
France until her death in March 1942. Anna Jaff's will left her property,
including Glaucus and Scylla, to three nephews and a niece. The Vichy
Government, however, seized the contents of Mrs. Jaff's home,
including the painting and other works of art, and sold it at an auction of
Jewish property ﾝ in July 1943. Although its whereabouts between 1943
and 1956 are uncertain, the painting was in various hands in France,
Britain, and the United States from 1956 to 1966, when Newhouse
Galleries in New York sold it to the Kimbell. Mr. Monteagle presented
his
evidence of ownership to the Kimbell, which agreed that the Jaff's heirs
had good title, and returned the painting to Mr. Monteagle on their
behalf.

18
II. United States Museums World War II Claims Pending
1. Institution: Museum of Fine Arts, Boston
Work of Art: Landscape with Burning City, ca. 1500, Henri met de Bles
Status:
The painting was once in the collection of Franz Koenigs, a Christian
banker who died in May 1941 in Cologne, Germany. Franz Koenigs
used
the pictures as collateral in 1931 and 1935 loan agreements with the
Jewish-owned Dutch bank Lisser & Rosenkranz. Koenigs was unable to
repay the loans when the bank went into liquidation in April 1940. The
bank appears to have owned Koenig's drawings and paintings by early
May 1940, just before the Nazi occupation of the Netherlands. Mr.
Koenigs's granddaughter, Christine Koenigs, claims that her grandfather
was forced by the Nazi rise to power and the imminence of war to sell
this
and many other works he owned at far less than fair value. In December
2003, the Dutch Government issued an extensive report concluding that
Koenigs voluntarily sold the collection in order to satisfy his loan
obligation. The Museum of Fine Arts remains in possession of the
picture, though it does not assert title. See IV.21, infra.
2. Institutions: Metropolitan Museum of Art; Art Institute of Chicago;

Cleveland Museum
of Art; Museum of Fine Arts, Boston; National Gallery of Art,
Washington,
D.C.; Nelson-Atkins Museum, Kansas City; Pierpont Morgan Library;
Barber Institute of Fine Arts of the University of Birmingham, England;
Boijmans van Beuningen Museum, Rotterdam; the British Museum;
Courthauld Institute of Art, London; and the National Gallery of
Canada.
Works of Art: Drawings by Albrecht and his school
Status:

19
In an unusually complex matter, a dozen European, American, and
Canadian museums face claims to drawings by Albrecht and his
school from The Lviv Stefanyk Scientific Library in Lviv, Ukraine and
the
Ossolinski Institute in Wroclaw, Poland.
In 1823, a Polish aristocrat named Prince Henryk Lubomirski
announced
his intention to create the Lubomirski Museum as part of the Ossolinski
National Institute, a Polish cultural center in what is now Lviv, Ukraine.
The museum was created in 1866 and the drawings were placed there
pursuant to agreements signed by Prince Henryk and his son. The
agreements were intended to maintain hereditary ownership of the
drawings.
When the Lubomirski Museum was founded in 1866, Lviv (then known
by its German name, Lemberg) was part of the Austro-Hungarian
Empire.
The city (then called Lwow) became part of Poland after World War I.
When Soviet troops invaded eastern Poland in 1939, Lviv became part
of
the Ukranian Soviet Socialist Republic. The Nazis invaded the area in
1941, occupied Lviv, and removed the drawings from the Lubomirski
Museum. The drawings were sent to Hitler's headquarters in East
Prussia and later were stored in a salt mine at Alt Aussee, Austria. The
Allies recovered the drawings from the mine in 1945 and transferred
them
to the Munich Collecting Point. In 1947, Prince George Lubomirski, a
refugee in Switzerland and heir to
the hereditary estate of Prince Henryk, claimed the drawings. Neither
Poland nor the Soviet Union made a claim at that time. After extensive
study by the State Department and the Office of Military Government
for
the United States, the drawings were returned to Prince Lubomirski in

20
1950, who later sold the drawings through dealers in New York and
London.
Representatives of the twelve institutions now holding the drawings met
in
New York in December 2001 to discuss claims asserted by Ukraine and
Poland. The museums have offered to meet with Polish representatives.
Without addressing the validity of the claims, the U.S. State Department
has reviewed its 1950 decision to restitute the drawings to Prince
Lubomirski as the rightful owner, and has concluded that its "prudent"
decision was processed "with due diligence, deliberation, and care."
3. Institution: The Museum of Modern Art (loan)

Work of Art: Dead City III, 1911, and Portrait of Wally, 1912, Egon
Schiele
Date:New York State action: commenced January 7, 1998, resolved
September 21, 1999; federal action: commenced September 21, 1999
Status:
Not yet resolved. While on loan to MoMA with approximately 150
other
works by Egon Schiele from the Leopold Foundation in Vienna, two
separate families asserted claims for the paintings, claiming that Nazis
had wrongfully taken them before or during the Second World War.
Citing obligations to the lender and concern for the future of art loans if
institutions arrogate authority to resolve claims to borrowed art, the
museum declined to turn over the paintings to the claimants. The New
York District Attorney issued a subpoena duces tecum for the pictures.
In
September 1999, the New York State Court of Appeals quashed the
subpoena based upon state law protecting out-of-state art loaned for
non-
profit exhibition, permitting the works to be returned to the lender. Dead
City III was returned to Austria. U.S. Customs then seized Portrait of

21
Wally, and the U.S. Attorney for the
Southern District of New York commenced a forfeiture action. The
District Court dismissed the action in July 2000, on the ground that the
picture had ceased to be "stolen" property when the U.S. military
recovered it after World War II. At the end of 2000, however, the Court
granted the government leave to file a Third Amended Complaint. In
April
2002, the Court reversed its previous dismissal and denied motions to
dismiss the renewed action, allowing the forfeiture action to proceed.
No
trial date has been set. In June 2005, the Leopold Museum moved for
summary judgment. See II.6, infra.
4. Institution: Detroit Institute of Arts

Work of Art: The Diggers, 1889, by Vincent van Gogh
Status:
Martha Nathan, a member of the Dreyfus banking family, inherited the
work from her husband, who died in 1922. In 1930, Mrs. Nathan
transferred the painting from her home in Frankfurt am Main to Basel,
Switzerland and emigrated to Paris in 1937. While living in Paris, Mrs.
Nathan invited the dealer Georges Wildenstein to view a number of
works
in her collection. Wildenstein and two other Paris art dealers, Justin
Thannhauser and Alex Ball, purchased the work from her in 1938, along
with a painting by Gauguin. The price for The Diggers was
approximately
$9364. Several years later, in 1941, these dealers sold the work to a
Michigan collector named Robert Tannahill for $34,000. Mr. Tannahill
donated the painting to the DIA in 1970. Starting in 2004 and in
subsequent correspondence and discussions, a group of people
purporting to be Mrs. Nathan's heirs asserted that Mrs. Nathanâ€˜s sale
of

22
the picture was a coerced transaction. After several years of research
and discussion, DIA declined the demand that it either surrender the
painting to them or compensate the heirs for their loss. In January 2006,
DIA brought an action in U.S. District Court for the Eastern District of
Michigan to quiet title and for declaratory judgment that the heirs have
no
valid claim to the work. See II.5, infra.
5.Institution: Toledo Museum of Art

Work of Art: Street Scene in Tahiti, 1891, by Paul Gauguin
Status:
Martha Nathan, a member of the Dreyfus banking family, inherited the
work from her husband, who died in 1922. In 1930, Mrs. Nathan
transferred the painting from her home in Frankfurt am Main to Basel,
Switzerland. Mrs. Nathan emigrated to Paris in 1937. While living in
Paris, Mrs. Nathan invited Georges Wildenstein to view a number of
works in her collection. Wildenstein and two other Paris art dealers,
Justin Thannhauser and Alex Ball, ultimately purchased the work from
her
in 1938, along with a painting by Gauguin. The price for Street Scene in
Tahiti was approximately $6865. A few months later, in 1939, these
dealers sold the work to the Toledo Museum of Art for $25,000.
Starting
in 2004 and in subsequent correspondence and discussions, a group of
people purporting to be Mrs. Nathan's heirs asserted that Mrs. Nathan's
sale of the picture was a coerced transaction. After several years of
research and discussion, TMA declined the demand that it either
surrender the painting to them or compensate the heirs for their loss. In
January 2006, TMA brought an action in U.S. District Court for the
Eastern District of Michigan to quiet title and for declaratory judgment
that
the heirs have no valid claim to the work. See II.4, supra.

23
6. Institution: Allen Memorial Art Museum, Art Institute of Chicago,
Carnegie Museum
of Art, Indiana University, Museum of Modern Art, Neue Galerie,
Pierpont
Morgan Library
Work of Art: Drawings by Egon Schiele
Status:
Begun in 2005 as an action by David Bakalar, a Massachusetts owner of
a Schiele drawing, asking a federal court in Manhattan to declare that he
has good title after his proposed sale through Sotheby's London was
challenged by two men purporting to be Grunbaum heirs. Claimants,
defendants in the original action, seek to certify a defendant class of
institutions, individuals and other entities. The action involves works by
Egon Schiele alleged to have been in the collection of Fritz Grunbaum,
an
Austrian cabaret performer who was killed by the Nazis during the
Second World War. Bakalar's picture has a provenance similar to
Leopold
Museum's Dead City III, which was the subject of considerable
litigation in
1998-99, in that it was sold by Mathilde Lukacs, Grunbaum's sister-in-
law,
in Bern in 1956. Claimants assert that Mathilde Lukacs did not sell or
consign the pictures to the Bern dealer. They propose that the pictures
were placed in storage after Grunbaum's property was aryanized, and
that Lukacs could never have taken possession of them. They reject as
forgeries copies of contemporaneous correspondence between Lukacs
and the Swiss dealer. Further, they allege that, even if Lukacs somehow
managed to get possession of the Grunbaum pictures, she had no right
to
sell them, and doing so made her a thief. Bakalar has asked the court to
dismiss the action on the equitable doctrine of laches: all of the relevant

24
facts have been public knowledge for many years, yet the claimants did
nothing to assert their rights, and their delay in doing so has worked to
his
detriment because people with knowledge of the facts have died, and
evidence is no longer available. Bakalar's motion is pending, as is the
claimants' motion for class certification.
III. United States Non-Museum
1. Individual:
Daniel C. Searle
Work of Art: Landscape with Smokestacks, by Edgar Degas
Date: August 1998
Settlement: The picture was owned by Mr. Searle, who transferred half
of his
ownership interest to the Art Institute of Chicago and half to claimants
Lili
Vera Collas Gutmann and her nephews, Nick and Simon Goodman, the
daughter and grandsons, respectively, of Holocaust victims named
Friedrich and Louise Gutmann. Claimants alleged that the Nazis had
taken the picture from their relatives. The Art Institute agreed to pay
half
the fair market value of the pastel to the claimants in order to obtain
complete ownership. The value of the pastel was established by using
the average of two independent appraisals.
2. Individual: Marilynn
Alsdorf
Work of Art: Femme en blanc, 1922, by Pablo Picasso
Date: August 2005
Settlement: The pre-war owner, Carlota Landsberg, sent this 1922
Picasso oil painting

25
1939. The painting was apparently stolen from Thannhauser after the
Germans occupied Paris and was listed in the 1947 list of wartime art
losses in France, the Repertoire des Biens Spolies En France Durant La
Guerre 1939-1945. By 1941, Mrs. Landsberg and her daughter were
located in New York. In 1969, with her recovery efforts unavailing,
Mrs.
Landsberg received restitution from the German government for the
painting in the amount of 100,000 Deutsch marks. The provenance
problem surfaced when Marilynn Alsdorf, a major art collector and
patron of
the Art Institute of Chicago who bought the picture from a New York
dealer
in 1975, sent it to a Los Angeles gallery in 2001. (Mrs. Alsdorf's
husband,
the late Mr. James Alsdorf, was a board member of IFAR, whose stolen
art
database is now included in the Art Loss Register.) A prospective buyer
in
France checked with the Art Loss Register, which discovered first the
involvement of Thannhauser and then Mrs. Landsberg's ownership. The
Art Loss Register located Mrs. Landsberg's grandson, Thomas
Bennigson,
in California and notified him of his potential claim. Mr. Bennigson
brought
an action in state court in California to recover the picture after
discussions
between Mrs. Alsdorf and the Art Loss Register failed to resolve the
matter.
The painting was returned to Chicago just before Mr. Bennigson
obtained a
court order barring its removal from California, and Mrs. Alsdorf
moved to

26
dismiss the action for lack of personal jurisdiction. The jurisdictional
question, as well as Mrs. Alsdorf's action for declaratory judgment and
to
quiet title in the U.S. District Court for the Northern District of Illinois,
and
the forfeiture proceeding brought by the United States Attorney for the
Central District of California against Femme en blanc (on the theory
that by
returning the picture to her home in Illinois, Mrs. Alsdorf knowingly
transported stolen property across state lines and in so doing had
violated
the National Stolen Property Act, subjecting the property to forfeiture)
have
now been resolved by Mrs. Alsdorf's agreement in August 2005 to pay
Mr.
Bennigson $6.5 million to settle the matter. See III.3, infra.
3. Individual: Stephen
Hahn
Works of Art: Femme en blanc, 1922, by Pablo Picasso and Rue St.-
Honor
Midi, Effet de Pluie, 1897, by Camille Pissarro
Status:
Alleging that defendant's art gallery sold Nazi-looted paintings by
Picasso
and Pissarro in the 1970â€™s, plaintiffs asked a California court to
impose a
constructive trust in order to avoid unjust enrichment from the wrongful
sale of property belonging to another. In a decision on certain
procedural
matters, the court found that the facts as alleged permit the plaintiffs to
plead a constructive trust. The court also held that while California's

27
statute of limitations for some Holocaust-related claims does not allow
imposition of a constructive trust, the claim accrued in California and
the
normal limitation period of three years from discovery of the location of
stolen property applies, so the claim is not time-barred. Defendant
moved for reconsideration in February 2004, in part on the basis that the
Pissarro claim is time-barred because Cassirer discovered the location
of
the work by 2000, more than three years before bringing this suit; and in
part on the theory that the court applied the wrong California limitation
statute. This action is related to two separate lawsuits involving the
current owners of these works See III.2, supra, and IV.16, infra.
4. Individual: Anonymous
Work of Art: The Liberation of Saint Peter from Prison, attributed to
Rembrandt van Rijn Date: November 30, 2004
Resolution: The drawing was looted from the home of Dr. and Mrs.
Arthur Feldman
when Nazi Germany annexed Czechoslovakia on March 15, 1939.
Neither Dr. Feldman nor Mrs. Feldman survived the war; he died of
abuse
at the hands of the Nazis and she died at Auschwitz. The drawing was
returned to the Feldman's heirs by an American family who had
purchased the work in good faith and later contacted the International
Foundation for Art Research in New York in 2002 when they learned
that
it might have belonged to the Feldmans. After extensive research, and
with the cooperation of the Commission for Looted Art in London, the
American owners, who wish to remain anonymous, returned the
drawing
to the Feldman heirs. See IV.10 and IV.15, infra.

28
5. Individual: Elizabeth
Taylor
Work of Art: View of the Asylum and Chapel at Saint-Remy, 1889,
Vincent van Gogh
Date: February 2, 2005
Resolution: A German woman named Magarette Mauthner bought the
picture in
1914. She and her family left Germany for South Africa in1939. The
picture's whereabouts during the war years is not certain: there are
indications that Mauthner sold it in 1925 and that the purchaser himself
fled Germany to Switzerland in or around 1933. The actress Elizabeth
Taylor bought the painting at auction in 1963 for $257,000. The U.S.
District Court for the Central District of California dismissed the
Mauthner
heirs attempt to recover the work, ruling that their claim was time-
barred.
The court found that California's statute of limitations for recovery of
art
lost during the Holocaust era art did not apply because the claim was
against an individual, not a gallery or museum, as the statute requires.
The court also found that no discovery rule applied, so the three-year
limitation period began when Ms. Taylor acquired the picture in 1963.
Even if a discovery rule applied, the court said, plaintiffs failed to
exercise
any diligence in attempting to locate the painting, and Ms. Taylor's
ownership was common knowledge and easily discovered. The court
declined to recognize a new cause of action under either federal or state
law for the recovery of art alleged to have been misappropriated during
the Nazi period.
6. Individual: Anonymous
Work of Art: Three 19th century outdoor scenes by Heinrich Buerkel

29
Resolution: Three paintings, collectively worth an estimated $125,000,
were part of a group of fifty pictures owned by a municipal museum in
Pirmasens,
Germany that disappeared from an air raid shelter as the U.S. Army
arrived in 1945. Though it is unclear how the works arrived in the
United
States, they were acquired by a New Jersey man in the 1960's and later
bequeathed to his daughter. Museum officials identified the paintings
when they were offered for auction in Pennsylvania in the fall of 2005.
The U.S. Ambassador to Germany returned the paintings to the
Pirmasens Museum in February 2006.
IV. Foreign Museums/Governmentsâ€”World War II Claims
1. Institution: Republic of Austria

Work of Art: 250 objects, including paintings, drawings, furniture,
carpets, weapons
and coins
Date: February, 1999
Settlement: The government of Austria returned 250 works of art to the
Viennese
branch of the Rothschild family, which had been held by Austrian
museums. In March 1938, Nazis took possession of art, furniture and
decorative objects belonging to Barons Alphonse and Louis Rothschild.
In 1947, Alphonse Rothschild's widow - who was then living in New
York -
located and tried to export a portion of the collection, but was forced to
donate some of the objects to Austrian museums in order to obtain the
necessary export approvals. An Austrian panel charged with restituting
wrongfully retained art from national museums to their rightful owners
determined that the art was wrongly held by Austria, and returned a

30
substantial collection of material to the family in 1998. On July 8, 1999
the Rothschild family sold most of the recovered objects through
Christie's in London for $88.2 million.
2. Institution: Berlin National Gallery

Work of Art: Olivette, 1889, Vincent Van Gogh
Date: June 1999
Settlement: The drawing was returned to Gerta Silberberg, whose
father-in-law, Max
sold the painting at auction between 1933-1938. After recovering the
drawing, Mrs. Silberberg sold it at auction at Sotheby's. See I.8, supra,
and IV.3, infra.
3. Institution: Israel Museum

Work of Art: Boulevard Montmartre: Spring, 1897, Camille Pissarro
Date: February 2000
Settlement: The painting was returned to Gerta Silberberg, whose
father-in-law, Max
sold the painting at auction in 1935. Mrs. Silberberg has agreed to a
long-term loan of the painting to the museum, where it will hang with
wall
text explaining the painting's provenance and history. See I.8 and IV.2,
supra.
4. Institution: Sprengel Museum, Hanover Germany/City of Hanover,

Germany
Work of Art: Oil painting, Lovis Corinth
Settlement: The painting was returned to the heirs of Gustave and Clare
Kirstein. Mr.
suicide in 1939 after the Nazis confiscated her passport a day before she
was to emigrate to the United States. This painting, along with the rest

31
of
her collection, was seized and auctioned by the Nazis. It was recovered
by the Commission for Art Recovery. The heirs of Mr. and Mrs.
Kirstein
auctioned the painting and split the proceeds. See IV.5, infra.
5. Institution: Museum of Plastic Arts, Leipzig/City of Leipzig,

Germany
Work of Art: More than 80 works of art (mostly drawings and prints by
Max Klinger)
Settlement: The collection was returned to the heirs of Gustav and Clare
Kirstein.
Mr. Kirstein died in 1934 and left his collection to his wife, who
committed
suicide in 1939 after the Nazis confiscated her passport a day before she
was to emigrate to the United States. This collection was seized and
auctioned off by the Nazis. It was recovered by the Commission for Art
Recovery. Mr. and Mrs. Kirstein's heirs auctioned the painting and split
the proceeds. See IV.4, supra.
6. Institution: National Gallery, Berlin

Work of Art: Olevano, 1927, Alexander Kanoldt
Date: January 2001
Settlement: The National Gallery, Berlin returned the painting to the
heirs of Dr. Ismar Littmann, an attorney and art collector who lived in
Poland before World
War II. Dr. Littmann committed suicide in 1934. Part of his collection
was
sold at auction and some was confiscated by the Nazis. An art dealer
bought Olevano at Max Pearl Auction House in Berlin in 1935. The
Municipality of Berlin bought Olevano in 1950 and donated it to the

32
National Gallery, Berlin in 1951. The painting was recovered as part of
a
settlement arranged by the Holocaust Claims Processing Office of the
New York State Banking Department. See IV.18, infra.
7. Institution: Museum of Modern and Contemporary Art, Strasbourg

Work of Art: Die Erfuellung (Fulfillment), 1909, by Gustav Klimt
Date: January 2001
Settlement: The government of France ordered the Museum of Modern
and
Contemporary Art in Strasbourg to return the painting to the children of
Karl Grunwald. Mr. Grunwald's collection was confiscated and
auctioned
by the Nazis in 1942 and 1943. An association representing the museum
purchased the painting in 1959 from a local painter.
8. Institution: Tate Gallery, England

Work of Art: View of Hampton Court Palace, 1710, by Jan Griffier the
Elder
Date: January 18, 2001
Settlement: Based upon a determination by the Spoliation Advisory
Board, the British
in order to retain the painting. The Tate also agreed to acknowledge the
work's wartime provenance on its wall label. While residing in Belgium,
the family was forced to sell the painting to flee the Nazis. The Tate
Gallery purchased the painting in Cologne in 1961.
9. Institution: Kiyomizu Sannenzka Museum, Kyoto

Work of Art: Deserted Square of an Exotic Town, 1921, by Paul Klee
15
Date: February 2001
Settlement: In exchange for a symbolic payment the museum returned

33
this
watercolor to Jen Lissitzky, the son of Russian avant-garde artist El
Lissitzky. Sophie Lissitzky had loaned the picture, among
others, to the Provinzial museum in Hanover in 1926, just before she
left
for Russia to marry El Lissitzky. The Nazis seized the Lissitzky
collection as degenerate art in 1937, and later sold it. See IV.12, infra.
10. Institution: Moravian

Gallery,
Brno
Work of Art: 135 Old Master drawings
Date: April 2002
Settlement: A museum in the Czech Republic returned 135 drawings to
the heirs of
Arthur Feldman, a Czech lawyer who was arrested soon after the Nazi
invasion of what was then Czechoslovakia. Mr. Feldman died in prison
and his wife died at Auschwitz. His collection was placed in the
Moravian
Museum. Family claims for restitution were declined by the former
Communist regime and later by the successor government, but
legislation
enacted in 2000 permitted claims for property stolen by the Nazis. See
III.4, supra, and IV.15, infra.
11. Institution: National Gallery, Prague

Work of Art: Le juif au bonnet de fourrure, after Rembrandt
Date: June 2002
Settlement: The Czech Minister of Culture returned to French
authorities a painting

34
looted by the Nazis from the collection of Adolphe Schloss in Paris in
1943.
12. Institution: Ernst Beyeler Foundation, Basel

Work of Art: Improvisation Number 10, 1910, by Wassily Kandinsky
Date: July 2002
Settlement: The Beyeler Foundation reached a settlement with Jen
Lissitzky, the son
of Russian avant-garde artist El Lissitzky and Sophie Lissitzky,
which allowed the museum to retain possession of the painting. The
picture was one of a collection of thirteen works Sophie loaned
to the Provinzial museum in Hannover in 1926, just before she left for
the
USSR to marry El Lissitzky. The Nazi government confiscated the
picture
in 1937 in its efforts to eradicate degenerate art. In 1951, Beyeler
bought the painting from a German dealer who had acquired it during
the
war. In 1978, Ms. Lissitsky died in Siberia, where the Soviet
government had exiled her. See IV.9, supra.
13. Institution: Kunsthalle,

Emden, Germany
Work of Art: Bauernhof, 1924, by Emil Nolde
Date: December 2002
Settlement: The Holocaust Claims Processing Office of the New York
State Banking
Department assisted in the settlement of a claim by heirs of Heinrich
and
Elizabeth Bamberger, the pre-war owners of a painting by German
Expressionist Emil Nolde. Mrs. Bamberger, a widow, left the painting
behind when she left Germany on 1940, en route to Ecuador via the

35
USSR, Manchuria, and Korea. The picture ended up in the possession of
Wilhelm Schumann, a Nazi art dealer, and changed hands several times
after the war before being bequeathed to the Emden Kunsthalle in 1984.
Under the confidential terms of the settlement, the picture will remain in
the Kunsthalle, where it will be exhibited with provenance information
reflecting the ownership of the Bamberger family.
14. Institution: New Gallery, Linz, Austria

Work of Art: View of Krumau, 1916, by Egon Schiele
Date: December 2002
Settlement: The Austrian city of Linz agreed to return a landscape by
Egon Schiele to
picture after Ms. Hellman left Austria following the Anschluss. A
German
collector named Wolfgang Gurlitt bought the picture at auction in 1942
and sold it, along with the rest of his collection, to the city of Linz in
1953.
15. Institution: British Museum, London

Works of Art: St. Dorothy with the Christ Child, by a follower of
Martin Schongauer;
Holy Family, by Niccolo dell'Abbate; Allegory on poetic inspiration
with
Mercury and Apollo, by Nicholas Blakey; and Virgin and Child adored
by
St. Elizabeth and the infant St. John, by Martin Johann Schmidt
Date: April 27, 2006
Settlement: The British Museum resolved a 2002 claim to four old
Master drawings
from the collection of Arthur Feldman, a lawyer whose home and
substantial collection of drawings were confiscated by the Nazis after
the

36
1939 occupation of Czechoslovakia. Neither Feldman nor his wife
survived the war; he died in prison and she died at Auschwitz. The
museum bought three of the drawings at auction in 1946 and received
the
fourth by bequest in 1949. The British Museum acknowledged that
evidence provided in support of the claim was detailed and compelling
but a British court ruled in May 2005 that the claim's ethical merit did
not
override the Museums and Galleries Act, a 1992 statute that prohibits
deaccessioning, except in narrowly defined categories. The British
Museum agreed to make an ex gratia payment of £175,000 ($312,000)
to
the claimant, Uri Peled of Israel, a descendant of Dr. Feldman. The
drawings will remain at the museum. See III.4 and IV.10, supra.
16. Institution: Thyssen-Bornemisza Museum, Madrid

Work of Art: Rue St.-Honor Effet de Pluie, 1897, by Camille Pissarro
Status:
An 84-year-old San Diego man alleged in U.S. District Court in Los
Angeles that his grandmother, Lily Neubauer, was forced to surrender
the
picture to Nazis before leaving Germany for Great Britain in 1939. The
claimant's great-grandfather, Julius Cassirer, apparently bought the
picture from Durand-Ruel, Pissarro's dealer in Paris, soon after it was
painted in 1897. Ms. Neubauer tried to recover the work after the war,
and in 1958 accepted 120,000 Deutsche marks from the West German
government in compensation for her loss. The Spanish government,
which bought Baron Hans Heinrich Thyssen's collection in 1993 and
created the Thyssen-Bornemisza Museum, disputes the claim and
asserts that it has good title. The museum moved in February 2006 to
dismiss Mr. Cassirer's complaint on the basis of sovereign immunity

37
and
for lack of personal jurisdiction. See III.3, supra.
17. Institution: Belvedere Gallery, Vienna

Works of Art: Several oil paintings by Gustav Klimt
Date: January 2006
Resolution: Maria Altman brought suit in federal court in Los Angeles
in 2000, alleging Gallery (part of the Austrian National Gallery). Ms.
Altman alleged that the
pictures were taken by the Nazis and coercively obtained by Austria in
1948 in an exchange for export permits for other family-owned art.
Austria maintained that the pictures are part of the nation's cultural
heritage, that Ms. Altman's aunt, Adele Bloch-Bauer, bequeathed the
pictures to Austria when she died in 1925, and that the family's attorney
acknowledged Austria's ownership of the pictures, in writing, with the
family's express permission. In 1999, Ms. Altman's claims were rejected
by an Austrian panel charged with restituting wrongfully retained art
from
national museums to their rightful owners. The panel concluded that
certain valuable artwork should be returned to Ms. Altman, but found
that
ownership of the Klimt paintings had passed to Austria through the will
and the family's subsequent actions. Ms. Altman abandoned litigation
challenging the outcome in Austrian courts, apparently because of fees
imposed by Austrian law upon all civil litigants. In December 2002, the
Ninth Circuit Court of Appeals upheld the district court's denial of
Austria's
motion to dismiss the complaint for lack of jurisdiction. Austria
appealed
to the U.S. Supreme Court on the issue whether certain actions before
1976 are immune from review by U.S. courts as the acts of a sovereign
nation, and whether an exception to that immunity adopted in 1976 in

38
the
Foreign Sovereign Immunities Act can be applied retroactively. The
court
held that the usual presumption against retroactive application did not
apply to the Foreign Sovereign Immunities Act because, among other
things, foreign nations were not entitled to rely on the existence of
immunity for their acts, and concluded that the Act could apply to
events
predating its enactment. The court remanded to the district court for
further proceedings, including the question whether Ms. Altmann could
maintain her claim under the expropriation exception of the FSIA. The
parties agreed in May to submit the matter to binding arbitration in
Austria, under Austrian law. In January 2006, the three-person
arbitration
panel validated Mrs. Altman's claim and directed Austria to return all of
the works to Mrs. Altman. Mrs. Altman and the other heirs later sold
one
of the paintings, Portrait of Adele for $135 million for the Neue Galerie
in New York.
18 Institution: Ernst Strassman Foundation

Work of Art: La Procession, 1929, Lucien Adrion
Date: June 17, 2003
Settlement: The Ernst Strassman Foundation, a German entity, returned
the painting
to the heirs of Dr. Ismar Littmann, an attorney and art collector who
lived
in Silesia, in what is now Poland. La Procession was sold at auction at
Max Pearl Auction House, Berlin, in 1935, though it is not clear how or
when it came to the collection of Ernst Strassman, a German judge and
art collector who was active in the resistance to the Nazis. The
painting's

39
recovery was arranged by the Holocaust Claims Processing Office of
the
New York State Banking Department, the fourth picture to be restituted
to
the Littman heirs. See IV.6 supra.
19. Institution: National Gallery, Ottawa, Ontario, Canada

Work of Art: Le Salon de Madame Aron, by Edouard Vuillard
Date: Late 2003
Settlement: The National Gallery of Canada plans to return a Vuillard
painting to the
Lindon family in Paris, subject to proof that the claimants are the proper
heirs under French law. The National Gallery had included the picture
in
its website identifying works with provenance gaps during the Nazi
period,
and had repeatedly contacted the Lindon family about a possible claim
to
the painting. Previously, family members had maintained that they had
no claim to the picture, apparently believing that they had sold it in or
around 1940. Additional research, however, turned up German
documents demonstrating that the Nazis had removed the picture from a
bank vault while the Lindon family owned it.
20. Institution: Hunt Museum, Limerick, Ireland

Work of Art: Unspecified
Status: In January 2004, the Simon Wiesenthal Center raised questions
about
the provenance of works in the collection of the Hunt Museum, alleging
that an Irish couple, the late John and Gertrude Hunt, whose collection
is
now owned by the Hunt Museum, had intimate business relationships

40
with notorious dealers in art looted by the Nazis. In response to the
assertion, which named neither the allegedly tainted works of art nor the
dealers who provided it, the Hunt Museum appointed a three-member
panel led by a retired Supreme Court judge to conduct an investigation.
All three members resigned in February 2005 over a funding dispute:
the
Irish government had declined to finance the inquiry, and the panel
believed that accepting funding from the Hunt Museum could
compromise
their independence. A subsequent investigation produced no evidence of
Hunt Museum works having been taken during the Nazi period. The
museum has placed on its website images and information about all of
the works in its collection.
21. Institution: Dutch National Museums

Works of Art: (a) 19th Century Dutch Landscapes by Koekkoek,
Schelfout and Van Os (b) Fisherman on Horseback, 19th century, by
Jozef Israls
Date: July 15, 2004
Resolution: The Advisory Committee of the Assessment of Restitution
Applications
recommended that the Dutch Secretary of State for Culture honor two
claims
for restitution from the Dutch national collections. These pictures have
been
held in the custody of the Dutch Government since the late 1940's. See,
II.1supra.(a) These landscape paintings, along with others that were not
part of the Advisory Committee's recommendation, disappeared from
the Amsterdam
home of their pre-war owner, a Jewish art collector and resistance
fighter in
1942 who had been imprisoned in the Westerbork concentration camp

41
near
the German border. While interned, the owner sent a postcard
expressing his
wish to bequeath several works of art to his illegitimate son. The
Committee
noted that the son has no rights as an heir because he was never
formally
recognized by the father, but found that there was a valid gift. The
Advisory
Committee further noted the Dutch Government's intention not to
resolve
restitution questions from a purely legal perspective, but also to take
into
account policy considerations.
(b) The Advisory Committee also recommended the restitution of a
drawing
by the Dutch artist Jozef Israls to the family of the pre-war owner, who
had
left the drawing in storage in Amsterdam when he emigrated to the
United
States. The drawing was confiscated by the Nazis during the war, and
later
returned to the Netherlands.
22. Institution: Glasgow City Council/Burrell Collection

Work of Art: Still Life, formerly attributed to Jean-Baptiste-Simon
Chardin
Resolution: The heirs of five Jewish former shareholders of a Munich
art gallery, acting anonymously, asserted that the gallery's stock,
including this work, had been
the subject of a forced sale in 1936. Soon after the sale, a Scottish

42
couple
named Burrell acquired the picture, which they later donated to the City
of
Glasgow, along with thousands of other objects. The Spoliation
Advisory
Panel found that the Glasgow's concerns about maintaining the integrity
of
the Burrell Collection and about observing the Burrell's prohibition
against
selling, donating or exchanging any object were outweighed by the
morally preponderant right of the heirs to recover their property and
recommended
that the picture be restituted to the heirs. The heirs have apparently
accepted
a cash payment equal to the picture's current value (£7500-10,000).
23. Institution: Dutch National Museums

Works of Art: 202 Old Master paintings, including works by Jan Steen,
Filippo Lippi,
Anthony van Dyck, Salomon van Ruysdael, and others
Status:
The Advisory Committee of the Assessment of Restitution Applications
recommended the restitution of 202 Dutch, Flemish and Italian works
from at least 17 national museums in the Netherlands including the
Rijksmuseum, the Mauritshuis, the Frans Hals Museum, and the
Bonnefantenmuseum. The paintings were owned by a Dutch art dealer
named Jacques Goudstikker who died aboard ship while escaping
Holland soon after the German invasion of Holland in 1940.
Reichsmarschall Herman Goering visited the gallery within days of
Goudstikker's flight, and ultimately acquired the entire collection for a
fraction of its value in a coerced transaction arranged by his dealer, a

43
German named Alois Miedl. Allied forces recovered the works at the
end
of World War II and transferred them to the Dutch Government for
restitution to the rightful owners. Instead, the works remained in the
Dutch national collections. The Dutch Government had previously
rejected the Goudstikker claim, but the Under Minister for Education,
Culture and Science, Medy van der Laen, accepted the Advisory
Commission's December 2005 recommendation and agreed to restitute
the works. (The Commission also recommended that an additional 40
paintings not be returned to the Goudstikker heirs because there was
insufficient evidence that the works belonged to the gallery at the
relevant
time.) The Goudstikker heirs, led by the widow of Goudstikker's son,
who
lives in Connecticut, intends to continue the search for additional works
from the Gallery.
24.Institution: Lienz Museum, Lienz, Austria

Work of Art: Totentanz, by Albin Egger-Lienz
Date: March 2006
Resolution: City officials in the Austrian city of Lienz voted to return an
oil painting on Ms. Fox is the heir of an Austrian Jewish family from
whom the Nazis took
the picture during the Second World War. Ms. Fox sold the painting at
auction in May 2006 for $1.7 million.
Bibliography: Looted Art

44
1. 1940-1948 Museum Acquisitions Project. Washington: Royal
Netherlands Embassy, November 1998.
Note: During WWII, the Nazis looted art from the occupied the
Netherlands and transferred the booty to Germany. Although the Dutch
government in exile in London took measures that enabled many
confiscated art objects to be returned to their rightful owners, the
ongoing problems related to the issue have led the Netherlands to
launch new initiatives: the Origins Unknown Project which will
investigate the origins of art objects returned from Germany and in the
custody of the Dutch State; the Museums Acquisitions Project, a
museum-led project, which will investigate art object acquisitions
during and after WWII.
Online: http://www.herkomstgezocht.nl/eng/index.html.
2. Aalders, Gerard. "By diplomatic pouch: art smuggling by the Nazis."

Spoils of War no. 3 (December 1996): 29-32.
Note: The article's focus is on the transportation of looted art to be
collected or sold. Looted paintings of Old Masters went straight to the
Reich for the planned Führermuseum in Linz or into the collections of
high Nazi officials. Degenerate modern art was sent to Switzerland via
diplomatic packet to be sold or exchanged for German paintings. In
Eastern Europe, ERR, a special plunder force looted both private and
public collections, whereas in the West museum collections were
touched less frequently than the private collections of Jews.
Online: http://spoils.libfl.ru/spoils/eng/spoil3_2.html#13.
3. Adams, E. E. "Looted art treasures go back to France." The

Quartermaster Review 26 (September-October 1946): 16-23, 77-80, 83-
84, 87.
4. Akinsha, Konstantin. "The secret depositories slowly open."

ARTnews 91, no.4 (April 1992): 48+.

45
Note: The author predicted that the thousands of artwork stored in
Russia as looted German objects will become known soon with the new
open policies in Russia.
5. Akinsha, Konstantin. "A Soviet-German exchange of war treasures?."

ARTnews 90, no.5 (May 1991): 134-139.
Note: The General Relations Treaty between the USSR and Germany in
1990 provided for the return of looted art seized by the Soviets and the
repatriation of art stolen from the USSR by Nazis. Article looks at the
problems of identifying, locating and repatriating these works. Soviet
art scholars are cited.
6. Akinsha, Konstantin. "The turmoil over Soviet war treasures."

ARTnews 90, no.10 (December 1991): 110-115.
Note: Traces new development in German-Russian negotiations about
looted art. Soviet Culture Minster Gubenko's announcement that the
Soviet Union will return objects looted from Germany after WWII only
for equivalent art stolen from the USSR by the Germans is reported.
7. Akinsha, Konstantin. "Duma does it." ARTnews 96, no.4 (April

1997): 65-66.
Note: The Russian Parliament has passed a law that "trophy" artwork
seized by the Red Army in Germany and Eastern Europe are the
property of the Russian Federation.
8. Akinsha, Konstantin. "Hermitage sequel." ARTnews 96, no.3 (March

1997): 56.
Note: "Master Drawings Rediscovered", the second show of German
trophy artwork hidden since the end of WWII opened at the Hermitage.
The future of the looted art remains unclear.

46
9. Akinsha, Konstantin. "War loot: drawings for Deutsche Marks?."
ARTnews 91, no.7 (September 1992): 35.
Note: According to Russians, the Bremen Kunsthalle may have to pay
for its Old Master drawings, looted by the Red Army during WWII, if
they are to be returned from Russia.
10. Akinsha, Konstantin. "Russia: whose art is it?" ARTnews 91, no.5
(May 1992): 100+.
Note: Rising nationalism and religious revivalism are demanding that
Russia return cultural property to other former Soviet republics and to
the Russian Orthodox Church.
11. Akinsha, Konstantin and Grigorii Kozlov. "Spoils of war: the Soviet
Union's hidden art treasures." ARTnews 90, no.4 (April 1991): 130-141.
Note: The USSR seized a great deal of work from the Soviet occupation
zone of Germany; some of the loot was returned to East German
museums in the late 1950s, but much of it is still in Russia. There is a
debate on the question of repatriation.
12. Akinsha, Konstantin and Grigorii Kozlov. "Yeltsin - repatriation is a

long way off." ARTnews 91, no.6 (Summer 1992): 45+.
Note: Russia's Boris Yeltsin indicates that the return of German cultural
loot will take place only on a mutual basis.
13. Akinsha, Konstantin and Grigorii Kozlov. "Moscow: war loot -

drawings for Deutsche marks?." ARTnews (September 1992).
14. Akinsha, Konstantin and Grigorii Kozlov. "To return or not to

return." ARTnews 93, no.8 (October 1994): 154+.
Note: Disclosure of the fact that Russia has secret museum storehouses
of art looted from Germany during WWII has created a controversy in

47
Russia between those who believe the art should be returned and those
nationalists who consider the booty legitimate compensation for lost
Soviet culture. Russian and German restitution commissions,
established in 1992, have not been able to agree on exchange issues.
15. Akinsha, Konstantin and Grigorii Kozlov. "Moscow: let the

museums decide." ARTnews (December 1992).
16. Akinsha, Konstantin, Grigorii Kozlov and Sylvia Hochfield. Stolen

treasure: the hunt for the world's lost masterpieces. London: Weidenfeld
& Nicolson, 1995. xiii, 301 pp.
Note: Published in the US as Beautiful loot: the Soviet plunder of
Europe's art treasures, this account of how the Soviets looted artwork at
the end of WWII is a detailed and dramatic tale. The story takes place
during the two-year period between the Battle of Stalingrad and the fall
of Berlin in May 1945. The Russians occupying Germany stole the
German art of Berlin and Dresden, as well as art plundered by Germans,
as compensation for Soviet losses.
17. Akinsha, Konstantin and Grigorii Kozlov. "Das Gold von Troja liegt
in Moskau (Trojan gold residing in Moscow)." ARTnews 4 (April
1993).
18. Akinsha, Konstantin and Grigorii Kozlov. "The Soviets' war

treasures: a growing controversy." ARTnews 90, no.7 (September
1991): 112-119.
Note: Evidence of the existence of German artwork looted by the
Soviets during WWII is creating a controversy in Russia. At last,
documents are being published giving details about the amount of
artwork removed from Germany by the Russian Trophy Commission
after WWII and stored in secret places.

48
19. Akinsha, Konstantin and Grigorii Kozlov. "The discovery of the
secret repositories." In The spoils of war - World War II and its
aftermath: the loss, reappearance, and recovery of cultural property,
162-165. New York: Harry N. Abrams, 1997. (Paper presented at
international symposium, The Spoils of War, sponsored by Bard
Graduate Center for Studies in the Decorative Arts, New York, January,
1995).
Note: The authors' first article in ARTnews magazine, in 1991, on the
secret art repositories removed by the Soviets from Germany at the end
of WWII was written with the naive hope that it would convince Russia
to return the confiscated treasures. In this essay, the authors note many
interesting facts about the creation of the secret repositories, noting that
the removal of art objects was part of Stalin's foreign policy.
20. Aldous, Tony. "Lost without trace." History Today (London) 42

(August 1992): 2+.
Note: The looting of Czechoslovakian cultural treasures since the
overthrow of the Communist regime threatens to destroy the country's
tangible heritage, according to a leading art administrator at the
International Art Antique & Architectural Theft Conference held in
London in June 1992. Experts at the conference agreed that there is a
growing international epidemic of fine art theft. A new organization,
CoPAT (Council for the Prevention of Art Theft) has been created to
combat the problem.
21. Alford, Kenneth D. The spoils of World War II: the American
military's role in stealing Europe's treasures. New York: Birch Lane
Press, 1994. xii, 292 pp.
Note: Alford chronicles WWII-era looting, noting that the magnitude of
this plunder surpassed everything done in past wars. His emphasis is on
the thievery committed by American military in Germany.

49
22. "Art confiscated by Soviets uncovered." Facts on File 55, no.2874
(December 31, 1995): 1012+.
Note: Artwork stolen by Russian troops during WWII has been placed
on exhibit in Moscow.
23. Art Looting Investigation Unit: final report. Washington: War

Department, Strategic Services Unit, May 1, 1946. 170 pp.
24. Art with a dubious past (The Irish Times). August 14, 1998.
Note: The dispute over two Egon Schiele paintings detained in New
York City after they were borrowed from European owners for a
MoMA show in January has created a dilemma for museum directors
who fear that the issue of art stolen during the Holocaust will over-
burden museum personnel with research into the provenance of artwork
and affect the amount of European art available to international
audiences.
Online: http://www.museum-security.org/reports/04998.html#1.
25. Attias, Laurie. "Looking for loot at the Louvre." ARTnews 97, no.4
(April 1998): 74.
Note: The Von der Heydt Museum claims that the Louvre is
maintaining artwork illicitly shipped out of Germany during WWII.
26. Beck, Ernest. "Hungary asks Russia for missing art treasures."
ARTnews 91, no.4 (April 1992): 45+.
Note: Thousands of missing art treasures looted from Hungarian Jews
during WWII have been located in Russia.
27. Bittman, Alexander. "Spoils of war." History Today 49, no.1

(January 1999): 3.
Note: Over one million Hungarian artwork was looted from Hungarian
Jews by the Red Army; some of these pieces are on display in Moscow

50
and Budapest. Although a restitution agreement was signed in 1992,
Russia and Hungary have yet to agree on the matter.
28. Bloedow, Edmund. "The authenticity and integrity of 'Priam's

Treasure'." Boreas 14-15 (1991-1992).
29. Blumenthal, Ralph. "Without portfolio: wartime art daredevils."

New York Times Section 2 (February 12, 1995 (Late New York
edition)): 32.
Note: This is a story about WWII missing art.
30. Boguslavskij, Mark. "Legal aspects of the Russian position in regard

to the return of cultural property." In The spoils of war - World War II
and its aftermath: the loss, reappearance, and recovery of cultural
property, 186-190. New York: Harry N. Abrams, 1997. (Paper
presented at international symposium, The Spoils of War, sponsored by
Bard Graduate Center for Studies in the Decorative Arts, New York,
January, 1995).
Note: The author's goal is to provide the reader with basic legal
information about Russian-German reciprocal return of cultural
property negotiations along with his comments.
31. Boguslavskij, M. M. "Contemporary legal problems of return of

cultural property to its country of origin in Russia and the Confederation
of Independent States." International Journal of Cultural Property 3,
no.2 (1994): 243-256.
Note: An analysis of the international legal regulations and legal
practice leads to the conclusion that there is a need to sign multilateral
and bilateral agreement on cultural cooperation between the member
states of the Confederation of Independent States.

51
32. Bohm, Elga. "Der Central Collecting Point Munchen: erste
Kunstsammelstelle nach 1945 (The Central Collecting Point in Munich:
the first collecting point for art works after the Second World War
1945)." Kolner-Museuems-Bulletin (Germany) (1987): Part 4.
Note: Article on the Central Collecting Point in Munich established by
Monuments officers accompanying the American occupation army after
WWII to collect art confiscated by the Nazis during the war.
33. Boylan, Patrick J. Review of the Convention for the Protection of

Cultural Property in the Event of Armed Conflict (Hague Convention of
1954). Paris: UNESCO, 1993. 248 pp.
34. Braun, Hugh. Works of art in Malta: losses and survivals in the war.
London: HMSO for the British Committee on the Preservation and
Restitution of Works of Art, Archives and Other Material in Enemy
Hands, 1946. v, 46 pp.
35. Breitenbach, Edgar. "Historical survey of the Intelligence

Department, MFAA Section, in OMGB, 1946-1949." College Art
Journal 9 (Winter 1949-1950): 192-198.
Note: Describes the elaborate organization of a German Documents
Center and how looted art works were identified and listed to establish
ownership and to check claims submitted though the MFA&A.
36. Breslau, Karen. "The heist of 1945: the looted treasures of Europe
may at last be returned to their owners." Newsweek 118, no.3 (July 15,
1991): 51+.
Note: Article on the Soviet possession of German artwork stolen at the
end of WWII.
37. Buomberger, Thomas. "The baron's share?." ARTnews (November

1998): 75.

52
Note: Over forty art objects seized from Baron Eduard von der Heydt
during the Holocaust are to be returned to the rightful owners.
38. Burdick, Ansje M. Ethics, museums and artwork looted during

World War II. Eugene: University of Oregon, 1998. 82 pp., plus
appendices. (Master's thesis for the Arts & Administration Department,
University of Oregon).
Note: This study examined the most recent ethics policies of the
American Association of Museums, the Association of Art Museum
Directors and the International Council of Museums in relation to the
current discovery of looted art in United States art museums. Ethics
policies were analyzed to determine how the policies guide museums
currently dealing with claims against their collection and prevent the
acquisition of looted art in the future. In addition, three professionals
knowledgeable about looted art were interviewed to determine the
perception of the adequate or inadequate nature of the policies. Both the
policy analysis and interview revealed the ethics policies to be vague.
Interview subjects made recommendations to be included in future
policies. (Author's abstract).
39. Burr, Nelson R., compiler. Safeguarding our cultural heritage: a

bibliography on the protection of museums, works of art, monuments,
archives and libraries in time of war. Washington: Library of Congress,
1952. 117 pp.
Note: Although there are a few titles from World War I, most of the
citations date from 1936 on reflecting the Nazi rise to power and the
Spanish Civil War.
40. Busterud, John A. "The treasure in the salt mine." Army - Arlington
(Association of the United States Army) 47, no.3 (March 1997): 47-51.
Note: At the end of WWII, US and Allied forces discovered looted art
deep in a mine near Merkers, Germany. The author, commander of both

53
munitions and security platoons, was assigned the task of guarding and
ultimately removing the wealth and art from the mine.
41. Cembalest, Robin. "It's official: the Trojan Gold is in Russia."

ARTnews 92, no.4 (April 1993): 125.
Note: Russian government officials have acknowledged that they are
holding the Trojan Gold Treasures at meetings in February 1993.
42. Chamberlin, Eric Russell. "Adolf Hitler." In Loot! The heritage of

plunder, 149. London: Thames and Hudson, 1983.
Note: This book on looting since the beginning of history has a section
on the warlords, Napoleon and Hitler, the "alpha and omega of looters."
Hitler planned the rebuilding of his hometown, Linz, Austria, with his
own mausoleum at its center as the heart of the Third Reich, along with
the world's greatest art gallery. All party and state officials were ordered
to help Hans Posse, the Director of Dresden Art Gallery and Hitler's art
expert, in collecting art for the Linz gallery. Hitler's agents divided the
artwork into that which was confiscated from the state's internal
enemies and that which was safeguarded from the state's external
enemies; other property was purchased, although frequently at a low
price. The collecting headquarters for the Linz Gallery was below
ground near Munich; all major works were photographed.
43. Clark, Ian Christie and Lewis E. Levy. National legislation to

encourage international cooperation: the challenge to our cultural
heritage. Paris: UNESCO, 1986.
44. Clemen, Paul, ed. Protection of art during war: reports. Leipzig:
Seeman, 1919.
45. Collings, Matthew. "In search of Schliemann's gold." Modern

Painters 8, no.2 (Summer 1995): 29-35.

54
Note: Matthew Collins visited Moscow and St. Petersburg during the
Spring of 1995 to make a BBC program on art exhibits of works taken
by the Red Army from German collections after WWII. Collins
interviewed collectors and museum officials and reports a shift in
attitudes about where these works should be permanently located.
46. Congress. House. Committee on Armed Services. Authorization to

Secretary of the Army to return certain works of art to the Federal
Republic of Germany. Washington: GPO, 1981. 5 pp. (97th Cong. 1st
sess., H.Rpt.97-298).
47. Congress. Senate. Committee on Armed Services. Temporary

retention in the U.S. of certain German paintings. Washington:
Government Printing Office, 1948. iii, 89 pp. (80th Cong. 2nd sess., S.
Hrg., 1948).
Note: Hearings about German paintings confiscated by the US after
WWII.
48. Czernin, Hubertus. Die Auslschung: der Fall Thorsch (The

extinction: the Thorsch case). Vienna: Molden, 1998.
Note: The "extinction" of the name of Alphonse Thorsch who held a
prominent position as the founder of a Vienna bank was accomplished
when the family fled the Nazis who then expropriated all the Thorsch
private and business property in Austria and those foreign properties
within the Nazi sphere of influence. After the death of their parents, the
Thorsch children sought restitution. Their experiences with the Austrian
authorities are an example of what victims and heirs have had to go
through.
49. Czernin, Hubertus. "Law of return?." ARTnews (November 1998):

80.
Note: The Austrian government is researching a number of paintings in

55
Osterreichische Galerie believed to have been looted from Jews during
WWII to determine their rightful owners.
50. Davies, Martin and I. Rawlins. War-time storage in Wales of

pictures from the National Gallery, London: the course of events, some
technical problems. London: HMSO, 1946. 15 pp.
Note: Describes the plans for removal and evacuation of the collection
with details of the preparation of pictures for transportation.
51. de Jaeger, Charles. The Linz file: Hitler's plunder of Europe's art.
Exeter: Webb and Bower, 1981. 192 pp.
Note: This is the story of Hitler's great dream of creating a world center
of German and European art in Linz, as well Goering's attempt to amass
a large collection of his own at Karinhal; and how they competed to
gain possession of the masterpieces looted from conquered Europe. The
author's belief that Hitler's failure as architect and artist was behind his
driven rise to power was confirmed by Professor Robert Waite, author
of The Psychopath God: Adolf Hitler, who associates Hitler's
compulsion to destroy and rebuild to a deeply rooted association in
Hitler's mind between being an artist and being a creative and
innovative political leader.
52. De Visscher, Charles. International protection of works of art and

historic monuments. International Information and Cultural Series 8.
Washington: State Department, 1949. [50 pp.] (Reprinted from
Documents and State Papers of June 1949).
Note: These essays by Belgian jurist Charles De Visscher, based upon
the well-established thesis that the protection and preservation of
cultural resources is an international responsibility, offer the reader not
only an excellent review of plunder through history, but also a point of
departure in future planning efforts to safeguard cultural achievements
of all countries through international efforts.

56
53. Decker, Andrew. "An untapped, if forbidden, source." ARTnews 91,
no.7 (September 1992): 36+.
Note: Works of art stolen by the Red Army from German museums
during WWII are beginning to resurface. The author brings up the issue
of whether this artwork can be legally sold.
54. Decker, Andrew. "A legacy of shame." ARTnews 83, no.10

(December 1984): 54-82.
Note: The first in a series of investigative articles on unclaimed Jewish
property in Austria, Decker's article brought attention to the fact that
approximately 8,500 pieces of artwork, once owned by Holocaust
victims, had been kept for fifty years in Austrian repositories.
55. Decker, Andrew. ""My argument was not with the German
people"." ARTnews (September 1992): 36 - 37.
Note: This article focuses on the WWII looting of sheepskin documents
dating from the 15th and 16th centuries from a German parish house
and recording legal transactions. These parchments have been returned
to Germany by an American serviceman's widow, a concentration camp
victim, who found the documents among her husband's belongings.
56. Decker, Andrew and Konstantin Akinsha. "A worldwide treasure

hunt." ARTnews 90, no.6 (Summer 1991): 130-138.
Note: Negotiations between the Soviet and German citizens for the
return of looted German art focus on the Gerstenberg, Malevich, and
Koenigs Collections.
57. Decker, Andrew and Milton Esterow. "Austria's bid for justice."
ARTnews 95, no.11 (December 1996): 90.
Note: Austria finally agrees to return art stolen from Austrian Jews
during WWII to the heirs of owners. If heirs cannot be found, the art

57
will be auctioned off with the proceeds going to victim organizations.
This is a switch in policy; in the past, claims submitted were ignored.
58. Decker, Andrew and Ferdinand Protzman. "Vienna: complexity,

contradictions." ARTnews 88, no.5 (May 1989): 63.
Note: Report on Austria's effort to return art to Jews and other rightful
owners.
59. Decker, Andrew and Mariana Schroeder. "Blocking the black

market." ARTnews 94, no.4 (April 1995): 46.
Note: Black market activity in artwork may lessen as a result of a NYC
court ruling calling for the return of three stolen drawings to Germany.
The artwork had been captured by Russians at the end of WWII and
later stolen from a Russian museum.
60. Deshmukh, Marion. "Recovering culture: the Berlin National

Gallery and the U.S. occupation, 1945-1949." Central European History
4, no.411-439 (27).
Note: Based on records of the US National Archives and Records
Administration, this article traces German-Allied relationships
regarding the National Gallery in Berlin after World War II, including
the repair of damaged museums and the temporary removal of some of
the artwork to the US.
61. Deshmukh, Marion. "Recovering culture: the Berlin National

Gallery and the U.S. occupation 1945-1949." Central European History
27 (1994): 411-439.
Note: The author used NARA's OMGUS records to ascertain American
contributions to Western Germany's postwar cultural identity,
specifically that of the Berlin National Gallery.

58
62. Dobrzynski, Judith H. "How did you get that art in the war,
Daddy?." New York Times (January 25, 1998 Late edition): 4.
Note: Two Schiele paintings were on loan from Austria's Leopold
Museum to the Museum of Modern Art when two families claimed that
the Nazis had confiscated the paintings from their relatives. NYC
District Attorney Morgenthau subpoenaed the paintings. This is the
most recent example of an American museum found to be in possession
of looted WWII art.
63. Dobrzynski, Judith H. "A bulldog on the heels of lost Nazi loot."
New York Times (November 4, 1997).
Note: In this interview with Hector Feliciano, a Puerto Rican journalist
who lived for years in Paris and wrote The lost museum, the Nazi
conspiracy to steal the world's greatest works of art, Feliciano reflects
on the fact that wars seem to make people go beserk. Feliciano, whose
book has proven to be extremely valuable to those who track stolen art,
is now writing a sequel.
64. Dobrzynski, Judith H. "Capitol Hill looks at issue of art stolen in

wartime." New York Times (February 15, 1998).
Note: Still interested in the Holocaust, Congress turned its direction
away from gold, bank accounts, and insurance to look at looted art.
65. Dornberg, John. "The mounting embarrassment of Germany's Nazi

treasures." ARTnews 88, no.7 (September 1988): 130-141.
Note: The author addresses the issues of ownership and legality as they
apply to the Federal German government loaning museums paintings
once owned by Hitler and Goering.
66. Dostert, Paul. "Art recovery in Luxemburg." In Cultural treasures

moved because of the war: a cultural legacy of the Second World war:
documentation and research on losses, 103-108. Bremen:

59
Koordinierungsstelle der Länder, 1995. (Documentation of the
International Meeting in Bremen, November 30 to December 2, 1994).
Note: Luxembourg hopes for strengthened cooperation with the former
Soviet Union and other countries of the former Eastern Bloc to
determine what losses may be discovered there.
67. "Dresden paintings." ARTnews (November 1956 - Part II).

Note: Report on the sudden emergence of the famous Dresden Gallery
of paintings missing since the end of WWII. The paintings were
exhibited in Berlin.
68. Duboff, Leonard D. and Mary Ann Crawford Duboff. "The

protection of artistic national patrimony against pillaging and theft in
law and the visual arts." In Law and the Visual Arts Conference.
Portland, OR: Northwestern School of Law, 1974.
69. Ebeling, Ashlea. "Hey, that's my picture on your wall." Forbes 258,
no.1 (December 14, 1998).
Note: Article on how defective title insurance coverage protects art
owners when there are ownership disputes.
70. Eggen, J. B. "La commission Américaine pour la protection et le

sauvetage des monuments d'art et d'histoire dans les zones de guerre
(The American Commission for the Protection and Salvage of Artistic
and Historic Monuments in War Areas)." Mouseion (Paris) 55-56
(1946): 1-2.
Note: Eggen tells about the establishment of the Roberts Commission in
1942 to define the policy of the War Department regarding fine arts and
archives. As a result the Monuments, Fine Arts and Archives Service
was set up to carry out the policies.

60
71. Eichwede, Wolfgang. "Models of restitution (Germany, Russia,
Ukraine)." In The spoils of war - World War II and its aftermath: the
loss, reappearance, and recovery of cultural property, 216-220. New
York: Harry N. Abrams, 1997. (Paper presented at international
symposium, The Spoils of War, sponsored by Bard Graduate Center for
Studies in the Decorative Arts, New York, January, 1995).
Note: The author suggests developing models of solution showing
appreciation for all cultures and demonstrating the advantages of
cooperation in restitution efforts.
72. Elen, Albert J. Missing Old Master drawings from the Franz
Koenigs Collection. The Hague: Netherlands Office for Fine Arts, 1989.
280 pp.
Note: This list of the missing Old Master Drawings from the Koenigs
Collection is an introduction to the collection which was illegally
removed from the Netherlands during WWII. Only 35 of the original
527 drawings had been recovered at the time this handlist was prepared.
73. Esterow, Milton. "A heavenly treasure." In The art stealers, 78-99.
Revised ed. New York: Macmillan, 1973.
Note: This chapter in Esterow's book is on the Belgian polyptych, "The
Adoration of the Lamb", the world's most stolen masterpiece. The latest
theft was by the Nazis who moved the panels to the Altaussee salt mine
where it was found by Monuments Officers at the end of World War II
after the Officers were advised of its location by a German art expert
who had served on the staff of Alfred Rosenberg, who had been in
charge of looting France.
74. Esterow, Milton. "A little justice in Austria." ARTnews 94, no.7
(September 1995): Editorial.
Note: This editorial traces ARTnews' investigation into Austrian

61
government maneuvers to avoid returning Nazi art loot hidden in the
Mauerbach monastery to its rightful owners or to other Jewish victims.
75. Estreicher, Charles, ed. Cultural losses of Poland: index of Polish

cultural losses during the German occupation. London: n.p., 1944. xvii,
497 pp.
Note: As a emigré from Poland, Estreicher, a noted art historian,
contributed to Allied efforts to restore property seized by the Nazis.
76. Faison, S. Lane , Jr. "Investigating art looting for the MFA&A." In
The spoils of war - World War II and its aftermath: the loss,
reappearance, and recovery of cultural property, 139-141. New York:
Harry N. Abrams, 1997. (Paper presented at international symposium,
The Spoils of War, sponsored by Bard Graduate Center for Studies in
the Decorative Arts, New York, January, 1995).
Note: Faison worked as an art-intelligence officer, investigating the
Nazi confiscation agencies, during WWII, and later became the final
director of the Munich Central Collecting Point in 1950 when he was
assigned the task of close the Munich site. Faison tells of his dismay
when he realized that works still awaiting provenance identification
were to be sent to Austria and notes that Austria has been plagued with
lawsuits about these objects ever since.
77. Farmer, Walter I. "Custody and controversy at the Wiesbaden

Collecting Point." In The spoils of war - World War II and its aftermath:
the loss, reappearance, and recovery of cultural property, 131-134. New
Note: At the end of the war, the author, an architect, became the
Director of the Wiesbaden Collecting Point, the central collection site
for German-owned works of art. When, in November 1945, Farmer

62
received directions to select 200 of the most important German works of
art to be sent to the US temporarily, Farmer called a meeting of
MFA&A members to protest the decision which he felt would discredit
everything that had been done to demonstrate the integrity of the US in
the its handling of German cultural treasures. The group agreed to
prepare and send the Wiesbaden Manifesto, the only act of protest by
officers in WWII. The paintings were sent along with the protest which
was publicized by an article, "German Paintings in the National Gallery,
a protest", by Charles Kuhn, a former Monuments Officer, which
appeared in the College Art Journal in January 1946.
78. Fedoruk, Alexander. "Ukraine: the lost cultural treasures and the
problem of their return." In The spoils of war - World War II and its
aftermath: the loss, reappearance, and recovery of cultural property, 72-
76. New York: Harry N. Abrams, 1997. (Paper presented at
1995).
Note: While part of the former USSR, Ukraine was not able to pursue
the return of its cultural treasures lost during WWII. Since the collapse
of the Soviet Union, Ukraine is eager to obtain information on the fate
of Ukrainian cultural property lost during and after WWII. The author
presents a clear picture of the wartime plundering activities and notes
the problems of creating an inventory of lost cultural property.
79. Feliciano, Hector. The lost museum: the Nazi conspiracy to steal the
world's greatest works of art. New York: BasicBooks, 1997. ix, 278 pp.
Note: In the late 1930's, Paris was the world's center of art where some
of the most important painters, collectors, art dealers, and experts of this
century resided. We learn how the Nazis stripped French museums,
churches, gallery owners, and art collectors of rare art works between
the years 1939 and 1944, shipping paintings, drawings, and sculpture

63
for the museum of European art planned for Austria after the war, as
well as for the private collections of high Nazi dignitaries. By the time
of the Liberation in 1944, France was the most looted country in
Western Europe: one-third of all the art in private collections had been
taken by the Nazis for Hitler's planned "super museum" at Linz, with
less desirable works of art sold off to the art trade. The author focuses
on the collections of five Jewish families in France; the Rothschild,
Rosenberg, Bernheim-Jeune, David-Weill, and Schloss collections were
chosen because of their size and importance, as well the fact that they
demonstrate the methodical nature of the Nazi effort to confiscate
valuable art.
80. Feliciano, Hector. "The Mauerbach Case: an equivocal sale. Part II."
Spoils of War no. 3 (December 1996): 24-27.
Note: The author notes that Mauerbach auction catalog, prepared by the
London auction house Christie's, has a foreward by Thomas Klestil,
President of Austria, stating that the artwork hidden in the Alt Aussee
salt mines and stored at the Mauerbach monastery belonged to Austrian
Jews. Feliciano objects and points out that the Nazis had used Alt
Aussee to store art looted from all over Europe; he also notes that
Austria was very secretive about the unclaimed art and made no real
effort to find the rightful owners. Feliciano is critical of Christie's for
not checking on ownership claims before the sale.
81. Fiedler, Wilfried. "Legal issues bearing on the restitution of German

cultural property in Russia." In The spoils of war - World War II and its
1995).

64
Note: Professor Fiedler is known for his legal knowledge in the fields of
cultural property and state secession. He notes the legal basis for the
German request for restitution is based on treaty regulations made after
the opening of Eastern Europe in 1989 and explains the difficulties
arising from different interpretations of those documents.
82. Field protection of objects of art and archives. War Department

Pamphlet No. 31-103. Washington: War Department, 1944. 46 pp.
Note: A manual of instructions prepared by the American Commission
for the Protection and Salvage of Artistic and Historic Monuments in
War Areas providing criteria for selecting objects for preservation and
outlining procedures for safeguarding art, records and buildings.
83. Fieldler, Wilfried. "Safeguarding of cultural property during

occupation - modifications of the Hague Convention of 1907 by World
War II." In Fifth Colloquium on the Legal Aspects of International
Trade in Art: Licit Trade in Works of Art. Paris: International Chamber
of Commerce, Check status. (Colloquium, Vienna, September 28-30,
1994).
84. First aid protection for art treasures and monuments. Washington:
GPO, Undated. 2 pp.
Note: WWII instructions to American troops.
85. Fischer, Klaus P. "Life in Nazi Germany." In Nazi Germany: a new

history, 341-393. New York: Continuum Publishing, 1997.
Note: In this chapter, Fischer reminds the reader that "Hitler was not
only a soldier-politician but also an artist with a keen eye for the
aesthetic who knew that persuasion required conversion, and that
conversion, at its deepest level, was emotional rather than cerebral."
Culture was put to the good uses of the state early in the Nazi regime:
Goebbel's Reich Cultural Chamber was established to deal with cultural

65
life. Artists were forced to join this organization if they wanted to
practice their art and non-Aryan artists were excluded. In parallel,
Rosenberg's Office for the Supervision of Ideological Training and
Education, became the state's official watchdog, involved in book
burning and emptying museums of "non-German" or "degenerate"
works of art. Goebbels and Rosenberg were later responsible for looting
much of Europe's art treasures.
86. Flanner, Janet. "The Beautiful Spoils." In Men & monuments:

profiles of Picasso, Matisse, Braque, & Malraux. New York: Da Capo,
1990.
Note: Flanner's fascinating account of the looting of art by the Nazis.
87. Florisoone, Michel. "La commission française de récuperation

artistique (French commission to recover artwork)." Mouseion (Paris)
55-56, no.1-2 (1946): 67-73.
Note: An account of the creation of a French commission similar to the
Roberts Commission, the British Committee on Works of Art and other
Material in Enemy Hands (Macmillan Commission), and the Inter-allied
or Vaucher Commission/.
88. Fodor, Istv n. "The restitution of works of art in Hungary." In The

spoils of war - World War II and its aftermath: the loss, reappearance,
and recovery of cultural property, 92-94. New York: Harry N. Abrams,
1997. (Paper presented at international symposium, The Spoils of War,
sponsored by Bard Graduate Center for Studies in the Decorative Arts,
New York, January, 1995).
Note: Hungary's cultural treasures suffered from the Nazis, the
Hungarian Fascists, and the Soviet Army. In the 1980s, the Soviet
Union secretly returned some paintings. In 1992 a commission was set
up whose task was to plan the return of works taken from Hungary and
held in Russia. A 40,000-item database of lost art has been set up in

66
Budapest where the first meeting of a joint Hungarian-Russian
restitution working group met in 1994.
89. Fodor, Istv n. "The restitution of works of art in Hungary." In

Cultural treasures moved because of the war: a cultural legacy of the
Second World war: documentation and research on losses, 79-84.
Bremen: Koordinierungsstelle der Länder, 1995. (Documentation of the
Note: This article focuses on Hungary's loss of artwork during and after
WWII, and on the work of the Committee for the Restitution of Cultural
Property which was set up on May 19, 1993.
90. Foundoukidis, Euripide. The work of the International Museums

Office and associated organizations during the period June 1940-
January 1945. Paris: International Museums Office, [1946?]. 16 pp.
Note: Includes an inventory of monuments and works of art destroyed
or damaged during WWII.
91. Francese, Pier Benedotto. "Art treasures moved because of war: a

cultural legacy of the Second World War - the Italian experience." In
Note: Italy established an Office for the Recovery of Works of Art in
1946.
92. Frankfurter, Alfred M. "Return of the Dresden paintings." ARTnews

54 (February 1956).
93. Freitag, Gabriele. "Archival material on National Socialist Art

plundering during the Second World War." Spoils of War no. 1

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(December 1995): 34-36.
Note: Archival material on Nazi art plundering is widely dispersed. The
ERR records are found in a number of German locations, as well as
Paris, Kiev, Riga and Moscow.
94. Freudenheim, Tom L. "Will everything become suspect?."

ARTnews 97, no.3 (March 1998): 100.
Note: Art institutions and governments both have failed to resolve the
art theft problems dating from WWII. Now authorities and curators are
urged to address the issues legally and ethically.
95. Gambrell, Jamey. "First return of war booty." Art in America 83,
no.6 (June 1995): 31+.
Note: A 19th century painting was returned to the Bremen Kunsthalle
from the Ukrainian Ministry of Culture as the first official return of
looted WWII art to Germany from Russia.
96. Gambrell, Jamey. "Will Russia return spoils of war?." Art in

America 83, no.3 (March 1995): 29.
Note: Russia's plunder of German art at the end of WWII was discussed
at the three-day symposium, Spoils of War, in New York City.
97. Gambrell, Jamey. "Displaced art." Art in America 83, no.9

(September 1995): 88-95, 120.
Note: The dispute over looted art taken by the Red Army from German
and Hungarian collections continues to be a concern. The Russians
consider the captured art to be legal acquisition as compensation for
Russian losses during WWII inspite of claims from heirs of Holocaust
victims.

68
98. Ganslmayr, H. "Study on the principles, conditions and means for
the restitution or return of cultural property in view of reconstituting
dispersed heritages." Museum 31, no.1 (1979).
99. Glenny, Michael. "The Amber Room: what happened to the tsars'
greatest jewel? The story of a riddle wrapped in a mystery inside an
enigman." Art & Antiques (March 1989).
Note: In April 1945, just before the Soviet Army captured Koenigsberg,
the Nazis packed the panels into seventy-two crates and loaded them
onto a convey of trucks. The Amber Room has never been seen since.
Although a few "untiring sleuths" are still hoping to discover those 72
crates somewhere in Europe, Russians are now working to replace the
Amber Room.
100. The gold of Troy: searching for Homer's fabled city. New York:
Harry N. Abrams, in association with the Ministry of Culture of the
Russian Federation and the Pushkin State Museum of Fine Arts, 1996.
101. Goldmann, Klaus. "The Trojan treasures in Berlin: the

disappearance and search for the objects after World War II." In The
and recovery of cultural property, 200-203. New York: Harry N.
Abrams, 1997. (Paper presented at international symposium, The Spoils
of War, sponsored by Bard Graduate Center for Studies in the
Decorative Arts, New York, January, 1995).
Note: Germany first found out the fate of the missing Trojan Treasures
when they were alerted by news of the forthcoming publication of an
article on the topic by Akinsha and Grigorii in ARTnews in 1991. In
1994 Berlin museum staff were permitted to inspect the Schliemann
treasures.

69
102. Goldmann, Klaus. "The Treasure of Troy: hidden history." Spoils
of War, no. 2 (July 1996): 12-13.
Note: Author urges a cooperative search for any still missing Trojan
treasures.
103. Graeme, Chris. "Art heritage saved for humanity." (Undated).

Note: This is the second part of the story of how the Hermitage art
collections were evacuated in the Summer of 1941.
104. Graeme, Chris. "Art heritage saved for humanity." (Undated).

Note: During WWII the Soviets ordered the monumental task of
evacuating the contents of the Hermitage to the Urals. Two trains were
sent off before rail routes were cut off and dedicated staff worked to
protect the rest of the collection.
Online: http://www.museum-security.org/petersburg2.html.
105. Grambrell, Jamey. "Displaced art." Art in America 83, no.9

(September 1995): 88-95.
Note: Paintings from Germany taken by the Red Army at the end of
WWII have gone on exhibit in Russia; the art world is concerned about
the ownership dispute.
106. Greenfield, Jeannette. The return of cultural treasures. 2d ed.

Cambridge: Cambridge University Press, 1996. xviii, 361 pp.
Note: Dr. Greenfield traces displaced cultural treasures through their
legal tangles, analyzes the work of international agencies and
conventions, and, in the last chapter, offers her own formula for the
resolution of national claims for the cultural property.
107. Greenfield, Jeannette. ""The Spoils of War"." In The spoils of war

- World War II and its aftermath: the loss, reappearance, and recovery
of cultural property, 34-38. New York: Harry N. Abrams, 1997. (Paper

70
January, 1995).
Note: In this paper, Greenfield presents the act of plundering in WWII
in historical context starting with the Assyrians in the first millennium
BC, noting that greed and barbarism were behind pillage through the
centuries. Nazi looting only differed in its scale, its ruthlessness, its
planning, its recording, and its emphasis on valuable artwork.
108. Greenfield, Jeannette. "Art theft and the art market." In The return
of cultural treasures, 232-251. 2d ed. Cambridge: Cambridge University
Press, 1996. xviii, 361 pp.
Note: This chapter notes the theft and looting of art, including that of
World War II.
109. Grenzer, Andreas. "The Russian archives and their files:

researching the Soviet losses of property." Spoils of War, no. 1
(December 1995): 33-34.
Note: Although much of the Soviet archives is now open, researchers
have found very little recorded material on Soviet losses of cultural
property.
110. Grenzer, Andreas. "Research project, "Fate of the Treasures of Art

removed from the Soviet Union during World War II"." In Cultural
treasures moved because of the war: a cultural legacy of the Second
World war: documentation and research on losses, 124-132. Bremen:
Note: Russia has set up a database which provides information on the
loss and restitution of individual artwork and collections removed from
the Soviet Union during WWII.

71
111. Grenzer, Andreas. "Report on the archive situation in Russia as
relates to researching the losses of cultural property." In Cultural
Note: Some of the Soviet archives are only now being accessed in terms
of researching the losses of cultural property.
112. Grimsted, Patricia Kennedy. "The fate of Ukranian cultural

treasures during World War II: archives, libraries, and museums under
the Third Reich." Jahrbücher für Geschichte Osteuropas 39, no.1
(1991): 53-80.
113. Grimsted, Patricia Kennedy. "'Trophy' archives and non-restitution:

Russia's cultural 'Cold War' with the European Community." Problems
of Post-Communism 45, no.3 (May-June 1998): 3-16.
114. Grogan, David. "A quiet Texan, dead 10 years, is suddenly the
prime suspect in a WWII theft of priceless medieval art." People
Weekly 33, no.26 (July 2, 1990): 48+.
Note: Article on the Quedlinburg Treasures discovered in Texas.
115. "Groups formed to protect cultural treasures war areas." Museum

News 21 (September 1, 1943): 1-2.
Note: Provides information about the establishment of the American
Commission for the Protection and Salvage of Artistic and Historic
Monuments in Europe and the Committee on Protection of Cultural
Treasures in War Areas.
116. Guide to the Special Archive. Moscow: MediaLingua and Classica,

1997. http://www.archives.ru Website.

72
Note: The Special Archive is a unique, quite recently declassified
archive, containing millions of documents seized by the Nazis from
1939 to 1945, as well as German archives, taken out from Germany by
Stalin after WWII. Included among the holdings are information on
Rosenberg's index on cultural objects of occupied Soviet regions,
information on slave labor in Germany, and material on looted art.
117. Hall, Ardelia R. "The recovery of cultural objects dispersed during

World War II." Department of State Bulletin 25, no.635 (August 27,
1951): 337-340, 344-345.
Note: In this article written six years after the end of WWII, the author
reports on the dispersal of art in the American Zone of Germany where
more than 1800 repositories in mines, castles, churches, monasteries and
remote villages were discovered and the contents transferred to US
collecting points. Once identified by MFA&A Monuments officers, the
objects are returned to their rightful owners. Lists of cultural losses and
missing artwork are still being compiled.
118. Hall, Ardelia R. "The U.S. program for return of historic objects to
countries of origin, 1944-1954." Department of State Bulletin 31,
no.797 (October 4, 1954): 493-498.
Note: In 1954, the Department of State returned WWII displaced
cultural treasures to foreign embassies in Washington to be restored to
their rightful owners. Most of the objects had entered the US through
art-trade channels.
119. Hamlin, Gladys E. "European art collections and the war." College
Art Journal 4 (March - May 1946): 155-163, 209-212.
Note: A survey of the looting, hiding, and discovery of European art
treasures.

73
Art Journal 4 (May 1946): 219-228.
Note: Hitler refused to move art from Berlin until the very end of the
war when he consented to move things to nearby flaktowers and to salt
mines; however most other German cities did evacuate their art for
safekeeping. Hamlin writes about the process of checking this art for
loot to be sent to Collecting Points, as well as the procedures used at the
Collecting Points with an emphasis on the one at Munich: most of the
art kept at Munich was taken from the Alt Ausse salt mine where the
largest art collection outside of the Vatican was stored. Hamlin
describes, in detail, the art, as well as, the people involved in returning
the treasures to their rightful owners.
Art Journal 4 (March 1946): 155-163.
Note: In Part 1 of a two-part survey of the looting, hiding, and
discovery of European art treasures during WWII, the author describes
how before WWII German plans were for made to systematically
looting European art. Experts were sent as scholars and tourists to other
countries to make detailed lists of artwork for looting. When the Nazis
did occupy countries they took what they wanted; in the case of the
Eastern countries, they destroyed material concerning their history and
culture.
122. Hammer, Katharina. Splendor in the dark: the recovery of art

treasures in Salzkammergut at the end of WWII. Vienna:
Osterreichiscer Bundesverlag, 1986. 290 pp.
Note: This book, part of a series on Austria, deals with the storage and
salvage of art works in WWII in Austria. The rescued art included
Hitler's collection, Austrian museum collections kept there for
protection, and other art plundered from individuals, churches, and
museums.

74
123. Hammett, Ralph. "ComZone and the protection of monuments in
Northwest Europe." College Art Journal 5 (January 1946): 123-126.
Note: Hammett, a Monuments specialist, writes about his experiences
as a Monuments officer mostly in France. He gives details about
procedures followed in recording information, including the catalog
system he created listing all monument, art collections, castles, and
libraries in the G-5 Section, ComZone.
124. Hammond, Mason. "War and art treasures in Germany." College

Art Journal 5 (March 1946): 205-218.
Note: A Harvard University art scholar, Mason Hammond describes the
great cultural losses in Germany, while noting the elaborate and
generally successful protection measures taken by the Nazis.
125. Hamon, Marie. "Spoliation and recovery of cultural property in

France, 1940-1994." In The spoils of war - World War II and its
1995).
Note: Before the declaration of war, the German government drafted a
list of artwork it wanted to obtain from other countries. In France, a
gallant French curator, Rose Valland, worked with the ERR to learn as
much as possible to gain as much information as possible about the
confiscation, even making copies of some of the German inventories.
The author has made a list of restitution claims made after the war and
described the recovery procedures.
126. Hamon, Marie. "The Working Group on Cultural Property." In


75
Note: An exchange of views between France and Germany took place
as early as 1991 owing to the possibility of the GDR's and Russia's
returning French cultural property to France. A working group was
formed to collect information on lost art and archives. Some of the
WWII lost art appears on the art market.
127. Hancock, Lee. "Judge extends order forbidding removal of art."

Dallas Morning News (June 28, 1990).
Note: Legal progress in the Quedlinburg Treasures Case.
128. Hancock, Lee and David Thorne Park. "E. German church files suit
for return of art treasures." Dallas Morning News (June 19, 1990): 1A.
Note: Legal progress in the Quedlinburg Treasures Case.
129. Hancock, Walker. "Experiences of a Monuments Officer in

Germany." College Art Journal 5, no.4 (May 1946): 271-311.
Note: Hancock, a distinguished sculptor at the Pennsylvania Academy
of Fine Arts, was one of the first Monuments officers to reach France
with the First Army. He describes his work in detail: the discoveries, the
organization of collection centers, the gathering of German experts.
Later, he was one of the Monuments Officers who protested the
movement of German art to the US, saying that he felt that the action
betrayed the confidence of the German scholars who had worked with
him.
130. Hartung, Ulrike. "The 'Sonderkommando Künsberg': looting of

cultural treasures in the USSR." Spoils of War no. 2 (July 1996): 14-16.
Note: Author presents a picture of how the Nazis confiscated art in the
Soviet Union.

76
131. Heirs sue museum for painting: art dealer's family says Seattle Art
Museum isn't right to delay return of Matisse work (Universal Time).
August 14, 1998.
Note: The heirs of Paul Rosenberg, considered the most important art
dealer in 10th and 20th century art between WWI and WWII, are suing
the Seattle Art Museum, for possession of an Henri Matisse painting,
"Odalisque." The painting was left behind when the Rosenbergs fled to
New York from Paris upon the Nazis invasion of France in 1940. The
painting was sold in 1954 by a Paris gallery to a New York City gallery
where a Seattle man purchased it; in 1991 the man donated the painting
to the Seattle Art Museum.
132. Helligar, Jeremy. "The art of the matter: Rita Reif fights to reclaim
a painting she says Nazis stole from her family." People Weekly 49,
no.9 (March 9, 1998): 69+.
133. Henry-Künzel, Ginger and Andrew Decker. "Never look a gift

horse in the mouth." ARTnews 93, no.4 (April 1994): 51-52.
Note: Gold treasures from Troy looted by Russia from Germany at the
end of WWII will be shown in Pushkin Museum exhibit soon to the
consternation of German museum officals.
134. Heufs, Anja. "Archives in the Federal Republic of Germany on art

theft: an overall view." In Cultural treasures moved because of the war:
a cultural legacy of the Second World war: documentation and research
on losses, 135-141. Bremen: Koordinierungsstelle der Länder, 1995.
(Documentation of the International Meeting in Bremen, November 30
to December 2, 1994).
Note: Article focuses on the archival material in the FRG containing
material relevant to the issue of Nazi art theft.

77
135. Heuss, Anja. "Der Klosterschatz Petschur (The Petschur Monastery
treasure)." Kritische Berichte 23, no.2 (1995): 44-51.
Note: Author recounts the problems of returning looted art after WWII
due to altered national borders, new governments, and displaced ethnic
groups, focusing on the problems of art works from the Baltic countries.
136. Hiller, Armin. "The German-Russian negotiations over the

contents of the Russian repositories." In The spoils of war - World War
II and its aftermath: the loss, reappearance, and recovery of cultural
January, 1995).
Note: A member of both the German-Russian and the German-Ukranian
joint commissions on the return of cultural property, Hiller asks that
Russia honor the spirit and letter of the Good Neighborliness Treaty of
1990 and that they attune the domestic legislation they have announced
to international law.
137. Hiller, Marlene P. "The documentation of war losses in the former

Soviet Republics." In The spoils of war - World War II and its
1995).
Note: Author proposes a plan to approach the problems of finding out
who appropriated culture treasures from Soviet cultural institutions
during WWII; where these objects were taken and what happened to
them; who recovered them; and what happened to them in the period
from 1945 to 1990. Recovering what information about cultural losses

78
can still be obtained is a goal of the Bremen Research Institute for
Eastern Europe.
138. Hinchberger, Bill. "Brazil uncovers Nazi war loot." ARTnews

(September 1998): 67.
Note: A Picasso and a Monet allegedly taken to Brazil as Nazi war loot
in 1941 have surfaced in a Sao Paulo art gallery, shortly after another
stash of 25 works turned up in southern Brazil, and before the
completion of a joint government-citizen commission report on war loot
in the South American country.
139. Hochfield, Sylvia. "St. Petersburg: will the Hermitage return the
Degas." ARTnews 94 (March 1995).
140. Hochfield, Sylvia. "Under a Russian sofa: 101 looted treasures."

ARTnews 92, no.4 (April 1993): 120-125.
Note: Prints and Old Master drawings, stolen from the German
Karnzow Castle during WWII by Red Army officers, have been found
in a search by Russian art historians, Konstantin Akinsha and Grigorii
Kozlov. Arkinsha and Kozlov have been researching the fate of WWII
looted art for years; it was they who announced to the world in 1991,
the existence in the USSR of secret storerooms filled with artwork
looted from Germany after the war, including the Trojan gold treasures.
141. Hochfield, Sylvia. "The Russians renege." ARTnews 93, no.6

(Summer 1994): 68+.
Note: At recent restitution meetings, Russians noted that in talks before
the end of the war, the Soviet had told Western Allies of their plans to
take compensation in the form of German property as compensation for
their immense losses; as a result, loot removed by official trophy
brigades was legal. The Germans expressed pessimism about the
restitution talks.

79
142. Hochfield, Sylvia. "Twice stolen." ARTnews 94, no.4 (April
1995): 85-86.
Note: This article is on the problems of repatriation of looted art taken
from Germany by the Russian army after WWII. The Germans, hoping
to get their own works back, are considering compensation of works
looted by Germans from the Russian collections. Other interests are
concerned that many of the works were stolen by Germany from
occupied countries.
143. Hochfield, Sylvia. "Nobody knows what to do next." ARTnews 94,

no.5 (May 1995): 65-66.
Note: More on the debate between the Germans and the Russians about
the return of German works taken by the Red Army at the end of WWII.
144. Hochfield, Sylvia. "Do the right thing." ARTnews 97, no.2
(February 1998): 66.
Note: The art world has recently taken steps to face the challenges of
restitution: the new Commission for Art Recovery aims to recover art
taken from Jewish victims for heirs or for Jewish charity; the Holocaust
Art Restitution Project aims to act as a clearinghouse for stolen art
information; and the International Research Center for the
Documentation of Wartime Losses is being organized to gather and
disseminate information relating to culture displace in times of war.
145. Hochfield, Sylvia. "Will the Hermitage return the Degas?."

ARTnews 94, no.3 (March 1995): 48+.
Note: The Russians have agreed to return Degas' "Place de la
Concorde" to the heirs of a German collector; the heirs and the
Hermitage Museum agreed to divide the Gerstenberg Collection. There
is concern that the Russian government may not allow the return of any
German artwork. Heirs to the Siemens, Kohler, and Krebs Collections,

80
moved from Berlin to Russia after the war, are negotiating the return of
these works.
146. Hochfield, Sylvia. "The Malevich legacy: heirs vs. museums."

ARTnews 92, no.9 (November 1993): 65+.
Note: Malevich collections at two U.S. museums are under scrutiny as
the artist's heirs claim the paintings.
147. Hochfield, Sylvia. "The Russian surprise." ARTnews (January

1999): 56, 58.
Note: At the Washington Conference on Holocaust-Era Assets in
December 1998, plans were announced for a mega website as a central
registry of art looted by the Nazis for access by claimants and
collectors. Russian delegate Kulishov shocked the conference
participants when he invited victims or heirs to claim their looted art
treasures in Russia, because the Russian parliament adopted a bill
nationalizing most of the cultural property captured by the Red Army
trophy brigades after WWII exempting only church property, non-Nazi
public property, family heirlooms of non-Nazis, and the property of
Nazi enemies and victims. This article raises concerns about what is a
Nazi victim and describes the complexity of making claims against
Russia.
148. Hochfield, Sylvia. "Wrestling with restitution." ARTnews

(Summer 1998): 59.
Note: When the Baroness Rothschild returned to Austria to claim family
property, the government demanded a share of the artwork under the
Export Prohibition Law. In order to export the collections, she was
forced to "donate" 230 objects to Austrian museums. The Austrian
culture minister has announced that Austria will return these assets to
their rightful owners upon inventory; the Rothschild collections will be
the first case to be dealt with because of the clear proof of possession.

81
149. Hochfield, Sylvia. "Back to the drawing room." ARTnews
(December 1998): 61.
Note: Nine 19th-century Dresden drawings in the custody of Russians
now living in New York City have been returned to the Dresden Gallery
where they join the bulk of the collection returned by the Russians in
the 1950s. About 1500 prints and drawings remain missing.
150. Hochfield, Sylvia. "Statute with limitations." ARTnews

(November 1998): 57.
Note: A proposed bill to set limits on reclaiming stolen artwork is seen
by its proponents as stabilizing the art markets by reducing the number
of lawsuits.
151. Hoffman, Barbara. "The spoils of war." Archaeology (November-

December 1993): 37-40.
Note: Author finds the legal framework and applicable laws for
resolving issues of war booty and stolen artwork far from simple. The
two most significant international agreements protecting cultural
property are the Hague Convention of 1954 and the UNESCO
Convention adopted in 1970.
152. Honan, William H. "Germans to get priceless gospels lost in '45."

New York Times (May 1, 1990): A1, A19.
Note: Samuhel Gospels, part of the Quedlinburg Church Treasures, are
returned to Germany.
153. Honan, William H. "A trove of medieval art turns up in Texas."

New York Times (June 14, 1990): A1, D22.
Note: Quedlinburg Church Treasures are traced to Texas.
154. Honan, William H. "Second missing manuscript turns up in

German hands." New York Times (June 16, 1990).

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155. Honan, William H. Treasure hunt: a New York Times report tracks
the Quedlinburg hoard. New York: Fromm International, 1997. 289 pp.
Note: Honan, brought into the Quedlinburg art theft case by Willi
Korte, art sleuth, followed a tip and ended up in Texas where the New
York Times reporter turned up the obituary of the thief, a former Army
officer who had found the sacred objects in a mushroom cave.
156. Honan, William H. "Ely Maurer, who repatriated art looted by

Nazis, dies at 84." New York Times (June 29, 1997): 29.
Note: Maurer served as a State Department legal advisor on the
repatriation of cultural treasures after WWII, determining the rightful
owners of looted art. He was called in as an expert by lawyers involved
with the Quedlinburg case involving medieval treasures taken from a
cave by an American soldier at the end of WWII.
157. Honan, William H. "Journalist on the chase." In The spoils of war -

World War II and its aftermath: the loss, reappearance, and recovery of
cultural property, 153-155. New York: Harry N. Abrams, 1997. (Paper
January, 1995).
Note: Honan, New York Times reporter, tells of the clues that led him
to Texas looking for the Quedlinburg Church Treasure's thief.
158. Honan, William H. "Texas bank admits it has missing art." New
York Times (June 19, 1990): C18.
Note: Quedlinburg Church Treasures located in a Texas bank.
159. Honan, William H. "Judge refuses to order silence about stolen

art." New York Times (June 21, 1990): B3.
Note: Quedlinburg Church Treasures as a legal issue.

83
160. Honan, William H. "Church lawyers say stolen art was moved."
New York Times (June 24, 1990): 19.
161. Honan, William H. "Germans send lawyers to Texas." New York

Times (June 1990): C22.
162. Honan, William H. "Letter show thief knew value of the

Quedlinburg Treasures." New York Times (September 3, 1994): A1.
Note: Meador's letters indicate that he understood the value of the
Quedlinburg Church Treasures.
163. Honan, William H. "Case against heirs of art thief is all but over."
New York Times (April 14, 1998): 14.
Note: The heirs of Joe Tom Meador may have to pay more than $50
million in estate taxes, penalties and interest to the IRS for the Army
lieutenant's Quedlinburg loot taken at the end of WWII and sold by the
heirs to European art dealers who in turn sold them Germany.
164. "How the Republic of Austria forced the Rothschilds to donate

art." Der Standard (February 14-15, 1998).
Note: To allow Clarice de Rothschild, widow of Alphonse, to take the
rest of the Rothschild collection out of Austria after the war, she was
pressured to donate seven paintings and 34 other art objects to the Art
History Museum in Austria.
165. Howe, Thomas Carr. Salt mines and castles: the discovery and
restitution of looted European art. New York: Bobbs Merrill, 1946. 334
pp.
Note: Before joining the Navy in WWII, Howe served as director of the
California Palace of the Legion of Honor. In this entertaining book, he

84
tells of his experiences as a Monument officer in Europe where he
discovered hidden art and was instrumental in establishing Central
Collecting Points directed by Monuments officers and staffed by
German museum personnel who cared for the paintings while restitution
efforts were going on.
166. Huebner, Jeff. "Landscape of pain: the fight over Daniel Searle's
Degas which a Jewish family says was stolen by the Nazis." Chicago
47, no.5 (May 1998): 24+.
Note: An Art Institute of Chicago trustee is the owner of Degas'
Landscape with smokestacks which is the object of a claim by the heirs
of Nazi victims.
167. Hughes, Robert. "Hold those paintings! The Manhattan D.A. seizes
alleged Nazi loot." Time 151, no.1 (January 12, 1998): 70.
Note: Two paintings by the Austrian Expressionist, Egon Schiele, have
been confiscated by Manhattan District Attorney Robert Morgenthau
from the comprehensive show of Schiele's works at the Museum of
Modern Art (MOMA) pending a criminal investigation into their
rightful ownership. On loan from the government-supported Leopold
Foundation in Vienna, the paintings have been claimed by heirs of
Viennese Jewish families who lost them to the Nazis in the 1930s.
Online: http://www.museum-security.org/reports/00498.html
168. Hughes, Robert. "Russia's secret spoils of World War II: the
Hermitage in St. Petersburg breaks its silence on a hidden trove of
Impressionist treasures." Time 144, no.16 (October 17, 1994): 85.
Note: Two paintings by the Austrian Expressionist, Egon Schiele, have
been confiscated by Manhattan District Attorney Robert Morgenthau
from the comprehensive show of Schiele's works at the Museum of
Modern Art (MOMA) pending a criminal investigation into their
rightful ownership. On loan from the government-supported Leopold

85
Foundation in Vienna, the paintings have been claimed by heirs of
Viennese Jewish families who lost them to the Nazis in the 1930s.
169. Hume, Christopher. "Art sleuth recovered Nazi loot." Toronto Star
(December 8, 1998): 1-3.
Note: In December, Lane Faison spoke at the Art Gallery of Ontario
about his postwar adventures, first as an art expert with the Art Looting
Investigation Unit of the OSS, and later as the director of the Central
Collecting Point at Munich where he oversaw efforts to gather and
return millions of art objects.
170. Ilatovskaya, Tatiana. Master drawings rediscovered treasures from

prewar German collections. New York: Ministry of Culture of the
Russian Federation and State Hermitage Museum in association with
Harry N. Abrams, 1996. (Catalog of the exhibition held at the State
Hermitage Museum, St. Petersburg, December 3 - March 31, 1997).
171. "Instances of repatriation by the USSR." In The spoils of war -

cultural property, 145-147. New York: Harry N. Abrams, 1997.
(Summary of the symposium presentation by Irina Antonova at the
1995).
Note: In the view of Irina Antonova, the document, "On the legal bases
for a solution to questions concerning cultural property removed to the
USSR as a result of WWII", demonstrates the legality of the art's
presence in the Soviet Union.
172. Interim report. Paris: Commission for the Study of the Spoilation
of Jews in France: April-December 1997, December 31, 1997. 119 pp.
Note: In February 1997, the Prime Minister asked Mr. Jean Mattéoli,

86
former Resistance member and president of the Council for Economic
and Social Affairs, to study the conditions under which property
belonging to Jews was confiscated in the context of WWII French anti-
Semitic policies promulgated by the Vichy government inspite of
French law founded on principles of secularity and equal rights. The
report, finding that the Vichy government instituted an industry of
spoliation from 1940 to 1944, sets forth the Commission's other
objectives which include research into the origins of artwork deposited
in national museums, and specification for the conditions of future sales
of goods coming from spoliation.
173. International Military Tribunal: Nurnberg, 1. Toronto, Ontario:

Nizkor Project, 1996-1998.
Note: This webpage leads to the transcripts of the postwar Nurnberg
Trials including the U.S. Chief of Counsel for Prosecution of Axis
Criminality's 1946 Nazi conspiracy & aggression which includes
Chapter 8 on "Economic aspects of the conspiracy", Chapter 10 on The
slave labor program", Chapter 11 on "The concentration camps", and
Chapter 14: "The plunder of art treasures" with information on the
Einsatzstab Rosenberg (ERR); the cooperation of Hermann Goering;
General Government's confiscation laws and decrees; the nature, extent
and value of property stolen; and legal references and list of documents
relating to the plunder of art treasures.
Online: http://www.nizkor.org/hweb/imt.
174. Järvinen, Markkhu. Convention of the Hague of 1954 by UNESCO

for the protection of cultural property in the event of armed conflict.
n.p.: International Council on Archives, 1995. 9 pp. (Presentation at
XXXIst International Conference of the Round Table on Archives,
"War, Archives, and the Comity of Nations, 1st working session,
"Protection of Records During War", Washington, September 6-9.
1995).

87
Note: The Hague Convention of 1907 introduced legal protection to
cultural property at a time when there were separate fighting zones;
WWI with long-range artillery and aerial bombings made this
separation obsolete. During WWII, attempts were made by the Allies to
safeguard cultural property in Europe. After WWII, there was a fresh
movement for international cooperation re cultural heritage protection
under UNESCO resulting in the 1954 Convention. The speaker reminds
us that although the main attention is given to the more visible
monuments, buildings, museums and artwork, archives and libraries are
important issues in the consideration of cultural heritage.
175. The Jeu de Paume and the looting of France. New York: Cultural
Property Research Foundation, 1998. 3 pp.
Note: The purpose of this project is dedicated to the historical
reconstruction of the Nazis' WWII seizure of Jewish cultural property in
France when the Jew de Paume Museum in Paris became a notorious
collection spot for confiscated art.
Online: http://docproj.loyola.edu/jdp/index.html.
176. Jir sek, Pavel. "Losses of cultural property from the territory of the
Czech Republic due to World War II." In The spoils of war - World
War II and its aftermath: the loss, reappearance, and recovery of cultural
January, 1995).
Note: Pavel states that there was little outflow of Czech cultural
treasures to Germany until 1945, except for Jewish art. At the end of the
war, many collections were destroyed or relocated by first the Germans
and then the Soviets.

88
177. Jolis, Alan. "War loot goes on-line." ARTnews 95, no.8
(September 1996): 58.
Note: The French plan to produce a catalog of art works stolen from
Holocaust victims; in the meantime they will put the art illustrations on
the web.
178. Kaplan, Alissa. "Hot on the paper trail: the profits of plunder."
ABCNEWS.com (November 6, 1998).
179. Kaplan, Alissa. "Details emerge on assets' fate: 'all of Europe'

benefited from war booty." ABCNEWS.com (December 19, 1997).
180. Kaufman, Joshua & Kleinman ,Jeff. "Society to prevent trade in

stolen art." Spoils of War, no. 2 (July 1996): 11-12.
Note: The recent establishment of The Society to Prevent Trade in
Stolen Art (STOP), a non-for-profit organization, will hopefully help,
through its education programs and resource services, to combat trade in
stolen and fraudulent art.
181. Kaye, Lawrence M. "The statute of limitations in art recovery

cases: an overview." IFAR Journal (International Foundation for Art
Research) 1, no.3 (Autumn 1998): 22-28.
Note: Statutes of Limitations vary from one state to another in the
United States; European Statutes of Limitations are governed by Civil
Codes except for the U.K. which shares a common law jurisdiction with
the U.S.
182. Kaye, Lawrence M. "Laws in force at the dawn of World War II:
international conventions and national laws." In The spoils of war -

89
January, 1995).
Note: This essay presents an overview of international and national
efforts to protect cultural property with an emphasis on the laws in force
at the beginning of WWII. Although the international agreements did
not prevent the terrible cultural loss of WWII, their principles served as
the basis for the repatriation of cultural property following the war.
183. Kienle, Christiane. "Return to Dresden after decades: an exhibition

of the State Galleries Dresden." Spoils of War, no. 5 (June 1998): 35-
37.
Note: In April, 1998, a "Back to Dresden" exhibition of works of art
lost during World War II, but since returned to former owners, opened
at the Dresden Palace. These artwork thefts happened in 1945 during the
surrender of the depositories to the Soviet Army.
184. Kienle, Christiane. "The return of ivory sculptures to Germany."

Spoils of War, no. 3 (December 1996): 59-61.
Note: This is the tale of the repatriation of the Darmstadt ivory
sculptures as a result of public pressure and the solidarity of the
international museum world. The sculptures, stolen from a German
hiding place after the war, surfaced at a Parisian auction in 1993. The
fact that museums were informed about ivory figures and the auction
house was put under pressure led to intensive negotiations that resulted
in the five apostles returning to Darmstadt.
185. Klessman, Eckart. "Von Bomben gerettet und doch verloren?

(Saved from the bombs and yet lost?)." Art (Hamburg) no. 3 (March
1993): 44-53.
Note: This is a report on WWII hidden art which has disappeared. Note

90
is made of arrangements for the return of the old master drawings and
prints from the Kunsthalle Bremen which were taken by Soviets at the
end of the war.
186. Klessman, Eckart. "Die Amerikaner beienten sich aus den Depots
der Nazis (The Americans help themselves at the Nazi depositories)."
Art (Hamburg) no. 8 (August 1993): 78-81.
Note: Author criticizes the handling of artwork by the Allies at the end
of the war, especially the American military and speculates that many
items were illegally transported to the US. The artwork was brought
together by Monuments officers at Collecting Points in Europe, but
many objects formerly in Soviet and German collections have never
been discovered.
187. Kline, Thomas R. "Recent developments in the recovery of Old

Master drawings from Bremen." Spoils of War no. 5 (June 1998): 15-
19.
Note: Drawings, estimated to be worth more than $10 million and
believed to have been stolen first from Bremen, at the end of World War
II, and later from Baku, were seized in September 1997 by the U.S.
Customs Service. The criminal case, involving a Japanese national
charged with violating the National Stolen Property Act, sets the stage
for a dispute between Bremen and Baku over ownership of the
drawings.
Among National Archives Library's periodical holdings.

188. Kline, Thomas R. "Recovering wartime losses and other stolen art
and cultural property found in the United States." Spoils of War no. 3
(December 1996): 6-9.
Note: Kline's article offers advice on how theft victims should go about

91
recovering located cultural property found in the United States.
189. Kline, Thomas R. "Legal issues relating to the recovery of the

Quedlinburg Treasures." In The spoils of war - World War II and its
1995).
Note: Kline's job with Korte and Honan was to ensure that nothing was
done in the hunt for the Quedlinburg Church Treasures that would
jeopardize the making of a lawful claim to the treasures. In this
presentation, Kline traces the steps along the way to settlement of the
case and remarks on other instances in which victims have brought
claims of cultural-property theft and pursued them to settlement on
favorable terms or to success in courts, including the Bremen Kusthalle
case.
190. Kline, Thomas R. and Willi A. Korte. "Archival material on

National Socialist Art plundering during the Second World War." Spoils
of War, no. 1 (December 1995): 40-41.
191. Klugmann, Claudia. "Kriegsverluste der Gemälde- und

Pleastiksammlung des Museums der bildenden Künste (War losses of
the picture and sculpture collection of the Museum of Fine Arts)." In
Museum der bildenden Künste (Museum of Fine Arts), 7-40. Leipzig:
Jahresheft, 1994.
Note: This is a list of about 200 paintings and pieces of sculpture
missing since the war from the Leipzig Museum of Fine Arts.

92
192. Knyschewskij, Pawel Nikolawitsch. Moskaus Beute. Wie
Vermoegen, Kulturgüter und Intelligenz nach 1945 aus Deutschland
geraubt wurden (Moscow loot: how property, cultural treasures and
intelligence were robbed from Germany after 1945). München:
Landsberg am Lech, 1995. 241 pp.
Note: This book gives a clear picture of how industrial plants were
moved from Germany to the Soviet Union, as well as a view of the
looting of cultural treasures by the Red Army.
193. Koenigs, Christine F. "Under duress: the sale of the Franz Koenigs
Collection." In The spoils of war - World War II and its aftermath: the
Note: The Koenigs Collection included paintings and old master
drawings in 1935 when Koenigs, a German living in Amsterdam, loaned
his collection to the Boymans Museum in Rotterdam. In 1939, Koenigs
was prepared to negotiate with the museum for the sale of the collection
when the threat of invasion forced him to leave Amsterdam. Parts of the
collection were sold separately; the Koenigs drawings are now in
Russia.
194. Kogelfranz, Siegfried and Willi A. Korte. Quedlingburg - Texas

und zurück (Quedlinburg - Texas and back). Unich: Droemer Knaur,
1994. 512 pp.
Note: The tale of Korte's pursuit of the Quedlinburg Church Treasures.
195. Kommenda, Benedikt. "Schiele: Was alles gegen die

Konfiszierung spricht experten verweisen auf einen US-Präzedenzfall,
in dem ein eindeutig von den Nazis geraubtes Kunstwerk nicht den
früheren Eigentümern zurückgegeben wurde (Whatever is said against

93
the confiscation, experts point to a U.S. precedent wherein artwork
looted by the Nazis is not returned to its previous owner)." Museum
Security Mailing list Reports (March 1998).
Note: Arbitration over the confiscation of two Schiele paintings is
difficult because of the discrepancy between American and European
rights of ownership. In Anglo-American law, the good trust of
ownership principle, cited by Rudolf Leopold in Austrian law, does not
exist; according to the European ownership principle, if the "sincere
owner" buys from a trader through authorized trade means, with "good
trust" and on the trader's recommendation, he or she becomes owner
even, if subsequently, it is discovered that the painting has been stolen.
This principle, which provides for secure ownership in trading, is not
recognized in American law.
Online: http://www.museum-security.org/reports/00398.html.
196. Konchin, Evgraf. "Tainik Villii Holzdorf (The hiding place in the
Villa Holzdorf)." Kultura, 30 (July 1994).
197. Koordinierungstelle der Länder für die Rückführung von

Kulturgütern (Coordinating State Office for the return of cultural
treasures). n.p.: Federal States of Germany, Undated.
Note: The German Coordinating State Office for the Return of Cultural
Treasures (Koordinierungsstelle) was founded to research and document
European cultural losses as a result of WWII and postwar historical
events. Close contact with affected archives, museums, and libraries
have been maintained in order to collect missing objects and research
results in a database designed for this purpose. The Koordinierungsstelle
sponsored an international meeting, "Cultural treasures moved because
of the War: A Cultural Legacy of the Second World War
Documentation and Research on Losses" (http://www.dhh-
3.de/biblio/bremen/treasures/contents.html), late in 1994, and began
distributing expert information on cultural losses in its international

94
newsletter, Spoils of War (http://spoils.libfl.ru/spoils/start.html) as a
result of that meeting.
198. Korfmann, Manfred. "The value of the finds to the scientific

community." In The spoils of war - World War II and its aftermath: the
Note: Korfmann expresses his view that the Trojan Treasures are
extremely important for cultural and scientific research.
199. Korkmazova, Evgenia. "Review of the 1997 Russian press on the

issue of the restitution of cultural values. Part II.." Spoils of War no. 5
(June 1998): 41-43.
Note: This review of the Russian press draws on the "Restitution File"
maintained by Bibliographer Korkmazova.

200. Korte, Willi. "Trans-Art." Spoils of War, no. 10 (1995): 5-7.

Note: Trans-Art International has created an international database, the
Historic Art Theft Registry, for stolen works of art that protects the
ownership claims of WWII victims of looting.
201. Korte, Willi. "Search for the treasures." In The spoils of war -
January, 1995).

95
Note: The Quedlinburg Church Treasures were stored by the Germans
in the Altenburg cave near the church. In 1945, Joe T. Meador, an
American officer, stole many of the most valuable objects and sent them
to his home in Texas. When Meador's heirs began to sell parts of the
treasure after his death in 1980, Korte, a private investigator
specializing in WWII displaced art, became involved through the
Foundation for Prussian Cultural Heritage in Berlin. Korte persuaded
first New York Times reporter Bill Honan and then Tom Kline, an
attorney with a Texas law firm, to join him in working on the case
which resulted in the return of the treasures.
202. Korte, Willi. Trans-Art. Washington, Trans-Art. 2 pp. Vol.

Undated.
Note: Description of the Historic Art Theft Registry of Trans-Art
International, L.C., an international database for stolen works of art that
protects the ownership claims of war theft victims regarding their
missing property without paying fees.
Online: http://www.dhh-3.de/biblio/bremen/sow/transart.html.
203. Kostenevich, Albert. Hidden treasures revealed: Impressionist

masterpieces and other French paintings preserved by the State
Hermitage Museum, St. Petersburg. New York: Harry N. Abrams, in
association with the Ministry of Culture of the Russian Federation and
the State Hermitage Museum, 1995. (Catalog of the exhibition held at
the State Hermitage Museum, St. Petersburg, opened March 30, 1995).
Note: This catalog lists paintings from the Krebs, Gerstenberg, Scharf,
Koehler and other collections that were removed from German
repositories in the Soviet Zone of Occupation and shipped to the USSR.
When some of the public art was returned to Germany, the privately
owned collections were kept; now their rightful ownership is contested.

96
204. Kot, Sergei. "The Ukraine and the Russian Law on removed
cultural values." Spoils of War, no. 5 (June 1998): 9-15.
Note: This discussion of the effect on the Ukraine by Russian law on
removed cultural assets notes that cultural property was evacuated from
the Ukraine to Russia during WWII and Ukranian cultural property was
transferred to the USSR in the scope of postwar restitution and now kept
in Russia.
205. Kot, Sergei. "Ancient Ukranian mosaics and frescos lost during the
war and now located in Russian museums." Spoils of War, no. 5 (June
1998): 37-41.
Note: In 1934-1936, the Mikhailovsky Cathedral in Kiev was blown up
by communist leaders sent from Moscow. The most valuable mosaics
and frescos were removed and sent to museums of Kiev. During the
German occupation, the Germans moved engravings, maps, drawings,
plans, and photographic negatives and positives, mosaics, frescoes were
taken to Germany. At the end of the war, possessions of Ukranian
museums were given over to the Soviet Union, but they never made
their way back to the Ukraine.
206. Kotzsche, Dietrich. "Der Quedlinburger Schatz wieder vereint: 31

Oktober 1992 bis 30 Mai 1993 (Quedlinburg Treasure united again:
October 31, 1992 until May 30, 1993." Museums-Journal (Berlin) 7,
no.1 (1993): 47-49.
Note: Treasure taken from the Quedlinburg church to the US after
WWII has been restored to the church and exhibited in Berlin.
207. Koulichov, Valery. "The history of the Soviet repositories and their
contents." In The spoils of war - World War II and its aftermath: the

97
Note: This is a history of the Soviet repositories - how they came into
being and what they contain.
208. Kowalsi, Wojciech. "Introduction to International Law of

Restitution of Works of Art Looted during Armed Conflicts. Part II."
Spoils of War, no. 3 (December 1996): 10-11.
Note: In this part of his series, the author quotes legal philosophers to
show that citizen's property should be excluded from war and given
proper protection.
209. Kowalski, Wojciech. "Introduction to International Law of

Restitution of Works of Art looted during armed conflicts. Part III."
Spoils of War, no. 4 (August 1977): 39-41.
Note: The author traces looting and restitution up to the 19th century,
noting that Napoleon's looting activities had an effect on the
development of international law.
210. Kowalski, Wojciech. Liquidation of the effects of World War II in

the area of culture. Warsaw: Institute of Culture, 1994. 115 pp.
211. Kowalski, Wojciech. "Internationaler Kulturgüterschutz in Europa:

deutsch-polnische Fragen (International cultural asset protection in
Europe: German and Polish questions)." Kritische Berichte 23, no. 2
(1995): 52-57.
Note: This account tells of Poland's attempts to reclaim her cultural
treasures taken as booty through history from the middle ages to the
present with a positive focus on current talks between Germany and
Poland about the exchange of WWII looted art.

98
212. Kowalski, Wojciech. "Poland. Part I: Historical overview." Spoils
of War, no. 1 (December 1995): 22-24.
Note: After their WWI experience, Polish scholars collected
information on their cultural losses from the first days of war in 1939.
The author tells of the efforts to inventory losses and prepare restitution
claims during and after WWII.
213. Kowalski, Wojciech. "World War II cultural losses of Poland: a

historical issue or still a 'hot' political and legal topic." In The spoils of
war - World War II and its aftermath: the loss, reappearance, and
recovery of cultural property, 235-236. New York: Harry N. Abrams,
Note: Polish art collections, kept mostly in residences and palaces, were
not well documented before 1939 when the Germans ordered that all
public art be confiscated, including all church property with the
exception of liturgical objects needed for ordinary services. There has
been some progress toward restitution during this decade and there is
now hope for more.

Restitution of Works of Art looted during armed conflicts. Part I."
Spoils of War, no. 2 (July 1996): 6-8.
Note: An history of wartime plundering and early attempts to restrict
looting during the war and return loot after the war.


99
Restitution of Works of Art looted during armed conflicts. Part IV."
Spoils of War, no. 5 (June 1998): 7-9.
Note: Author notes that the 19th century witnessed the adoption of the
first legal acts banning destruction and looting of what is today referred
to as cultural property. The Lieber Code of 1863, the Brussels
Declaration of 1874, and the Hague Convention of 1899 paved the way
to modern laws on the protection of cultural heritage in time of war.

216. Kreis, George. Switzerland and the looted art trade linked to World
War II. n.p.: Center for Security Studies and Conflict Research, 1997.
Note: Switzerland played a central role in the movement of art during
WWII as a secure storage place for endangered art, and as a center for
negotiating the sale of artwork. Kreis reports on the situation at the
outset of the war, the role of Switzerland as a storage site, and
Switzerland as a market place beginning with the Gallery Fischer sale in
Lucerne in 1939 of German "degenerate art."
217. Kuhn, Petra. "Comment on the Soviet returns of cultural treasures

moved because of the war to the GDR." Spoils of War, no. 2 (July
1996): 45-47.
Note: Over two million cultural objects have been returned to the GDR
by Russia, according to the author.
218. Kuhn, Petra and Doris Lemmermeier. "Documentation and

research of cultural losses related with World War II in the Federal
Republic of Germany." In Cultural treasures moved because of the war:
a cultural legacy of the Second World war: documentation and research
on losses, 91-102. Bremen: Koordinierungsstelle der Länder, 1995.

100
Note: Germany has dealt very carefully and sensitively with other
European countries about their cultural losses during WWII. They have
registered lost public and private cultural property and recorded its
whereabouts if known.
219. Kuhnke, Monika. "Poland. Part II: Problems related to the

recording of the war losses in the area of works of art." Spoils of War,
no. 1 (December 1995): 25-29.
Note: The author notes that the "Loss Catalogue" based on reports sent
to London during the war and published in 1944, failed to account for
the immense devastation Warsaw suffered after the fall of the Rising in
1944 when the city virtually ceased to exist. More recent work has
resulted in a number of catalogues and a database of information about
over 41,000 lost artwork most of them identifiable by photograph.
220. Kunzelman, Charles J. "Some trials, tribulations, and successes of

the Monuments, Fine Arts and Archives teams in the European theater
during WWII." Military Affairs, 52 (January 1988).
221. Kurtz, Michael J. American cultural restitution policy in Germany

during the occupation, 1945-1949. Washington: Georgetown
University, 1982. iv, 224 pp. (PhD Dissertation, Georgetown
University, 1982).
Note: The author provides a valuable insight into the Western program
for cultural restitutions at the end of the war, with emphasis on
American policies and Soviet lack of cooperation.
222. Kurtz, Michael J. Nazi contraband: American policy on the return

of European cultural treasures, 1945-1955. New York: Garland, 1985. v,
309 pp.

101
Note: The only study known on the topic of policy and WWII cultural
restitution, this book presents in detail the American approach to
cultural restitution as based on: its propaganda value as an Allied effort
to preserve cultural treasures; the Anglo-Saxon concepts of justice
calling for the return of stolen property; and, the pressure placed on the
government by Americans in the arts and archives spheres with an
interest in cultural preservation and restitution. His descriptions of the
looted art recovery process offer a clear picture of the Nazi efforts to
protect their looted art and gold in castles, bunkers and mines.
223. Kurz, Jakob. Kunstraub in Europa 1939-1945 (Art theft in Europe,

1939-1945). Hamburg: Facta Oblita, 1989. 444 pp.
224. La Farge, Henry. Lost treasures of Europe: 427 photographs. New

York: Pantheon, 1946. 352 pp.
Note: Photographs of monuments and architecture before and after
bombing.
225. Lambsdorff, Hagen Graf. "Return of cultural property: hostages of

war or harbingers of peace? Historical facts, political positions, and an
assessment from the German point of view." In The spoils of war -
January, 1995).
Note: Art historians in uniform hunted down cultural property in other
countries under Hitler's instructions to transfer cultural property to
Germany. After the war, much of the German-looted cultural treasure
was sent by the Allies to Collecting Points for return to their rightful
owners. In the Soviet Zone, the stolen cultural property was moved
directly to the Soviet Union. The author states that the return of cultural

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property is one of the most difficult problems facing Germany and
Russia.
226. "The last prisoners of war." Economist (London) 335, no.7910

(April 15, 1995): 15.
Note: According to this editorial, Russia signed the Hague Convention
of 1907 outlawing looting in war and should return Germany's treasures.
227. Latham, Ernest Tyger ." Conducting research at the National

Archives into art looting, recovery, and restitution, 6-page typescript.
Washington: Ernest "Tyger" Latham, 1998. (Paper presented at the
Holocaust-Era Assets Symposium, National Archives and Records
Administration, College Park, Maryland, December 4, 1998).
Note: Tyger Latham tells of his research experience at the National
Archives and Records Administration's College Park facility working
with records related to looted art, its recovery, and its restitution.
228. Lauria, Joe. "An amicable resolution." ARTnews 97, no.9 (October
1998): 54.
Note: Holocaust victim heirs and art collector Daniel Searle settled on
an equal division of the present mark value of a Degas pastel looted by
the Nazis.
229. LeBor, Adam. "The last Nazi art scandal." Independent (November
18, 1998).
Note: The fact that governments are finally taking action to address the
fact that many art collections belonging to Jews were looted by the
Nazis before and during WWII will be looked at by the Conference on
Holocaust Era Assets participants to be held in Washington. Countries
have made commitments to identifying looted art in databases in order
to ensure the art's return.

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230. Lee, Rensselaer W. "The effect of the war on Renaissance and
Baroque art in Italy." College Art Journal 4, no.2 (January 1945): 81-91.
(Paper presented at the Archaeological Institute of America's
Symposium, "Europe's Monuments as Affected by the War," at the
Metropolitan Museum of Art in New York, December 28, 1944).
Note: This survey of damaged Renaissance and Baroque monuments
and architecture in Italy also notes that paintings and movable
sculptures placed in deposits for safekeeping were sometimes looted by
Nazis. In a final postscript paragraph, the author gives information
about French losses: stolen private collections and Renaissance
architecture.
231. Leistra, Josefine. "A short history of art loss and art recovery in the
Netherlands." In The spoils of war - World War II and its aftermath: the
loss, reappearance, and recovery of cultural property, 53-57. New York:
Note: Leistra describes the losses in the Netherlands caused by specific
Nazi art policy. Kajetan Mühlmann, Nazi art historian, was in charge of
Nazi art looting; he confiscated a number of private collections, but the
public collections and the royal collection were left intact. Some of the
private collections were located after the war; in 1947, it was estimated
that 80% of the museum quality artwork had been recovered, whereas
only 25% of the lesser quality objects were located.
232. Leistra, Josephine. "New York Conference "Spoils of War". Spoils

of War, no. 0 (1995): 8-9.
Note: This report on the Bard Conference, "The Spoils of War", held in
NYC in January 1995, gives a summary of the present situation
concerning the recovery of art and archives missing since WWII.

104
233. Leistra, Josephine. "The Mauerbach Case. Part I." Spoils of War,
no. 3 (December 1996): 22-24.
Note: In 1955 Austria was given looted artwork along with the
responsibility for returning them to the owners; objects unclaimed by
January 1956 were to be given to organizations set up by the Allies to
assist Holocaust victims. This was not done and much of the collection
remained as Austrian state property deposited in the Mauerbach
monastery near Vienna, with some works placed in Austrian museums
and embassies. As a result of an article by Andrew Decker in ARTnews,
a list of the objects was published to enable claimants to file their claims
before September 30, 1986. After that date, Austria transferred title of
ownership of the unclaimed objects to the Jewish community in Austria
which sold them at auction in 1996.
234. Leistra, Josephine. "Art recovery in the Netherlands." In Cultural

Note: Research into missing art was stopped in the 1950s in the
Netherlands because all the Collecting Points in Germany had been
explored for missing art. Some complicated missing art cases were left
unsolved; in the late 1980s, the European political climate changed and
a number of old master drawings from the Koenigs Collection were
returned to Netherlands by the German Democratic Republic.
235. Leonard, D. G. "Archives, bibliothèques et oeuvres d'art en Italie

durant la guerre (Archives, libraries and artwork in Italy during the
war)." Revue historique (Paris) 202 (July 1949): 24-51.
Note: A review of the damage done in Italy during WWII with a list of
damaged monuments and works of art.

105
236. Levin, Itamar. The last chapter of the Holocaust? The struggle over
the restitution of Jewish property in Europe. Revised ed. Jewish Agency
for Israel and the World Jewish Restitution Organization, 1998. 208 pp.
Note: Levin, Journalist and Deputy Editor of the "Globes", Israel's
business newspaper, has been reporting for several years on the property
looting that took place during WWII. This book is about the struggle for
the restoration of Jewish property in Europe; the second edition reports
on the significant developments that have occurred during the past year
including: the Swiss banking settlements, acknowledgment of the
property seized by the Custodian of Enemy Property in the UK, and
progress in Norway and France on the issue. Art and insurance are now
being looked at more closely. Levin's chapters cover different topics and
different countries - all related to restitution.
237. Lipman, Thomas W. "44 nations pledge to act on art looted by

Nazis." Washington Post (December 4, 1998): A2.
Note: The Holocaust-Era Assets Conference participants in Washington
approved guidelines for restoring ownership to looted art worldwide.
238. Lorentz, Stanislaw. Canada refused to return Polish cultural

treasures. Warsaw: National Museum, [1950?]. 85 pp.
239. Lowenthal, Constance. "The Quedling embarrassment." ARTnews

91, no.6 (Summer 1992): 158+.
Note: Commentary on the controversy over medieval church art looted
by a US serviceman during WWII. The soldier's heirs have returned the
art after receiving payment from Germany.
240. Lowenthal, Constance. "German booty in Texas." Wall Street

Journal (August 2, 1990).
Note: Quedlinburg Church Treasures located in Texas.

106
241. Lowenthal, Constance. "The Quedling embarrassment." ARTnews
91, no.6 (Summer 1992): 158.
Note: Commentary on the controversy over medieval church art looted
by a US serviceman during WWII. The soldier's heirs have returned the
art after receiving over a million dollars in payment from Germany, a
payment considered ransom by some. The author suggests that the
Department of Justice should take action to support the US policy to
restore cultural property to the rightful owners.
242. Lowenthal, Constance. "Stolen art: a positive move toward

international harmony." Museum News 70, no.5 (September-October
1991): 22-23.
Note: A review of the draft Unidroit proposal on how claims for stolen
or illegally exported cultural property should be treated.
243. Lowry, Glenn D. Testimony. Washington: House of

Representatives, 1998. (Testimony by Glenn D. Lowry, Director, The
Museum of Modern Art, New York, before the House Banking &
Financial Services Committee, in Washington, February 12, 1998).
Note: Speaking on the fate of works stolen or misappropriated during
the WWII era, Lowry noted that provenance research on art in Europe
during the 1930s and 1940s is very complicating. Archival documents
are written in many languages and distributed all over Europe. Art
dealers frequently act as middlemen protecting anonymous clients. In
illustrating the time and effort needed for provenance research, Lowry
cited the Museum of Modern Art's experiences with a Matisse, as well
as the Museum's recent experience with the Schiele paintings. .
Online: http://financialservices.house.gov/banking/21298low.htm.
244. Lust, Jacques. "The spoils of war removed from Belgium during
World War II." In The spoils of war - World War II and its aftermath:
the loss, reappearance, and recovery of cultural property, 58-62. New

107
Note: During WWII, Belgium was plundered of its cultural resources,
as well as its gold reserves, industry and workforce. The Nazi ERR
seized Freemason, socialist and Jewish assets.
245. Lust, Jacques. "Recovery of Belgian artwork and libraries lost

during the Second World War." In Cultural treasures moved because of
the war: a cultural legacy of the Second World war: documentation and
research on losses, 13-22. Bremen: Koordinierungsstelle der Länder,
1995. (Documentation of the International Meeting in Bremen,
November 30 to December 2, 1994).
Note: Looted art.
246. MacLeish, Rod. "The art and the glory." Vanity Fair (March 1995):
125.
Note: Comments on a Hermitage exhibit of art treasures taken from
Nazi Germany by Russia at the end of WWII.
247. Mann, Vivian B. "Jewish ceremonial art and private property." In

The spoils of war - World War II and its aftermath: the loss,
Note: The Nazis did not address Jewish art holdings in a uniform
manner. In Bohemia and Moravia (now part of the Czech Republic), the
Nazis envisaged a "Museum of the Extinct Jewish Race" in Prague, as a
result, collected Jewish art was cataloged by Jewish curators; much of
the collection survived the war intact and is now cared by a Jewish
community. In Danzig, a Free City after WWI, members of the Jewish

108
community met in 1938 to send their archives to Jerusalem and sell their
communal property to finance the emigration of members. Two tons of
ceremonial objects were sold to an American-Jewish organization for
deposit at the Jewish Theological Seminary in Manhattan; other
memorabilia went to the Jewish Museum in New York. Nearly all of the
Danzig Jews and their tangible heritage were saved. The Jewish
community of Worms, the oldest surviving synagogue in Germany until
Kristallnacht, suffered total destruction, the plight of most Jewish
communities in Europe. During the war, a Jewish commission, headed
by Professor Salo Baron of Columbia University, researched and
created a list of works known to have belonged to European Jewish
institutions. Following the war, recovered objects were distributed to
Jewish communities worldwide.
248. Marks, John. "How did all that art end up in museums?." U.S.
News & World Report 124, no.22 (June 8, 1998): 38-40.
Note: Looted art has turned up in US museums and museum directors
are being forced to deal with issues related to how they acquired the art.
249. Maser, Werner. Hitler's letters and notes. New York: Harper and
Row, 1973.
Note: Hitler considered the planned Linz museum, a showcase for his
collection, to be an important part of his legacy to Germany.
250. Maurer, Ely. "The role of the State Department regarding national
and private claims for the restitution of stolen cultural property." In The
Note: Maurer describes the role of the State Department in the postwar

109
recovery of looted cultural property that was looted in Europe and
ended up in the United States. The State Department, without legal
power, has tried to persuade disputed art owners and conciliate disputes,
before suggesting the application of legal powers by other agencies
including the Justice Department, the Defense Department, and the
Internal Revenue Service.
251. Meisler, Stanley. "The Hermitage." Smithsonian, 25 (March 1995):

40-41.
Note: Article about the display of Impressionist art confiscated from
Germany during WWII by the Red Army.
252. Merryman, John Henry. "The protection of artistic national

patrimony against pillaging and theft." In Law and the visual arts, 153-
172. Portland, OR: Leonard D. DuBoff and Northwestern School of
Law, Lewis & Clark College, 1974.
Note: The author writes about the legal issues related to the
international traffic in stolen and illegally exported works of artistic and
cultural importance.
253. Meyer, Karl E. "The hunt for Priam's treasure." Archaeology 46,
no.6 (November-December 1993): 26+.
Note: Russians admit that Priam's Treasure, found by Schliemann at
Troy in 1873, is in the Pushkin Museum in Moscow.
254. Meyer, Karl E. The plundered past. New York: Atheneum, 1973.
xxv, 353 pp.
255. Meyer, Karl E. "Russia's hidden attic: returning the spoils of World
War II." New York Times Current Events (February 1, 1995): A20.
Note: Meyer analyzes the reasons for Russia's reluctance to return art

110
seized from Germany after WWII and suggests that submitting the
dispute to the World Court would be a face-saving solution for Russia.
256. Meyer, Karl E. "Who owns the spoils of war." Archaeology 48,
no.4 (July 1995): 46-52.
Note: Germany and Russia dispute the ownership of booty the Red
Army took from Germany at the end of WWII. Old Masters,
Impressionist paintings and the Treasure of Priam are involved in this
international discussion.
257. Meyer, Karl E. "Who owns the gold of Troy?." New York Times
Current Events (September 26, 1993): 414.
Note: Meyer believes Russia should return the Trojan gold treasure to
Berlin.
258. Meyer, Karl E. "The lost spoils of Hitler's war." New York Times
Current Events (September 2, 1990).
Note: Meyer describes the art looting that took place at the very end of
WWII.
259. Mihan, George. Looted treasure: Germany's raid on art. London:

Alliance Press, 1944. 94 pp.
Note: Nazi art looting satisfied three needs: their desire to return all
German works of art to their fatherland; their interest in using art
treasures to obtain foreign currency needed for German armaments; and,
the need of Nazi high-ups to acquire an air of culture. This work affords
the reader early research into the robbery committed by the Nazis.
260. "MoMA fights Schiele subpoena." Art in America 86, no.3 (March
1998): 33.
Note: The Museum of Modern Art is fighting a subpoena from district
attorney Robert Morgenthau which resulted in the seizure of two

111
paintings in the museum's show, "Egon Schiele: The Leopold
Collection, Vienna."
261. Moorehead, Caroline. The lost treasures of Troy. London:

Weidenfeld & Nicolson, 1994. xiv, 306 pp.
262. Morey, Charles R. "What we are actually doing to save Europe's

art." ARTnews, 43 (May 15-31,1944): 9-10, 24-25.
Note: Includes General Eisenhower's order to the troops in Italy late in
1943 respecting the preservation of artistic treasures and describes the
special organization to safeguard monuments and works of art.
263. Morey, Charles R. "The war and mediaeval art." College Art
Journal 4, no.2 (January 1945): 75-80. (Paper presented at the
Archaeological Institute of America's Symposium, "Europe's
Monuments as Affected by the War," at the Metropolitan Museum of
Art in New York, December 28, 1944).
Note: This is a detailed account of the war damage suffered by
mediaeval art in Europe. The author reports that most of Europe's
mediaeval treasures survived, but that we do not know the fate of
Germany's artwork.
264. Morris, Collin R. "The law and stolen art, artifacts, and
antiquities." Howard Law Review 36, no.1 (1993): 201-226.
Note: The article focuses on the legal side of art theft, looking at
international and U.S. law.
265. Morris, Naomi. "On the trail of looted art." Maclean's (Canada)
111, no. 30 (July 27, 1998): 48-51.
Note: Legal claims are forcing curators and collectors worldwide to
examine their collections for looted art; at this time in history, the
declassification of documents, the increased accessibility of online

112
information, and the death of collectors of the WWII generation have
brought up new questions of ownership. The art world is now trying to
deal with issues of restitution; issues that have come to the surface
following the publication of Lynn Nicholas' book, The rape of Europa,
and Hector Feliciano's 1996 work on stolen French works, The lost
museum. The author details the looted art issue as it relates to Canadian
galleries and museums.
266. Muntz, Eugene. "Les annexions de collections d'art ou de

bibliothèques et leur roule dans les relations internationales,
principalement pendant la Révolution française (Annexations of art
collections and libraries and their role in internatinal relations,
especially during the French Revolution)." Revue d'histoire
diplomatique Check this article it says 94,p.481; 95, 375, 96,p. 481
(1894-1896): 375,.
Note: According to Charles De Visscher in the foreword of
International Protection of Works of Art and Historic Monuments, this
classic study by Eugene Muntz gives a long account of the seizure and
appropriation of works of art from ancient time to the first Empire. In
the 18th century, for the first time, limiting the effects of war solely to
the destruction of the enemy's armed forces became a mark of national
virtue and the long held practice of plundering artwork was almost
given up only to return at the end of the century with unprecedented
violence.
267. "Museums adopt Holocaust-Era art restitution guidelines." IFAR

Journal (International Foundation for Art Research) 1, no.3 (Autumn
1998): 20-21.
Note: The Association of Art Museum Directors (AAMD) adopted a
broad set of guidelines for American museums to deal with WWII
looted art not yet returned to the rightful owners. The guidelines had

113
been drawn up by a Task force chaired by Philippe de Montebello,
Director of the Metropolitan Museum of Art.
268. Naimark, Norman M. "Cultural trophies." In The Russians in

Germany: a history of the Soviet Zone of Occupation, 1945-1949, 175-
178. Cambridge, MA: Belknap Press of Harvard University Press, 1995.
Note: The Soviets followed an official policy of claiming German art:

first of all, they sought to recapture cultural treasures seized earlier by
official German orders; next they wished to locate objects taken by
individual Germans; and finally, they seized German artwork as
trophies of war. Trophy battalions flew their loot, much of it German
loot from other countries, to the USSR.
269. Nazi-plundered art hard to trace. July 22, 1998. (Article appears on
the Museum Security Mailinglist Reports at http://www.museum-
security.org/reports/04098.html#1).
Note: Philippe de Montebello, Director of MoMA, and Chair of a
taskforce on looted art from the Association of Art Museum Directors,
reports that it is very difficult to trace the ownership of pieces plundered
by Nazis through art records. During the 1990s, there have been claims
for Swiss gold, Italian insurance policies, and now looted art. During the
Fall of 1998, the State Department will co-host a 39-country conference
on how to accomplish the remaining restitution of looted goods.
270. Nicholas, Lynn H. The rape of Europa: the fate of Europe's

treasures in the Third Reich and the Second World War. New York:
Alfred A. Knopf, 1994. x, 498 pp.
Note: In this thoroughly researched book, Nicholas reports on the fate
of cultural treasures during a European conflict in which works of art
were sought by Nazi Germany: "Never had works of art been so
important to a political movement and never had they been moved about

114
on such a vast scale, pawns in the cynical and desperate games of
ideology, greed, and survival." Hitler's cultural impact started with his
fight on degenerate art in 1937, a fight involving the removal of 16,000
objects from German institutions for sale or burning. Collections of
approved art confiscated from Jews and seized from occupied countries
by military art specialists were sent to German museums, set aside for
Hitler's proposed Linz art center, or acquired for Goering's private
collection at Carinhall. Nicholas tells remarkable stories about art
collector and art dealers and the extent to which they went to hold on to
their artwork.
271. Nicholas, Lynn H. "World War II and the displacement of art and
cultural property." In The spoils of war - World War II and its
1995).
Note: An overview of the unprecedented scope of WWII art
displacement accompanied by ideological, legal, and political
justifications and watched over by highly trained art specialists assigned
to the armies of most of the belligerents. Nicholas traces the importance
of art to Hitler's idea of a pure Germanic Empire, purged of
"degenerate" art and rich with plundered artwork in accordance with
Nazi laws and theories. Thanks to the American museum and archival
establishments, the Roosevelt administration assigned archivists and art-
specialist officers, "monuments officers' to army groups who secured
and sorted out cultural caches at the end of war for restitution to rightful
owners. Great Britain had a similiar approach, but the USSR considered
cultural treasures as trophies to replace their own wartime losses.

115
272. Nikandrov, Nikolai. "The transfer of the contents of German
repositories into the custody of the USSR." In The spoils of war - World
War II and its aftermath: the loss, reappearance, and recovery of cultural
January, 1995).
Note: The Committee on Art Affairs of the USSR received hundreds of
railroad cars of treasures from Germany at the end of WWII.
273. Noblecourt, André. Protection of cultural property in the event of

armed conflict. Paris: UNESCO, 1958. 406 pp.
Note: A technical manual containing references to archives.
274. Nowikowski, Frank. "The tangled web of art's war victims."

History Today (London) 44, no.5 (May 1994): 3+.
Note: Russians admit they have artwork stolen from Germany at the end
of WWII.
275. Object ID: bibliography. Los Angeles: Getty Information Institute,

Undated. 10 pp.
Note: This bibliography on object identification, art theft and illicit
traffic in cultural property is not dated, but its entries are dated as late as
early 1997.
276. Opper, Dieter, Jost Hansen and Doris Lemmermeier, eds. Cultural
World war: documentation and research on losses. Bremen:
Koordinierungsstelle der Länder, 1995. 189 pp. (Documentation of the
Note: The German Coordination of the States for the Return of Cultural

116
Treasures organized this international meeting to exchange information
on the cultural spoils of WWII.
277. Petropoulos, Jonathan. "For Germany and themselves: the

motivation behind the Nazi leaders plundering and collecting of art. Part
II.." Spoils of War, no. 5 (June 1998): 28-35. (Among National
Archives Library's periodical holdings; on the web at
http://www.beutekunst.de/).
Note: The second largest art collection among the Nazi elite belonged to
Goering who collected Renaissance masters, Old Masters, and the court
art of 18th century France, as well as Impressionist art in his private
collection. Goebbels, Ribbentrop, Himmler and others were involved in
art collecting which conformed to the political and racial conceptions of
the Nazi leadership corps: to be Aryan meant to be cultured. These
subleaders followed Hitler's lead in using public and party funds for
personal art acquisitions.
278. Petropoulos, Jonathan. Art as politics in the Third Reich. Chapel

Hill: University of North Carolina Press, 1996. xviii, 439 pp.
Note: This revision of Petropoulos' Harvard University Dissertation,
concentrates on the Nazi use of visual arts to display Germany's power
and authority. The Nazi art plunder is described chronologically within
the framework of the competing administration bureaucracies of
Himmler, Goebbels, Rosenberg, Speer, Ley and Rust: the discrediting
of modern 'degenerate' art and artists, the looting of art from Jewish
collectors, and, finally, the plundering of cultural treasures in conquered
territories, all with the goal of creating huge German art centers in
Hitler's hometown, Linz, and in Berlin. The author, providing extensive
documentation and rigorous scholarship, attributes the competition
between Nazi leaders to share Hitler's cultural interests, and to use art as
a means of rewarding favorites as the motivation behind their plunder.

117
279. Petropoulos, Jonathan. "Not a case of "art for art's sake": the
collecting practices of the Nazi elite." German Politics and Society no.
32 (Summer 1994): 107-124.
Note: According to the author, Nazi elite approached the visual arts and
its collection, as "a means of articulating their fundamental ideologic
tenets, a mode of legitimizing authority, and an expression of their
position within the social and political hierarchy of that elite."
Collecting art became a means of expressing power relationships among
the Nazis and establishing the collectors' sense of identity as an elite
group. Looting art was justified as repatriation by the Nazi prescription
that no foreign country should possess German cultural objects.
280. Petropoulos, Jonathan. "The importance of the second rank: the

case of the art plunderer Kajetan Mühlmann." In Austro-corporatism:
past, present, future Günter Bischof and Anton Pelinka, 177-221.
Contemporary Austrian Studies 4. New Brunswick, NJ: Transaction
Publishers, 1996.
Note: The author uses the example of Mühlmann, an Austrian artist-
intellectual and middle-level Nazi functionary, to demonstrate the
crucial role of opportunistic supporters of the regime. Central to the
expropriation of the Rothschild art collection in Austria, Mühlmann, art
adviser to Hans Frank and protege of Goering, confiscated artwork in
conquered Poland and then art belonging to Jews in the Netherlands . At
the end of the war, Mühlmann, who cooperated with OSS/Art Looting
Investigation Unit by testifying against his superiors and helping locate
missing art, was able to escape from a prison hospital and virtually
avoid postwar justice.
281. Petropoulos, Jonathan. "German laws and directives bearing on the

appropriation of cultural property in the Third Reich." In The spoils of
war - World War II and its aftermath: the loss, reappearance, and
recovery of cultural property, 106-111. New York: Harry N. Abrams,

118
Note: Petropoulos contends that an investigation of the Nazi endeavor
to appropriate cultural property is one of the best ways to understand the
nature and structure of the Third Reich. His examination of Nazi laws
and directives made it apparent that the Nazi programs started with
modest and relatively nonviolent measures that escalated with time; that
Nazi policies, based on Hitler's orders and the initiatives of subleaders,
reflected a complex interaction between the leader and his subordinates;
that many of the measures were first tried outside Germany, especially
in Austria where the Vienna model tested Nazi plundering methods;
and, these laws and directives were closely linked to the Holocaust with
the expropriation of property leading to the other stages of
dehumanization.
282. Petropoulos, Jonathan. "Saving culture from the Nazis." Harvard

Magazine 92, no.4 (March-April, 1990): 34-42.
Note: During the Hitler regime, Harvard University became a haven for
many German artists and scholars forced into exile by the Nazi regime
(in 1933, 28 of Germany's museum directors were forced into exile).
Harvard also became a haven for art rejected by the Nazis: works by
Klee, Kandinsky, van Gogh, Picasso, Nolde and others. In 1939,
Harvard also organized the American Defense/Harvard Group, a team
of art historians knowledgeable about European art, to identify and
locate valuable artwork in the war zone; this Harvard team worked in
cooperation with the American Commission for the Protection and
Salvage of Artistic and Historic Monuments in War Areas to protect
Europe's art. The two groups were superseded by a government
organization in 1943.

119
283. Petropoulos, Jonathan. "Exposing "deep files"." ARTnews 98, no.1
(January 1999): 143-144.
Note: Noting the mysteries surrounding the fate of property displaced
during WWII, the author warns that museums are still keeping
researchers from certain "deep files" in their archives.
284. Plagens, Peter. "The spoils of war: pictures looted by Nazis hang in
top museums.." Newsweek 131, no.13 (March 30, 1998): 60+.
Note: Claims by heirs for artwork looted from Holocaust victims are
disturbing the art world because many of the works have found their
way to major museums. As lawsuits increase, museums wrestle with the
legal and moral issues involved.
285. Plaut, James S. "Loot for the master race." Atlantic Monthly 178,
no.9 (September 1946): 57-63.
Note: The author, a valued member of the OSS Art Looting
Investigation Unit, writes about his experiences during WWII as
Director of the Art Looting Investigation Unit, OSS, directly
responsible for recovering looted art hidden in Germany.
Online:
http://www.theatlantic.com/unbound/flashbks/nazigold/loot.html.
286. Plaut, James S. "Investigation of the major Nazi art-confiscation

agencies." In The spoils of war - World War II and its aftermath: the
Note: Plaut, Director of the Art Looting Investigation Unit, OSS, from
1944 to 1946, investigated the Nazi confiscation agencies as part of an
intelligence component to MFA&A branch of the U.S. Army with the
mission to provide information helpful in the art-restitution process,

120
and, to provide evidence for the Nuremberg trials. In this essay on his
experiences, Plaut tells of his wartime efforts which focused on the
ERR, the official Nazi looting organization in France, and which were
aided by the meticulously prepared inventory of Nazi-captured art found
in Bavaria, as well as by the cooperation of Bruno Lohse, a Munich art
dealer and executive officer of the ERR in Paris, Gustav Rochlitz, one
of Goering's chief art procurers, and Gisela Limberger, Goering's
secretary.
287. Plaut, James S. "Hitler's capital." Atlantic Monthly 178 (October

1946): 57-63.
Note: Plaut, Director of the OSS Art Looting Investigation Unit of the
OSS during WWII, tells the story of Linz, Austria, as Hitler's art capital.
Online:
http://www.theatlantic.com/unbound/flashbks/nazigold/hitler.html.
288. "The plunder of art treasures." In Nazi conspiracy and aggression.

Vol. 1. Washington: GPO for the International Military Tribunal,
Nurnberg, Germany, Office of the U.S. Chief of Counsel for the
Prosecution of Axis Criminality, 1946. 1097-1116
Note: Chapter 14 of the first volume of the background information for
the Nurnberg Trial is about the work of defendants Hermann Wilhelm
Goering and Joachim von Ribbentrop who were responsible for the
Einsatzstab Reichsleiter Rosenberg (ERR), and defendant Hans Frank
who was responsible for securing all Polish art treasures for the Third
Reich.
289. Pomrenze, Seymour J. Personal reminiscences of the Offenbach

Archival Depot, 1946-49: fulfilling international and moral obligations.
Washington: U.S. Holocaust Museum, 1998. 6 pp.
Note: Pomrenze, former Director of the Offenbach Archival Depot

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(OAD), spoke on the accomplishments of the OAD in distributing some
two million restituted objects to five countries and to the YIVO Institute
for Jewish Research.
290. Pool, James. Hitler and his secret partners: contributions, loot and
rewards, 1933-1945. New York: Pocket Books, 1997. xiv, 415 pp.
Note: This is the tale of bizarre financial relationships during the Nazi
regime involving Germany's top businessmen including financiers and
industrialists, as well as foreign bankers and statesmen. The author
describes how Nazis profited from looted art, labor camps, and stolen
property.
291. Posey, Robert K. "Protection of cultural materials during combat."

College Art Journal 5, no.2 (January 1946): 127-131.
292. Posner, Ernst. Memorandum concerning the protection and salvage

of cultural objects and records in war areas. Washington: American
Council of Learned Societies, 1944. 10 pp.
Note: The memorandum, prepared by Dr. Posner for the American
Commission for the Protection and Salvage of Artistic and Historic
Monuments in Europe, was created as a guide to provide monuments
officers of tactical units with a general description of depositories of
books, manuscripts, archives, and records in prospective war areas and
to acquaint them with first-aid measures for the protection and salvage
of their contents.
293. Preliminary inventory of the records of the American Commission

for the Protection and Salvage of Artistic and Historic Monuments in
War Area. NC124. Washington: General Services Administration,
National Archives Records Service, 1965. iii, 6 pp.
Note: Description of the records of the American Commission for the

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Protection and Salvage of Artistic and Historic Monuments in War
Area.
294. Progress report, September 15, 1997. Stockholm: Commission on

Jewish Assets in Sweden at the Time of the Second World War, 1997.
3pp.
Note: All members of the Commission and its staff were appointed in
March and April 1997 with the goal of submitting its report in the
spring of 1998. The schedule calls for four stages: preparation (March-
April, 1997); research and fact-finding (May-December, 1997); analysis
(monthly reports) and compilation to be done by the end of February
1998.
295. Protection of cultural resources against the hazards of war.

Washington: Committee on the Conservation of Cultural Resource,
National Resources Planning Board, 1942.
296. Prott, Lyndel V. and Jan Hladik. "The role of UNESCO

'Intergovernmental Committee for Promoting the Return of Cultural
Property' in the resolution of disputes concerning cultural property
removed in consequence of the Second World War." Spoils of War, no.
4 (August 1977): 59-61. (Among National Archives Library's periodical
holdings).
Note: The intergovernmental committee was set up in 1978 to handle
claims by recently decolonized states for the return of cultural property
lost to colonial countries. The committee has not been used to settle
conflict-linked removed cultural property, but the authors note that it
would have jurisdiction under Article 4 of its Statutes. The committee
would offer mediation in a neutral forum.
297. Pruszynski, Jan P. "Poland: the war losses, cultural heritage, and
cultural legitimacy." In The spoils of war - World War II and its

123
1995).
Note: In this presentation, Pruszynkas explains the difficulty of
compiling detailed lists of losses incurred as a consequence of WWII
and its aftermath, a time when Poland suffered under the occupation of
both the Nazi and Soviet regimes. The author suggests that international
rules be promulgated prohibiting the trade of plundered art.
298. Pruszynski, Jan P. "Cultural losses of Poland and their restitution."

In Cultural treasures moved because of the war: a cultural legacy of the
Note: In 1990, after the collapse of the Soviet Union, Poland created an
office to pursue restitution of cultural losses during WWII and the
German and Soviet occupations.
299. Puloy, Monika. "Imperialists, dictators and supermuseums." Issues

(London) 4, no.2 (1996): 104-116.
Note: European art looting by Napoleon and Hitler are compared in this
article. The capture of the Ghent altarpiece by the Germans is described,
as is Stalin's intent to build a huge Moscow museum for looted German
art. The author notes that the looted art chosen by Napoleon, Hitler and
Stalin indicate the same artist's names and a similar ranking of status.
300. Rastorgouev, Alexei. "Displaced art in private hands." In The


124
Note: The author, pointing out that there is little documentation for
displaced artwork that ended up in private hands, writes about items that
may be in private collections in Russia. It is known that art objects have
been stolen from collections; a significant number of the Dresden
drawings and prints that were not returned are now in private hands.
301. "Recovery of lost European treasures." The Record (Department of

State) 7, no.3 (May-June 1951): 39-42.
302. Report of the AAMD Task Force on the Spoilation of Art during
the Nazi/World War II era (1933-1945). n.p.: Association of Art
Museum Directors, June 4, 1998. 3 pp.
Note: The Association of Art Museum Directors (AAMD) has prepared
this report on the spoilation of art during WWII. .
303. Report of the American Commission for the Protection and

Salvage of Artistic and Historic Monuments in War Areas. Washington:
Government Printing Office, 1946. 238 pp.
Note: In 1943, the American Commission for the Protection and
Salvage of Artistics and Historic Monuments in Europe (also known as
the Roberts Commission), was formed to work with military and
civilian organizations engaged in protecting works of cultural value.
The Commission was instrumental in starting the Monuments, Fine Arts
and Archives Program for the protection of cultural works in war areas;
it was also instrumental in bringing about the restitution of identifiable
looted art founded in the American Zone of Occupation. This report
traces the background of the Commission and its activities.
304. Report on measures taken by agencies of the federal government to

protect records, library holdings, museum collections, and works of art

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against enemy air attack and other hazards of war. Washington:
Committee on Conservation of Cultural Resources, April 12, 1943. 12
pp.
Note: This committee, established by the National Resources Planning
Board in 1941, worked in cooperation with the National Archives and
the Public Buildings Administration to promote measures to protect the
cultural resources of the United States against the hazards of war.
305. "Return of looted objects of art to countries of origin." Department

of State Bulletin (February 23, 1947): 358-360.
Note: This memorandum by the State Department member of State-
War-Navy Coordinating Committee (SWNCC) proposes a program to
deal with the introduction of looted objects of art into the US. A letter
from the American Commission for the Protection and Salvage of
Artistic and Historic Monuments in War Areas (the Roberts
Commission), and an earlier circular from the Roberts Commission
related to the return of cultural objects imported by members of the
Armed Forces are included in the appendices.
306. Rickman, Gregg J. Swiss banks and Jewish souls. Piscataway, N.J.:
Transaction, Forthcoming.
307. Riding, Alan. "Art looted by Nazis goes on show in Paris, seeking
its owners." New York Times Current Events (October 25, 1994): C15.
Note: The tale of a small exhibit of impressionist works, stolen by the
Nazis and returned to France in 1994.
308. Rigby, Douglas and Elizabeth Rigby. "Embattled collectors: how

treasures of art and culture flee from war." Harper's Magazine 182
(January 1941): 200-208.
Note: Primarily concerned with the activities of refugees and private
collectors to save their artwork.

126
309. Ritchie, Andrew. "The restitution of art loot." Gallery Notes
(Albright Art Gallery) 11 (July 1946): 3-10.
Note: Ritchie served as technical adviser and representative of the
Commanding General, US Forces in Austria, where he supervised
restoration of art to and from the US Zone in 1945-1946. He reviews the
administration and operations of the Munich Collecting Center where
looted art was sorted, and writes about the Nazi hoard in the Alt Ausse
salt mine.
310. Ritchie, Andrew C. "Return of art loot from and to Austria."

College Art Journal 5, no.4 (May 1946): 353-357.
Note: The writer accompanied the US occupation troops entering
Austria in August 1945 as part of a project to ship Austrian loot through
Germany to western owner nations and return Austrian-owned art
property, then in Germany, to Austria. It was decided to use the Central
Art Collection Point in Munich as the collecting and distributing point
for loot from both Austria and Germany. Austrian loot stored in the Alt
Aussee salt mine was moved to Munich where it was stored separately
for identification and allocation to owner nations. Receiving nations
were made responsible for the return of loot to their own nationals, or to
another country if necessary; problems of individual ownership were
left up to the Governments concerned. A large part of the material found
in the salt mine was intended for Hitler's future museum in Linz,
Austria. Some of Hitler's collection had been looted from the Dutch.
311. Ritter, Waldemar. "Die sowjetischen Trophaenkommissionen: zur

Verschleppung von Kunstschatzen aus deutschen Museen und
Sammlungen (The Soviet Trophy Commissions: the abduction of art
treasures from German museums and collections)." Museums-Journal
(Berlin) 10, no.4 (1996): 6-8.
Note: Traces the looting of art from German collections by the Red

127
Army at the end of World War II and provides a list of military and
freight transport with a description of the shipments' contents.
312. Robinson, Walter V. "Monet painting's past unexplained by MFA."

Boston Globe (November 28, 1998): A1.
Note: The Boston Museum of Fine Art does not note that Monet's
"Water Lilies, 1904", part of the Monet exhibit at the museum, is one of
nearly 2000 pieces of artwork in French government custody that are
believed to have looted or sold under duress after the Nazi takeover of
France in 1940.
313. Robinson, Walter V. "Art buyer fights Holocaust heirs." Boston

Globe (May 18, 1997): A1.
Note: The number of lawsuits, involving heirs of WWII Jewish victims,
is growing at the same time that lawyers and museum officials are
calling for more rigorous inquiries about ownership in the art trade.
314. Robinson, Walter V. "US tracked WWII influx of looted art:

government did little to prevent sale of works here, files suggest."
Boston Globe (May 9, 1997): A1.
Note: End of the war attempts by art dealers to smuggle art in the
United States for sale were monitored by government agents, at the
same time that they showed little concern about the looting.
Online: http://www.dhh-3.de/biblio/news/1997/0509/.
315. Robinson, Walter V. "Sotheby's takes work tied to Nazis off

block." Boston Globe (11/25/97): A1.
Note: Acknowledging that a 17th century Dutch painting may have
been looted by Nazis, Sotheby's removed the artwork from a London art
auction. Sotheby's had included the painting in its December auction,
even though its catalog noted that the work had been acquired in 1941

128
for the Linz Gallery. The firm's representative noted that there was no
record that the painting was looted and there had been no claims made.
316. Robinson, Walter V. "Family says art will be returned if it was

stolen." Boston Globe (November 27, 1997): A1.
Note: The German owners of the painting pulled from Sotheby's auction
because of concern that it may have been looted by the Nazis have
pledged, if the art is proven to have been stolen, to return the work if an
heir is located; if no heirs are located, they will donate the painting to a
national museum.
317. Robinson, Walter V. "Museums' stance on Nazi loot belies their

role in a key case." Boston Globe (February 13, 1998): A1.
Note: Major American museums promised to facilitate the return of any
artwork plundered from European Jews during WWII, at the same time
they are joining a legal battle to protect trade in antiquities illegally
exported from countries with archeological sites. The movement toward
creating liability for people who handle stolen art.
318. Robinson, Walter V. "An ignominious legacy: evidence grows of

plundered art in US." Boston Globe (April 25, 1997): A1.
Note: This article points out that many people who purchase art do not
do a search about its authenticity or its possibility of having been stolen.
Online: http://www.dhh-3.de/biblio/news/1997/0425a/.
319. Robinson, Walter V. "The "Lost" masterpieces in France, an

uneasy look inward." Boston Globe (March 16, 1997).
Note: Francis Warin searched for his great uncle's paintings that had
been stolen by the Nazis for fifty years before he discovered that two
are hanging in French national museums inspite of records indicating
the paintings' source. With events like this still happening, the issue of

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France's wartime behavior and behavior since has become a national
scandal. .
320. Robinson, Walter V. "New York DA bars return of Austrian art:

two paintings are allegedly Nazi loot." Boston Globe (January 9, 1998):
A1.
Note: DA Robert M. Morgenthau opened a new front in the effort to
recover art looted from Jews by the Nazis by halting the return to
Austria of two paintings MoMA borrowed for an exhibition. .
321. Robinson, Walter V. "Portrait Nazis stole is hotly disputed: auction

buyer, Customs hope it's a Rembrandt; specialist isn't so sure." Boston
Globe (May 5, 1997): A3.
Note: A painting looted by the Nazis from the French Jewish collector,
Adolphe Schloss, is the object of a dispute over whether it is a
Rembrandt or not.
322. Robinson, Walter V. "A dispute in miniatures: Sherborn man seeks

to keep art Germany wants back." Boston Globe (April 1, 1998): A1.
Note: It is believed that the miniatures purchased by an American
antique dealer in the 1970s were probably stolen from a German state
library by U.S. soldiers in 1945.
323. Robinson, Walter V. "Theft admission ends tug-of-war over

artwork." Boston Globe (May 13, 1998).
324. Robinson, Walter V. "Holocaust victims' heirs given share of a

Degas." Boston Globe (August 14, 1998): A1.
Note: Daniel C. Searle purchased Degas' "Landscape with
Smokestacks" with the advice of Art Institute curators who missed
evidence that it had been owned by Hans Wendland, successful wartime

130
fence for Nazi Art. It was later found that the painting had belonged to
Freidrich and Louise Gutman, major Jewish art collectors in Western
Europe, the only collectors of their calibre to lose their lives in
concentration camps. In response to the ownership claims of Gutmann
relatives, Searle noted that he had relied on the expertise of Art Institute
of Chicago curators when he purchased the Degas. The case has been
settled, Searle will cede half interest in the painting to the heirs and
donate the remaining half to the Art Institute, which will then pay the
Gutman heirs half the value of the work.
Online: http://www.museum-security.org/reports/04998.html#7.htm .
325. Robinson, Walter V. and Maureen Goggin. "Murky histories cloud

some local art." Boston Globe (November 9, 1997): A1.
Note: European artwork acquired during and after WWII arrived in this
country with questionable backgrounds. Newly-opened documents
provide new evidence that some collectors donated artwork to major
museums that may have been plundered from Jews and other European
collectors.
326. Robinson, Walter V. and Maureen Goggin. "A network of

profiteers." Boston Globe (November 9, 1997): A1.
Note: This list of Nazi-collaborating art dealers with the highlights of
their activities includes: Karl Haberstock, Cesar Mange De Hauke,
Georges Wildenstein, Hans Wendland and Alexander Ball.
327. Robinson, Walter V. and Elizabeth Neuffer. "Austria confronts

dark past by combing art for Nazi links." Boston Globe (March 5,
1998): A1.
328. Rorimer, James Joseph. Survival: the salvage and protection of art
in war. New York: Abelard, 1950. xi, 291 pp.

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Note: A former Monuments Officer, Rorimer relates his experiences
from the invasion of Normandy until the recovery of art treasures from
the castles and salt mines of Germany and Austria. Rorimer had been
apprised of the loot locations by French curator Rose Vallant who had
secretly gathered information about art shipments while working with
Nazis in the art collection center in occupied Paris.
329. Rosenbaum, Lee. "Will museums in U.S. purge Nazi-tainted art?."

Art in America 86, no.11 (November 1998): 37+.
Note: The Association of Art Museum Directors has issued an action
plan for the return of WWII looted art.
330. Ross, Marvin C. "Art storage in Germany reported as inadequate."

Museum News 23 (December 1, 1945): 6.
Note: The Germans, assured by Goering that they would not be
bombed, did not take precautions early enough.
331. Ross, Marvin C. "War damage in Chartres." College Art Journal 5,

no.4 (May 1946): 229-231.
Note: A charming account of the slight damage suffered by Chartres.
332. Ross, Marvin C. CHECK THIS. "Kuntschutz in occupied France."

College Art Journal, 5 (May 1946): 336-352.
333. Roth, Cecil. "The restoration of Jewish libraries, archives and

museums." Contemporary Jewish Record, 8 (June 1944): 253-257.
334. Roundtable discussion on Nazi-looted art: summary. Washington:

U.S. Holocaust Memorial Museum, June 9, 1998.
Note: In June 1998, a roundtable discussion on Nazi-looted art was held
at the Holocaust Museum in preparation for the Washington Conference

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on Holocaust-Era Assets in November-December 1998. There were
three parts to the roundtable discussion.
335. Rousseau, Theodore. The Goering Collection. Washington: Office

of Strategic Service, Art Looting Investigation Unit, 1945. 175 leaves.
(Consolidated interrogation report no. 2).
Note: Report is a preliminary study of the history and formation of the
Hermann Goering Collection and the methods used by the
Reischmarschal of German Third Reich to strip occupied Europe of
their cultural heritage.
336. Roxan, David and Ken Wanstall. The rape of art: the story of
Hitler's plunder of the great masterpieces of Europe. New York:
Coward-McCann, 1965. 195 pp.
337. Rubenstein, Raphael. "Schieles seized at MoMA." Art in America

86, no.2 (February 1998): 27.
Note: Victims' heirs claims that two Schiele paintings exhibited at
MoMA were stolen from Austrian Jewish collections during the
Holocaust.
338. Rubin, Dana. "A soldier's secret." Texas Monthly 18, no.8 (August
1990): 82+.
Note: The story of the WWII-plundered Quedlinburg Treasures found
in the late Joe Meador's art collection.
339. Rubin, Dana. "A soldier's secret." Texas Monthly 18, no.8 (August
1990): 82+.
Note: The story of the WWII-plundered Quedlinburg Treasures found
in the late Joe Meador's art collection.

133
340. Russell, John. "Masterpieces caught between two wars.." New
York Times (September 3, 1989).
341. Sailer, Gerhard. "Austria." In The spoils of war - World War II and
its aftermath: the loss, reappearance, and recovery of cultural property,
1995).
Note: Losses of Austrian art during WWII tended to be due to the
borrowing of art by Nazis and the transfer of treasures to hiding places.
It is known that some of the art work has found its way to Russia; it is
also known that the Nazis blew up a castle containing an important art
collection on May 8, 1945. In 1948, unclaimed objects in the allied
Munich Collecting Point, including the objects collected at Mauerbach,
were handed over by the US to Austria for distribution to rightful
owners. The last of these assets were given to the Austrian Jewish
community in 1995.
342. Schaffer, Michael. "Art hunter: archive hound Willi Korte is the art
world's no-shit Sherlock." Washington City Paper (November 29,
1996): 22-29.
Note: When Friedrich Gutmann's heirs sought to find the Degas and
Renoir works confiscated by the Nazis, they turned to Willi Korte for
help. Willi Korte dedicates himself full-time to returning artistic
property to its rightful owners. Although plunder has been common
throughout history, Hitler's Germany made an art of it; when war broke
out, Hitler's looting spread through Europe. Many art collectors and
dealers were Jewish; although some escaped, few had the chance to take
their art which was sent to Germany. When Stalin's armies took Berlin,
where most art treasures were held, they were not inclined to return
property. As a result, parts of the Nazi victims' property as well as

134
Germany's own inheritance disappeared during the Cold War. Willi
Korte has stayed with the search for stolen art and in the process he has
built a body of knowledge on the topic. In the early 1980s, Willi Korte
was asked by German contacts to look into rumors about the
Quedlinburg cache missing since World War II. Korte tracked down
medieval German manuscripts worth over $25 million dollars in a tiny
North Texas town, leading one journal to call him "art's Indiana Jones."
The Quedlinburg case demonstrated to Korte the seaminess of the art
world with its "don't ask/don't tell" attitude toward historical theft.
343. Schiele - and no end? In New York the Schiele case took the next
turn. July 17, 1998. (Article ran in Die Press, July 16, 1998 and appears
on the Museum Security Mailinglist Reports at http://www.museum-
security.org/reports/03898.html#8).
Note: Two Schiele paintings are the objects of an appeal entered by
attorney Robert Morgenthau against the return of two Schiele paintings.
344. Schuman, Joseph. U.S. museum curators frustrated in hunt for

looted Nazi artwork. July 17, 1998. (Article filed in library at S18;
accessible online at the Museum Security Mailinglist Reports at
http://www.museum-security.org/reports/03898.html#2).
Note: Museums are hunting down the origins of works of art acquired
since the 1940s in an attempt to locate Nazi looted art. The Nazis kept
vague records of their confiscations.
345. Schwartz, A. "Arresting the flow of stolen art." Asian Art &
Culture 9, no.1 (1996): 12-21.
Note: The author discusses UNIDROIT and its role in the art theft
business which is the third largest illicit business in the world.
346. Schweid, Barry. Effort is set to find art Nazis stole. July 3, 1998.
(Article appears on the Museum Security Mailinglist Reports at

135
http://www.museum-security.org/reports/03598.html).
Note: The US and 38 other nations announced a drive to identify Nazi-
looted art and to compensate the victims or their heirs. The search will
also deal with unpaid life- and property-insurance claims.
347. Shvidkoi, Mikhail. "Russian cultural losses during World War II."
In The spoils of war - World War II and its aftermath: the loss,
Note: This essay presents a clear picture of the terrible plunder and
destruction of Russian cultural treasures by the Nazis during WWII. The
author then goes into recent efforts to examine the problems involving
the wartime displacement of cultural property: 1) the German removal
of property from the USSR; 2) the return by Germany to the USSR of
removed cultural property; 3) the removal of cultural property
belonging to Germany and its allies to the USSR; and 4) the return of
cultural treasures to Germany and other states by the USSR. Plans are
now being made to produce a catalog of Russian losses.
348. Simon, Matila. The battle of the Louvre: the struggle to save
French art in World War II, x, 214 pp. New York: Hawthorn Books,
1971.
Note: The story of efforts to protect the collections of the Louvre.
349. Simpson, Elizabeth, ed. The spoils of war - World War II and its
aftermath: the loss, reappearance, and recovery of cultural property.
New York: Harry N. Abrams, 1997. 336 pp. (Based on the papers of an
international three-day symposium, sponsored by Bard Graduate Center
for Studies in the Decorative Arts, New York, January, 1995.).
Note: At this symposium, marking the 50th anniversary of the end of

136
WWII, most of the world's leading authorities on the repatriation of
displaced cultural property gathered together to discuss the
consequences of the looting and destruction fifty years later. The papers
are published in this volume in the same order in which they were
heard, in order to preserve a historical approach to the topic; the book
also includes legal texts related to cultural property issues and wartime
photographs confirming acts of looting as well as reproductions of
missing art.
350. Simpson, Elizabeth. ""The Spoils of War": proceedings of the 1995

New York Symposium." Spoils of War, no. 3 (December 1996): 27-29.
Note: An overview of the Spoils of War - World War II and its
Aftermath: The Loss, Reappearance, and Recovery of Cultural
Property" which took place in New York City in January 1995.
351. Simpson, Elizabeth. "Schliemann's 'Treasures' from the Second

City of Troy." In The spoils of war - World War II and its aftermath: the
Note: This introduction to the session on the 'Treasures of Priam' gives
an overview of excavations at Troy, including those of Schliemann.
352. Siviero, Rodolfo. Second National Exhibition of the Works of Art

Recovered in Germany. Florence: Sansoni, 1950. 60 pp., 32 pages of
plates
Note: Siviero was charged by the Italian government after WWII with
recovering the country's treasures looted by the Nazis.

137
353. Siviero, Rodolfo. Arte e Nazismo: esodo e ritorno delle opera
d'arte italiano 1938-1963 (Art and Nazism: exodus and return of Italian
works of art, 1938-1963). Florence: Cantini, 1984.
354. Skilton, John. Défense de l'art européen: souvenirs d'un officier

americain specialiste des monuments (Salvaging European art:
memories of an American Monuments Officer). Paris: Editions
Internationales, 1948. 100 pp.
Note: Written mainly about his personal experiences as a Monuments
Officer, the author offers information about the types of war damage
done to artwork. Has many illustrations and is well indexed.
355. Smyth, Craig Hugh. Repatriation of art from the collecting point in
Munich after World War II: background and beginnings with reference
especially to the Netherlands. The Hague: Schwartz-SDU, 1988. 126
pp. (Gerson Lecture held at the University of Groningen, The
Netherlands, in 1986).
Note: Smyth's lecture covered the history and beginnings of the Central
Art Collecting Point in Munich established by MFA&A Monuments
Officers as part of a network of collection centers for looted art works
with emphasis on the Netherlands.
356. Smyth, Craig Hugh. "The establishment of the Munich Collection

Point." In The spoils of war - World War II and its aftermath: the loss,
Note: This summary of Smyth's work in creating and managing the
Munich Collecting Point is most informative about the problems of
competing with the military for space for cataloging and storing art loot.

138
357. "Spoils of war: impressionists at the Hermitage." Economist
(London) 335, no.7910 (April 15, 1995): 80.
Note: Over seventy paintings captured by the Soviets in 1945 have been
put on exhibit in St. Petersburg.
358. "Swiss banks, Nazi plunder." Atlantic Unbound (June 26, 1997).
Note: Noting the recent government report, "U.S. and Allied efforts to
recover and restore gold and other assets stolen or hidden by Germany
during World War II," the Atlantic Monthly explores Nazi past through
its articles beginning in September 1946.
359. Talley, M. Kirby. "Lost treasures." ARTnews 89, no.2 (February

1990): 138+.
360. Taper, Bernard. "Investigating art looting for the MFA&A." In The
Note: Taper, an art-intelligence officer for MFA&A in Germany,
assigned to the task of recovering lost and looted artwork, notes that his
most significant interrogation was of the art dealer, Hans Wendland, the
key link in moving artwork confiscated from French Jewish collections
by the ERR through Goering, and then by diplomatic pouch to
Switzerland for sale in Lucerne. The interrogation resulted in locating a
number of important paintings and in providing documentation needed
to persuade the Swiss government to look at their policies regarding
wartime art transactions.
361. Tenative list of Jewish cultural treasures in Axis-occupied

countries. [New York]: Commission on European Jewish Cultural

139
Reconstruction, 1946. 103 pp. (Also published in Jewish Social Studies,
v.8, no. 1).
Note: During WWII, the American Conference on Jewish Social
Studies named a commission to consider how to save the cultural
heritage of European Jewry. As a result of their research, a tentative list
of European Jewish cultural treasures was compiled. The list was
published in 1946 by the Commission on European Jewish Cultural
Reconstruction which went on to distribute heirless Jewish property.
362. Thornes, Robin. "Protecting cultural objects through

documentation standards." Spoils of War, no. 2 (July 1996): 38-41.
Note: To encourage recovery, cultural objects need to be photographed
and adequately described. Ms. Thorne describes the Getty Institute's
collaborative project on international documentation standards. Core
information regarded as essential by museums, insurance companies, art
dealers, and law-enforcement agencies have been identified for
inclusion.
363. Tolstikov, Vladimir. "Some aspects of the preparation of the

catalogue for the exhibition 'the Treasure of Troy: Heinrich
Schliemann's excavations' at the Pushkin State Museum of Fine Arts,
Moscow." In The spoils of war - World War II and its aftermath: the
Note: The catalog itself has been published as The gold of Troy:
searching for Homer's fabled city (New York: Harry Abrams, in
association with the Ministry of Culture of the Russian Federation and
the Pushkin Museum of Fine Arts, 1996.).

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364. Tomkiewicz, Wladyslaw. Catalogue of paintings moved from
Poland by the German occupation authorities during the years 1939-
1945. I. Foreign paintings. Publications of the Reparations Section, No.
9. Warsaw: Ministry of Culture and Art, 1950.
365. Treasures untraced - an inventory of the Italian art treasures lost

during the Second World War. Rome: Minister per i Beni Culturali e
Ambientali and Instituto Poligrafico e Zecca della Stato, 1995. 339 pp.
366. Tully, Judd. "The war loot questions: no easy answer." ARTnews
94, no.6 (Summer 1995): 144.
Note: At the end of WWII, German artwork was taken to Russia by the
Red Army. Some of these works have been exhibited at Moscow's
Pushkin Museum and at the Hermitage in St. Petersburg now that
German-Russian discussions about what to do with the art have reached
an impasse. This article reports the ambivalence of a number of U.S. art
museum directors asked for suggestions; several noted that some of the
works were taken not from museums but from individuals, others asked
if any of the works had been appropriated during Nazi purges. In the
long run, the preservation, representation and exhibition of the artwork
does everyone a service.
367. Tully, Judd. "The war loot questions: no easy answer." ARTnews
94, no.6 (Summer 1995): 144.
368. "Unplundering art: when spoils of war seized from Germany are
returned, where can the line be drawn on the repatriation of other art
treasures?." Economist (London) 345, no.8048 (December 20, 1997):
126+.
Note: Recent claims for the return of WWII looted art have created
questions about similar looting and thefts in the past.

141
369. Unterberger, Andreas. "Der Raub der Schieles (The heist of the
Schiele paintings)." Museum Security Mailinglist Reports (March
1998).
Note: According to the author, the United States, in confiscating Schiele
paintings that have never been claimed by heirs of the owners and
rejecting the offer of the Leopold Museum for independent arbitration,
has threatened not only the further exhibition of the great Schiele
exhibit, but threatens future international exhibits. He asks: What
museum in the world is going to be ready to send its works into
someone else's jurisdiction?
Online: http://www.museum-security.org/reports/00398.html.
370. Urice, Stephen K. "Claims to ownership of the Trojan treasures."

In The spoils of war - World War II and its aftermath: the loss,
Note: Urice, a specialist in law and the visual arts, summarizes the
position papers submitted by representatives of Turkey, Germany and
Russia.
371. Usborne, David. "America: 'stolen' Nazi art seized in New York."
The Independent (London) (January 19, 1998).
Note: Two paintings exhibited at the Museum of Modern Art (MoMA)
were seized by city authorities just before they were to be shipped back
to the Leopold Museum in Austria. The Egon Schiele paintings, stolen
from their Jewish owners by the Nazis during WWII and claimed by the
victims' heirs, were seized although the Leopold had pledged a panel of
experts to consider the claims with the promise to surrender the works if
the claims were upheld.

142
372. Vagheggi, Paolo. "Capolavori d'arte prigionieri di guerra (Art
masterpieces as prisoners of war)." La Republica.it: culture & scienze
(February 21, 1998).
Note: Nations, going back to biblical times, have looted the art treasures
of other nations they have conquered. This brief article traces the
activities of the Romans, the Crusaders, Napoleon, the British, the
Nazis, and the Russians in capturing art as booty. In the past, attempts at
getting art items back to their original owners have not been successful.
Much of the art stolen by the Nazis has been returned to the rightful
owners. There is a movement in the art world to get other Nazi loot
back to the owners and to ensure that art treasures are returned in the
future.
This article is filed at V1 in the Library.

Online:
http://www.repubblica.it/online/cultura_scienze/arte/portante/portante.ht
ml.
373. Valland, Rose. Le Front de l'art: defense des collection franŁaise

(The art front: defending the French collections), 262 pp. Paris: Plon,
1961.
Note: Rose Valland, a French curator, while working in a German-
occupied museum center collected information on art shipments to
Germany and secretly consulted and copied German inventories.
Valland instructed Monuments Officer James Rorimer on where to find
the treasures when he accompanied combat troops into Germany.
374. Van Rijn, Michel. Hot art, cold cash. London: Warner Books,
1994.
375. Varadarajan, Tunku. Gallery is sued over 'looted' art (Times of

London). August 14, 1998.

143
Note: Prentice Bloedel gave the Henri Matisse painting, "Odalisque", to
the Seattle Museum years after he had purchased it from a NYC gallery.
Soon after, a new book, "Lost Museum, the Nazi Conspiracy to Steal
the World's Greatest Works of Art", cited the painting as stolen from
Paul Rosenberg, a Jewish Paris art dealer who left his collection behind
when he fled from the Nazis in 1940. Bloedel's grandchild recognized
the illustration as matching the painting given by his family to the
Seattle Art Museum. The Bloedel family contacted Rosenberg heirs
who filed a legal demand for the return of the painting. At this time, the
Seattle Art Museum has indicated an interest in going to court as a test
case. Rosenberg family members are unhappy at the Museum's forcing
them to incur the expense and delay of a lawsuit.
376. Varon, Elana. "NARA web site to aid Holocaust asset research."
Federal Computer Week (December 7, 1998): 8.
Note: This article on the NARA web site unveiled at the Holocaust-Era
Assets Symposium describes the site's features and notes that one
historian said, "They've created a little research nucleus. If I were
starting to look at this for the first time, as a place to begin, it's really
unmatched.."
377. Vlug, Jean. Report on objects removed to Germany from Holland,

Belgium, and France during the German occupation of the countries.
Amsterdam: Report of Stichting Nederlands Kunstbesit, 1945.
378. Vrublevskaya, Valentina and Sergei Kot. "Cultural property of the

Ukraine lost as a result of World War II: problems of research and
restitution." In Cultural treasures moved because of the war: a cultural
legacy of the Second World war: documentation and research on losses,
109-123. Bremen: Koordinierungsstelle der Länder, 1995.

144
Note: After the collapse of the Soviet Union and Ukranian
independence, the return of lost cultural assets became an important
element of government cultural policy.
379. Walker, John. "Europe's looted art." National Geographic 89

(January 1946): 39-52.
Note: A description of the work of the MFA&A Branch in protecting
artistic treasures in the course of war and of the discovery of masses of
Nazi loot secreted away. There are special notes on looting in Italy.
380. Watson, Peter. Sotheby's: the inside story. New York: Random
House, 1997. vii, 324 pp.
Note: An investigation into how art objects of great historical,
economic, and sometimes religious, value found their way to the
Sotheby's auctions.
381. Watson, Peter. "Battle over Hitler's loot." The Observer, no. 10683
(July 21, 1996): 28.
Note: WWII victims' heirs seek to retrieve paintings looted by Nazis
from American art collector Daniel Searle who claims to have
purchased the paintings legally.
382. Waxman, Sharon. "Austria: ending the legacy of shame."

ARTnews 94, no.7 (September 1995): 122-125.
Note: For nearly 50 years, a cache of Jewish-owned art confiscated by
the Nazis during WWII was stored - much of it in a monastery in
Mauerbach, outside Vienna. The artwork had been turned over to
Austria by the US in 1955 with the provision that Austria distribute
them to rightful owners or contribute them to a Holocaust victims
organization. After a brief and unadvertised claims period ended in
1972, Austria claimed title to the remaining objects, placing the finest

145
ones in museums and galleries. In 1984 ARTnews published an
investigation, "A legacy of shame: Nazi art loot in Austria", which
revealed the Austrian actions, resulting in an extension of the claims
period making possible the return of several hundred objects. Not until
1995 did Austria take steps to transfer the remaining art objects to the
Jewish Community of Austria.
383. Waxman, Sharon. "Justice in Austria... finally?." ARTnews 94,

no.1 (January 1995): 154+.
Note: Because of the claims of a 1984 ARTnews article that Austria had
mishandled the restitution of artwork stolen by the Nazis, legislation
was passed in December 1985 calling for an extension of the claims
period for victims' heirs and for an auction for the unclaimed objects,
stored in a monastery in Mauerbach, with the proceeds going to victims
of the Third Reich in Austria. Some Jewish leaders argued against an
auction, saying that it would be more appropriate to exhibit them in a
museum at Austrian government expense. .
384. Weber, John Paul. "Spoils of war." In German war artists, 55-75.
Columbia, SC: Cerberus Books, 1979.
Note: This chapter traces the history of the legitimacy of military
confiscation, noting that after the Hague Convention of 1907, art would
be granted an absolute immunity, under international law, from seizure
by an invading army. The author focuses on the WWII and post-war
occupation practices of the Allies.
385. Weber, John Paul. "Second thoughts." In German war artists, 77-
99. Columbia, SC: Cerberus Books, 1979.
Note: This chapter focuses on the Nazi-looted art found in Merkers.
Military leaders proposed that these masterpieces and other German-
owned works of art be transported to the US for safekeeping "in trust"
for the people of the defeated nation. This action approved by President

146
Truman was opposed by both the members of the Allied Commission
on Reparations who requested that the final disposition of any removed
art should be subject to future Allied decisions, and by U.S. Monuments
Officers, as establishing " a precedent which is neither morally tenable
nor trustworthy." The removed art was returned in 1948 and 1949; the
controversy over this artwork spurred military historians to seek a
formal legal opinion about the propriety of their continued possession of
the works by German artists. Those works deemed to have been
"erroneously seized" were returned to Germany during the 1950s.
386. Weinbaum, Laurence. Righting a historic wrong: restitution of

Jewish property in Central and East Europe. 3d ed. Policy studies no. 1.
Jerusalem: World Jewish Congress, 1995. 41 pp.
Note: Most Jewish properties looted by the Nazis were later seized by
the Communists before they could be claimed by their rightful owners.
The collapse of the Soviet Union and its hold over Central and East
Europe has given Jews a new opportunity to reclaim lost property. In
1992 the World Jewish Restitution Organization (WJRO) was formed to
negotiate Jewish communal claims. The WJRO has found a disturbing
pattern of national laws restricting the rights of Jews to reclaim their
property.
387. Wildenstein, Georges. "Works of art - weapons of war." La

République franŁaise (December 1943).
388. Williams, Sharon A. The international and national protection of

movable cultural property: a comparative study. Dobbs Ferry, NY:
Oceana Publications, 1978. xvii, 302 pp.
389. Wilson, David. "Return and restitution: a museum perspective." In

Who owns the past?, 99-106. Oxford: Oxford University Press, 1985.
(Paper presented at the annual symposium of the Australian Academy of

147
the Humanites).
Note: This call for support from the great universal museums of the
world against claims for the return of cultural property.
390. Wolff Metternich, Franz. Die Denkmalpflege in Frankreich (The

preservation of historic buildings and monuments in France). Berlin:
Deutscher Kunstverlag, 1944. 54 pp.
Note: Count Wolff Metternich headed the protection of cultural
treasures as part of the German military government. He summarizes
the history of the French administration for the protection of monuments
previous to 1942, of all laws on the topic, and presents a survey of
organizations concerned with the topic.
391. Woolley, Charles Leonard. A record of the work done by the

military authorities for the protection of the treasures of art and history
in war areas. London: HMSO, 1947. 71 pp.
Note: Sir Charles Leonard Woolley, a prominent scholar, appointed to
the position of Archeological Advisor in the War Office, describes the
beginning of the British MFA&A program. Appendix B is a previously
published detailed statement of war damage.
392. Works of art in Austria (British Zone of Occupation): losses and

survivals in the war. London: HMSO for the British Committee on the
Preservation and Restitution of Works of Art, Archives and Other
Materials in Enemy Hands, 1946. 60 pp.
Note: Compiled from reports supplied by the Monuments, Fine Arts and
Archives Branch of the Control Commission for Austria (British
element) this notes the loss and survivals in the war with remarks about
individual museums, galleries, libraries and private art collections.
393. Works of art in Germany (British Zone of Occupation): losses and

survivals in the war. London: HMSO for the British Committee on the

148
Preservation and Restitution of Works of Art, Archives and Other
Materials in Enemy Hands, 1946. x, 65 pp.
394. Works of art in Italy: losses and survivals in the war. Vol. 1: South
of Bologna; Vol. 2: North of Bologna. London: HMSO for the British
Committee on the Preservation and Restitution of Works of Art,
Archives and Other Materials in Enemy Hands, 1945, 1946.
Note: A catalog of destroyed, damaged, and undamaged works with
photographs and repair notes. Volume I was compiled while the war
was going on from field reports from Monuments Officers. Volume 2
was compiled after the war and includes an appendix on the protection
of archives in Italy by Hilary Jenkinson and E.E. Bell.
395. Yanowitch, Lee. "French museums to exhibit 900 works taken

during WWII." Jewish Telegraphic Agency, Inc. (March 2, 1998).
Note: Four French museums announce special exhibits for art the Nazis
took from France during WWII.
Online: http://www.dhh-3.de/biblio/news/1996/0302/.
396. Zagorin, Adam. "Saving the spoils of war." Time 150, no.23
(December 1, 1997): 87-91.
Note: Whereas the search for Nazi gold and cash centered on Swiss
banks, the hunt for art stolen from Holocaust victims is worldwide.
According to the author, top U.S. museums own allegedly WWII looted
art. In planning a gallery of cultural masterpieces, Hitler had directed
Hermann Goering to assemble a collection of captured art, including
works confiscated from Jews. It is believed that German forces had
control of one-fifth of the world's Western art by the end of WWII.
Even during the war, some of this loot found its way to New York's art
market. Survivors and their heirs are now being helped in their quest for
the stolen art by Members of Congress, as well as other organizations,

149
including the Holocaust Art Restitution Project (HARP), and the World
Jewish Congress.
397. Zaldumbide, Rodrigo Pallares. "Return and restitution of cultural

property: cases for restitution." Museum 34, no.2 (1982).
Source: This page retrieved from the National Archives and Records
Administration.
URL:
http://www.archives.gov/research/holocaust/bibliographies/looted-
art.html
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Ukrainian-American Woodcut and • PYSANKA ART FEATURED O
Etching Artist POSTCARDS
Lumley Caszalet, Ltd., 24 Davies Over 225 Pysanky are on Display in
Street, London w1 this Gallery
December 1-30, 1972 Miniature Masterpieces of Art
Ukrainian Easter Eggs
• HOLLYWOOD TRIDENT
NETWORK • PYSANKA: ARTFUL EGGS
HOLLYWOOD TRIDENT Add a colourful Ukrainian traditi
FOUNDATION to your Easter decorating
Entertainment Professionals Interested By Anna Hobbs, Canadian Living
in Ukrainian Affairs Magazine, CanadianLiving.com,
Los Angeles, California Toronto, Ontario, Canada, Sat, April
2004
• HONCHAR MUSEUM, Kyiv,
Ukraine • "PYSANKA: THE EXQUISITE
"Ivan Honchar Museum, A EGG"
Treasure House of By Orysia Paszczak Tracz
Ukrainian Folk & Decorative Arts" Ukrainian-Canadian Folk Art Scholar
By Ihor Poshyvailo, Department Head Winnipeg, Manitoba, Canada
Ivan Honchar Museum
Photos by Volodymyr Zaitsev • PYSANKA: MONTANA
WOMAN'S EGG ART WILL
• ALLA HORSKA.......Her Life and BECOME PART OF PERMANEN
Death WHITE HOUSE COLLECTION
Young Ukrainian Artist of the 1950's- Libby Laird's Ukrainian Easter
1960's Repressed and Murdered By Eggs
The Soviets by Donna Healy, The Gazette Staff,
The Billings Gazette, Billings, Monta
• ALLA HORSKA (1929 - 1970), March 1, 2004
KYIV, UKRAINE
An outstanding artist, a well- • PYSANKA ORNAMENTATION

159
known figure of the sixties ITS ORIGINS
By V. Ovsienko By M.M. Skoryk
Re-edited by R.M. Bihanskyi in 1972
• ALLA HORSKA MOSAIC IN Narodna Tvorchist ta Etnografiya 19
DONETSK TO BE SAVED No. 4 (Kyiv)
McDonald's Ukraine and Firm YUG Translation by Orysia Paszczak Trac
The Ukrainian Weekly, April 27, 199
will save and construct the famous
mosaic "Woman Bird" in the • PYSANKA REQUEST FROM
central lobby of their new building KOLOMYIA, UKRAINE
in Donetsk Home of One of the Largest and
ArtUkraine Information Service Newest Pysanka Museums in the Wo
(ARTUIS), Kyiv, Ukraine; November Letter to Orysia Paszczak Tracz
14, 2002 Ukrainian Canadian Folk Art Scholar
From Yaroslava Tkachuk, Director
• HORSKA MOSAIC Kolomyia Museum of Hutsul and
THREATENED BY RENOVATIONS Pokuttia Folk Art
McDONALDS'S DRAWS FIRE
OVER MOSAIC • PYSANKA: SOFIA
The "Woman-Bird" mosaic by SHATKIVSKA, UKRAINIAN
Ukrainian dissident artist Anna PAINTER FROM VERMONT,
Horska is threatened by SHARES THE PYSANKA ART
renovations for a new McDonald's FORM
restaurant in Donetsk By Amy Abern, Englewood Herald
By Evgenia Mussuri, Kyiv Post Staff Tribune, Englewood, Florida, Januar
Writer 22, 2004
Category: NATION
The Kyiv Post, Kyiv, Ukraine • PYSANKA: UKRAINIAN EGGS
14 Nov 2002 LAST ALL YEAR LONG
Pysanka are her passion."Being
• McDONALD'S UKRAINE Ukrainian is more than wearing
COMMITS TO THE HISTORIC Ukrainian shirt and eating
PRESERVATION OF THE ALLA perogies," she says." Its a way o
HORSKA MOSAIC IN DONETSK preserving their heritage and

160
ArtUkraine Information Service making it come alive for them,"
(ARTUIS) said Gerry Zerebecky
Kyiv, Ukraine By Reporter Britainy Robinson, CBC
Monday, November 18, 2002 Saskatchewan, Regina, Saskatchew
Canada, April 17, 2003
• ALLA HORSKA: A VICTIM OF
THE STATE THAT WAS • "PYSANKY - THE ANCIENT A
Yuri Andrukhovych, The Day, Kyiv, OF EGG DECORATING"
Ukraine, March 3, 1998 Dell Kasinskas, pysanky
artist/instructor for the past 34
• HUMAN INTEREST STORIES
years
RELATED TO UKRAINE By: Jay Nowakowski, Corresponden
"Personal Stories That Tug At The
CTValleyNews.com, Bristol,
Human Heart;" About Artists, Writers,
Connecticut, Thursday, March 18, 2
Children, War Refugees, Parents,
Immigrants, And Much More
• PYSANKY: ANNUAL
• HUTSUL AND POKUTTIA EGGSTRAVAGANZA SHOWS
REGIONS FOLK ART UKRAINIAN ARTISTRY
UKRAINIAN ANTIQUITIES IN Ninth Annual Easter Bazaar,
PRIVATE COLLECTIONS Ukrainian Museum-Archives
Cleveland, Ohio, By John Petkovic,
An Outstanding New Book, Fall 2002,
Cleveland Plain Dealer, Cleveland,
Order Your Copy Now
Ohio, April 6, 2003
• HUTSUL ANNUAL
• PYSANKY: ANNUAL WHITE
INTERNATIONAL FESTIVAL HELD
HOUSE EASTER EGG ROLL AN
IN UKRAINE
COLLECTION OF DECORATED
XII International Festival of Hutsul
STATE EGGS
Culture Held in Kosiv
One of the Oldest and Most
XIII Festival to be Held in
Unique Traditions in Presidentia
Vyzhnytsya in 2003
ArtUkraine Special Report on Ukrainian
History. Some eggs decorated in
Festivals the traditional Ukrainian pysank
By ArtUkraine.com Culture and Travel style are included in the collecti

161
Editor The White House, Washington, D.C.
Kyiv, Ukraine, November, 2002
• Pysanky Art, Books And
• HUTZUL BEDSPREADS-- Ceramics By Sofiyka
LIZHNYKY Sofiya Zielyk, Ukrainian - American
Virtual exhibition of Ukrainian Artist
Lizhnyky, featuring traditional and New York, New York, USA
contemporary examples of this craft
• Pysanky Art -
I From Ukraine "Folk Art" Magazi
• Icon Embroidery Art Based On Three Articles from
Father Dmytro Blazheyovskiy the "Folk Art" Magazine
Article by N. Stadnyk No 2, 1997, No 1-2, and 3-4, 1999
The National Union Of Folk Art Mast
• ICON FESTIVAL: ORTHODOX Of Ukraine
CHURCH HOSTS ICON FESTIVAL
Icon Painters and Creators of • PYSANKY: "THE ART OF THE
Ukrainian Pysanky Gathered for EGG"
the Festival Ukrainian Easter Egg Painting -
By Glenn May, Pittsburgh Tribune- Learn How to Make Pysanky
Review, Pittsburgh, Pennsylvania, Workshop by the House of Ukraine i
Sunday, February 29, 2004 Balboa Park, California, By Geeta
Chinai, SignOnSanDiego Contributor
• ICONS & IMAGES: Inheriting a The San Diego Union-Tribune, San
Tradition, Constructing a Diego, CA, Wed, Mar 10, 2004
Tradition; Lyda Lykhach, Rodovid,
• PYSANKY: THE ART OF THE
Kyiv, Ukraine and others
University of Saskatchewan,
EGG, CARRYING ON AN AGE-O
Saskatoon, Saskatchewan, Canada, UKRAINIAN TRADITION, ARTIST
January 24-25, 2003 STEPHANIE ASTALOS-JONES
By Julie Phillips Jordan, Athens Bann
• Icons - "Ukrainian Folk Icons" Herald, Athens, Georgia, April 14, 2
From The Land Of Shevchenko
• Pysanky Art, Ukrainian Easter

162
A New Book Published By Rodovid Eggs
"The Timeless Gift Of Hope, Joy and
• Ivan Kovlyk Promise" , Ukrainian Gift Shop, Inc.
Ukrainian Folk Artist (Founded 1947)
Yahotin, Ukraine St. Anthony Village, Minnesota
• Ivan Marchuk Painting • Pysanky Artists

Exhibition Liubov Ktytorova and Tetiana Vlene
National Gallery Of Fine Arts Kyiv, Ukraine
September, 2000 Kyiv, Ukraine
• PYSANKY: AT THE UKRAINIA
• Ivan Novobranets MUSEUM IN NEW YORK, THE
Ukrainian Folk Artist MAGICAL PYSANKA, THE
ANNUAL EXHIBITION
• IVANOV, IVAN, "FAMINE" There is no Ukrainian folk art
Ukrainian Avant-Garde Artist, Indian object that has such universal
Ink on Paper, 1922, Private Collection,
Moscow, Russia
audience appeal as the pysanka
By Marta Baczynsky, Public Relation
The Ukrainian Museum, New York, N
J
York, March, 2003
• JEWELLERY: UKRAINIAN ART
JEWELLERY • PYSANKY...."BETTY
Gallery featuring jewellery by CHRISTENSON'S ART FOR
contemporary artists, history, links:
Orest Ivasyuta, Vitaliy Krochmalyuk,
EASTER"
"it is life itself she holds in her hand
Olexandr Buyvidt, Oleh Petriv, Eduard
American with Ukrainian Heritage. B
Ivanyushenko, Olha Hykova, Roman
Ellen Margulies, editor, artist and
Velihurskyj, Stefan Perzhan,
freelance writer
Kostyantin Kravchuk, Konstantin
"American Profile" Magazine, Cover
Sheverdin, Illya Popyuk
Story
March 24-March 30, 2002
• JEWISH "ROADS, PALACES,
CITIES" OF UKRAINE • PYSANKY: BEVERLY
Project Shows How Today's BOIWKA'S DECORATED EGG
Artists are Evoking Ukraine's

163
Jewish Past MAKES IT TO THE ANNUAL
By Daniel MacIsaac in Kyiv, JTA NEWS, WHITE HOUSE EASTER EGG
December 26, 2002 DISPLAY
Boiwka specializes in decoratin
• JEWISH THEATER FESTIVAL eggs Ukrainian style
HELD IN LVOV, UKRAINE By Ethel Moyers, The Morning Journ
Lev Krichevsky, Cleveland Jewish Lorain, Ohio, April 6, 2003
News, Nov. 27, 2002
• PYSANKY: CANADIAN EGG
K
ARTIST SHARES HER FLAIR
• KYIV, UKRAINE: THE LONG Susan Turner of Agassiz makes
AND WINDING ROAD: Ukrainian pysanky Easter Eggs
FOCUSING IN ON THE UZVIZ, By James Baxter, Agassiz Harrison
Kyiv's so-called "most charming Observer, Agassiz, British Columbia
street" Canada, Thursday, April 8, 2004
By Paul Miazga, Kyiv Post Staff Writer
Kyiv Post, Kyiv, Ukraine, Wednesday, • PYSANKY: CHRISTIAN
May 26, 2004 TRADITION
Artist Uses Egg Shells As Canvu
• KIEV SYMPHONY ORCHESTRA Makes Ukrainian Easter Eggs
AND CHORUS Rose Albano Risso, Staff Writer,
Music Mission Kiev (MMK) Manteca Bulletin Online Daily,
Roger and Diane McMurrin Manteca, California, Tuesday, March
A Christian mission bringing the major 30, 2004
works of Western classical music to
Ukraine for the purpose of proclaiming • PYSANKY CREATED FOR
the gospel to and through Ukrainian HOLODOMOR
musicians to the world COMMEMORATIONS
"Tough Face of Famine"
• KOBZAR CONTEST: KYIV By Ivan Mishchenko, Town of Korsu
HOSTS FIRST NATIONWIDE Shevchenkivskiy, Cherkassy oblast',
KOBZAR CONTEST, NAMED Ukraine, Ukraina Magazine, Kyiv,
AFTER HRYHORY KYTASTY Ukraine, 1999
By Tetiana Polishchuk, The Day, Kyiv,

164
Ukraine, February 18, 2003 • PYSANKY: CHRISTINA LAZO
DEMONSTRATES THE ART OF
• KOENIGS COLLECTION: PYSANKIES IN FLORIDA, HAS
NETHERLANDS HAILS RETURN BEEN MAKING THEM SINCE 194
BY UKRAINE OF ART STOLEN By Renee LePere, Staff Writer, Sun-
DURING WWII Herald.com, Charlotte Harbor, Florid
Drawings collection is considered Wednesday, April 16, 2003
one of the most important in the
world • PYSANKY: EASTER TRADITIO
By Helen Fawkes, BBC correspondent CONTINUES
in Kiev, BBC NEWS, Kiev, Ukraine, Nadia Poluch Teaches the
Tuesday, April 20, 2004 Traditional Art of Ukrainian Egg
Decorating in Canada
• KOLOMIYA, UKRAINE: By Andrew Bruce, Mercury Staff, Th
POTTERY AND ART HELP TO Guelph Mercury, Guelph, Ontario,
SHAPE IT'S HISTORY Canada, Saturday April 19, 2003
Local potters, artisans struggle to
keep local traditions alive. • PYSANKY: EASTER
Kolomiya built a new museum TRADITIONS REPRESENTED IN
shaped like a large Easter egg, or FLORIDA
pysanka Ola Kryway, 86, of Titusville,
By Natalia Feduschak, The Kyiv Post, celebrates a Ukrainian
Kyiv, Ukraine, March 27, 2003 tradition...pysanky
By Linda Jump, Florida Today,
• KOZAK-MAMAI (MAMAI THE Melbourne, Florida, Saturday, Apr 1
COSSACK) 2004
Often Portrayed in 17th-19th
Century Folk Paintings in Ukraine • PYSANKY: EGG ART BRIDGE
"Ancient Symbolism of Kozak-Mamai CULTURES AND BELIEFS
Image" Ukrainian Craft has Pagan roots
by Tetyana Poshyvaylo-Marchenko Special to the Chicago tribune
Chicago, Illinois, March 15, 2002
• KRYCHEVSKY ART
• PYSANKY: EGG-CELLENT AR

165
COLLECTION RETURNS TO York County [PA] women keep t
UKRAINE FROM VENEZUELA ancient tradition of dyeing
By Daniel MacIsaac, Kyiv Post Staff pysanky eggs alive year-round
Writer, Kyiv Post, Kyiv, Ukraine, May Olga Romanchak-Ahrens, Instructor
22, 2003 By Jennifer Vogelsong, York Daily
Record, York, Pennsylvania, Thursda
• KRYCHEVSKY ARTWORK AND March 11, 2004
ARCHIVE EXHIBITION IN KYIV
Collection Of Items by Vasyl • PYSANKY: EGG-DYEING ART
Hryhorovych Krychevsky Donated MAKES FOR A COLORFUL
to Ukrainian Museums by COLLECTION
Krychevsky Family in Caracas, Mary Jane McIntee has been
Venezuela hooked since she learned about
By Vlad Lavrov, ArtUkraine.com pysanka in the 1970's, the ancie
Correspondent in Kyiv, ArtUkraine.com Ukrainian art of egg dyeing
Information Service, Kyiv, Ukraine, By Crystal Bolner, Statesman Journa
May 14, 2003 Salem, Oregon, Thursday, April 8,
2004
• KRYCHEVSKY: CAPACITY
CROWD VIEWS THE VASYL • PYSANKY, EGGING US ON:
HRYHOROVYCH KRYCHEVSKY UKRAINIAN DECORATOR KEEP
PAINTING AND ARCHIVE ART FORM ALIVE: Zoria Zetaruk
COLLECTION AT THE EMBASSY an 88-year-old folk artist born to
OF UKRAINE IN WASHINGTON, Ukrainian parents who immigrat
D.C. to Canada
Krychevsky Collection Being By Kristen Peterson, Las Vegas SUN
Donated to Museums In Ukraine Las Vegas, Nevada, Thursday, April
By E. Morgan Williams, Ukraine Market 2003
Reform Group (UMRG), ArtUkraine.com
Information Service, Washington, D.C., • PYSANKY: EGG
May 5, 2003 MASTERPIECES MORE THAN
HOBBY FOR MARBLEHEAD, OH
• KRYCHEVSKY: SECOND WOMAN
COLLECTION OF VASYL

166
KRYCHEVSKY ARTISTIC WORKS Helen Jean Cooley has been
DONATED TO UKRAINIAN decorating for the past 32 years
MUSEUMS BY KRYCHEVSKY'S By Kate Botti, News Herald
FAMILY IN VENEZUELA ARRIVE correspondent, Port Clinton, Ohio,
IN KYIV Saturday, April 10, 2004
Opening of Exhibit, "Return of a
• PYSANKY: THE EGGSACTING
Master"
By E. Morgan Williams, Publisher,
ART OF PYSANKY
www.ArtUkraine.com Information Artist Adelaide Rusch became
Service (ARTUIS), Washington, D.C., fascinated by the craft in 1974
Wed, Feb 24, 2004 By Evelyn Ryan, The Dominion Post
Morgantown, West Virginia, April 20
• KRYCHEVSKY, VASYL--50TH 2003
ANNIVERSARY OF HIS DEATH
BRAMA, New York, November 15, 2002 • PYSANKY EGGS RECALL
UKRAINIAN TRADITION
• Krychevsky, Vasyl Hryhorovych Lake Mills mother-daughter duo
1873-1952 hooked on pysanky, Ukrainian
Major Exhibitions Gallery method
Architecture, Paintings, Graphics, By Margaret Krueger, Watertown Da
Movies, and Applied Arts News, Watertown, Wisconsin,
From Kharkiv in 1897 to New York in Saturday, April 10, 2004
1999
• PYSANKY: EGGS-
• Krychevsky, Vasyl Hryhorovych TRAORDINARY, DECORATING
1873-1952 FOR EASTER UKRAINIAN STYL
Graphic Art Gallery By Karl B. Hille, The Winchester Sta
"In Graphics Vasyl H. Krychevsky Is Winchester, Virginia, Thursday, Apri
The Pivot" 2004
• UKRAINIAN ARTIST VASYL • PYSANKY: EGGS-TRA SPECI

KRYCHEVSKY Ukrainian Easter eggs offer
50th ANNIVERSARY OF HIS students lesson in art
DEATH The Indiana Gazette, Indiana, PA,

167
November 15, 2002 March 28, 2004
• Krytyka - Leading Kyiv-based • PYSANKY: "EGGS THE

Journal Of Critical Reviews, UKRAINE WAY"
Essays, and Discussion Eaton, Greeley, Colorado
residents learn ancient techniqu
• KURKOV, ANDREY: "PENGUIN Story by Roxye Arellano, Greeley
LOST"; NO PLACE LIKE HOME Tribune, Greeley, Colorado, March 2
Alienation and absurdity in post- 2004
Soviet Ukraine
Book Review by Angel Gurria- • PYSANKY FROM
Quintana, Financial Times, London, UK, SHEVCHENKO'S HOMELAND
Weekend, April 4, 2004 "Pysanka" a book by Vadym Mytsyk
and Oles Fysun
•KYIV APPROVES DIASPORA'S Published by Rodovid in 1992 in Kyi
MEMORIAL TO GREAT FAMINE Article by Orysia Paszczak Tracz
by Roman Woronowycz, Kyiv Press The Ukrainian Weekly
Bureau; The Ukrainian Weekly; April 22, 2001
The Ukrainian National Association;
USA, November 3, 2002 • PYSANKY: THE GOOD EGG,
SYMBOL OF FERTILITY AND NE
• KYIV LAVRA: UNEARTHING LIFE
THE KYIV PECHERSK LAVRA By Angela Vasquez, Staff Writer, U-
A Series of Churches and Caves Daily News - L.A. LIFE, Los Angeles
Daily News, Los Angeles, California,
Named A UNESCO World Heritage
April 17 2003
Site
by Emily Urquhart, Kyiv Post Staff
• PYSANKY: INDIANA
Writer, Kyiv Post, Kyiv, Ukraine, Mar
17, 2004
TEACHER'S HOOSIER EGG ON
DISPLAY AT WHITE HOUSE
• KYIV RENAISSANCE YEAR Sheri Johnson Demonstrated th
DESIGNATED FOR 2003 Ukrainian Art of Pysanky
UIA Designates 2003 as 'The Year Beth Hlavek, Jounal and Courier On
Great LaFayette, Indiana, April 19,
of the Renaissance of Kyiv'

168
UIA Man of the Year 2002- 2003
Oleksander Omelchenko Mayor of
Kyiv • PYSANKY IN UK: ROSSLYN'S
ArtUkraine Information Service SUCH A GOOD EGG!
(ARTUIS); Kyiv, Ukraine and Rosslyn Nelson eggs are
Washington, D.C. decorated in colourful Ukrainian
Monday, November 4, 2002 folk style
By Andy Coleman, Evening Mail;
L Birmingham, United Kingdom, Apr 1
• LESHCHENKO, YEVHEN 2004
Highly Gifted Ukrainian Painter
"Emanation of Mysterious Light" • PYSANKY: LOCAL ARTIST IN
Reported By Lyudmyia Kornienko and ALASKA, USA, WORKS
Mykola Volga....OR-GALLERY, Kyiv WONDERS WITH EGGS
Mary Black Sells Egg-Crafting
• LIFAR, SERGE: BALLET Supplies At Her Business, Alask
DANCER BORN IN KYIV Eggery
Most Celebrated Male Ballet Star KTVA Article, Anchorage, Alaska, Ap
Between Nijinsky and Nureyev 18, 2003
An Antique Tapestry Treasure
Found Featuring Serge Lifar • PYSANKY: NEBRASKA WOM
Matthew Gurewitsch, New York Times, DESIGNING INTRICATE
November 10, 2002 UKRAINIAN EASTER EGGS
KNOWN AS PYSANKY
• SERGE LIFAR, UKRAINIAN BY Lisa Klinzing of North Bend
BIRTH, HAD BRILLIANT CAREER By Beverly J. Lydick/Tribune Staff, T
AS A CHOREOGRAPHER WITH Tribune, Fremont, Nebraska, Thursd
BALLETS RUSSES March 31, 2004
London, UK, Agence France-Presse
(AFP), December 4, 2002 • PYSANKY: OUR CULTURAL
HEIRLOOM
• Liza (Elisaveta) Myronova and One of Ukraine's Best Cultu
Ukrainian Folk Artist Ambassadors
EDITORIAL, The Ukrainian Weekly,

169
Kyiv, Ukraine April 7, 1996
• Liza Myronova Folk Art • PYSANKY: AN OVAL ART FO

Exhibition Kelly Graeber practices pysanky
Hetmans Museum,16B Spas'ka str. ancient Ukrainian folk art
(Podil) By Bob Holliday, Pantagraph.com,
Kyiv, Ukraine, January - March, 2001 Connecting Central Illinois on the we
Bloomington, Illinois, Thursday, Apr
M 8, 2004
• MALAKHOV, VLADIMIR:
UKRAINIAN BALLET DANCER TO • PYSANKY--"PLANET EGG"
BE FEATURED ON USA'S PBS ON Ukrainian Pysanky
FEBRUARY 3, 2003 By Linda Lishchuk Hupert
By Fletcher Roberts, The New York
Times, February 2, 2003 • PYSANKY: POLISH ART
CENTER
• MALAKHOV, VLADIMIR Ukrainian Pysanky Kits For Sale, Egg
(UKRAINE); A MACHO SPIN ON Art, Importer of Items From Poland,
Hamtramck, Michigan
BALLET, 'DANCE IN AMERICA'
FOLLOWS 4 STARS' PATHS • PYSANKY SHOWCASE
Angel Corella (Spain), Jose Featuring the Award Winning Ar
Manuel Carreno (Cuba), Vladimir of Patty Wiszuk-De Angelo
Malakhov (Ukraine) and Ethan Wide Selection of Pysanky in
Stiefel, (USA) Traditional, Contempory, and Custo
By Sarah Kaufman, The Washington Design Using The Traditional Ukrain
Post, Monday, February 3, 2003 Method of Waxing and Drying
• MALEVICH: THE FULLEST • PYSANKY: SOME EASTER

EXPRESSION OF PURE FEELING TRADITIONS PREDATE BIRTH O
Ukrainian Artist Kasimir Malevich CHRIST
By Dmytro Horbachov, Ukrainian Art By Alison Hawkes, Bucks County
Critic, Welcome to Ukraine magazine, Courier Times, Levittown,
Kyiv, Ukraine, 1998, Issue One Pennyslvania, Sunday, April 4, 2004

170
• MALEVICH'S SHAPES OF • PYSANKY: SYMBOL OF
THINGS TO COME--A SPRING FROM UKRAINE
Revolutionary Whose Brush Was Romeoville, Illinois Annual Egg-
Mightier Than His Pen. Kazimir Decorating Workshop
Malevich was born near Kiev in Chicago Tribune, Chicago, Illinois,
1878 Sunday, April 4, 2004
By Blake Gopnik, The Washington Post,
Washington, D.C., May 27, 2003 • PYSANKY: SYMBOLS OF THE
RESURRECTION
• MALEVYCH: "THE UNKNOWN Docia Pawluk, who grew up in
MALEVYCH" Ukraine, made the eggs from ag
Internationally Renowned Artist: until she was 101 years old
On his 125th Birth Anniversary By Kathy Kish, Bluefield Daily
By Olena Papeta, Art Researcher, The Telegraph, Bluefield, West Virginia,
Day Weekly Digest in English Kyiv, April 21, 2003
Ukraine, Tuesday, March 9, 2004
• PYSANKY: THIS PROCESS
• WORKS BY MALEVICH STIR TAKES A 'GOOD EGG'
CONTROVERSY AT GUGGENHEIM Gloria Horbaty decorating eggs
Kazimir Malevich was born near the traditional Ukrainian method
Kyiv in 1878 By Christopher Symington, Record-
The Russia Journal Daily, Moscow, The Journal staff, Record-Journal, Meride
Associated Press, New York, May 23, Connecticut, April 4, 2004
2003
• PYSANKY: A TRADITION OF
• RETHINKING MALEVICH.. FINE ART
Two-Day Conference in New York Ukrainian-Americans Continue
In Celebration of the 125th Their Cultural Practices By Usin
Anniversary of [Ukrainian] Artist Ukrainian Techniques to Decora
Kazimir Malevich (1878-1935), Easter Eggs
February 6-7, 2004 By Jennifer A. Uihlein, Newsday.com
The Malevich Society, Charlotte USA, April 18, 2003
Douglas, NY, NY, Tues, Jan 13, 2004
• PYSANKY, UKRAINIAN EAST

171
• MARTYNIUK, LARYSA: EGGS BY OLGA
"REMEMBERING" Olga's Egg Files: Chicken Eggs, Duc
The Great Famine in Ukraine, Eggs, Goose Eggs, Ostrich Eggs, Ho
1932-1933, Artwork Created in to Make Pysanky, History of this Art
1982-1983
Also Recent Paintings by Larysa
• PYSANKY UKRAINIAN EGG
Martyniuk, Ukrainian/American Artist, DECORATING COURSE OFFERE
Colorado Springs, Colorado AT KENNESAW STATE
UNIVERSITY IN GEORGIA
• MATRYOSHKA: THE SECRETS By D. McKee Marietta Daily Journal
OF THE MATRYOSHKA Online, Marietta, Georgia, Decembe
Russian Nesting Doll 16, 2002
By Tatyana Sinitsyna, RIA Novosti
Writer RIA Novosti, Moscow, Russia, • PYSANKY: UNBROKEN
January 23, 2004 TRADITION: UKRAINIAN EGG
DECORATING DATES TO PRE-
• Mazepa, Ivan; Cossack Hetman CHRISTIAN TIMES
and Russian Czar Peter the Great By Laura Thomas, San Francisco
IN UKRAINE, A FILM'S HAZY Chronicle, San Francisco, California,
HISTORY LESSON Saturday, April 12, 2003
Washington Post Foreign Service
Front Page, Style Section, The • PYSANKY: WHY EGGS AT
Washington Post EASTER
Washington, D.C., Wednesday, The Ukrainian Pysanky eggs we
October 2, 2002; Page C01 intricately decorated by drizzling
beeswax on the eggs and then
• MAZEPA: UKRAINIAN dipping them into several dyes
COSSACK HETMAN IVAN New Straits Times, Malaysia, April 2
MAZEPA: A LOOK THROUGH 2003
CENTURIES
Exposition at the Lviv Art Gallery • THE SYMBOLISM OF THE
in Lviv, Ukraine UKRANIAN EASTER EGG
By Iryna Yehorova of Lviv, The Day Adapted from the original story by
Weekly Digest, The Day, Kyiv, Ukraine, Sofia Zielyk, Ukrainian-American Ar

172
Tuesday, July 8, 2003 New York, New York
• "MAZEPPA, SONGS OF • ASSETS: EGGS--FABERGE T

UKRAINE" PYSANKY--SIZZLE
Bolshoi Theater hits a high note Decorated Eggs Are On A Roll;
with its new production of Ukrainian Folk Style Called
'Mazeppa' Pysanky
By Raymond Stults, The Moscow By Richard Chang, Reuters, New Yo
Times, Arts & Ideas Moscow, Russia, April 13, 2003
Feb. 6-12, 2004
Q
• MINISTRY OF ARTS AND R
CULTURE • RUSLANA: WILD DANCES IN
Government of Ukraine UKRAINE AS IT CELEBRATES
Kyiv, Ukraine. Contains a wide array of FIRST EUROVISION CROWN,
information about the Ministry and the
'Ukraine is going nuts' and
major cultural events that take place in
Ukraine. The website is in Ukrainian 'Everybody is playing 'Wild
only Dance'!'
Agence France-Presse (AFP), Kiev,
• MISS DEAF WORLD: Ukraine, Sunday, May 16, 2004
UKRAINIAN LADY WINS MISS
• RUSLANA: SATURDAY NIGHT
DEAF WORLD 2003 CONTEST UKRAINE JOINED EUROPE, A MUSICA
HELD IN PRAGUE EUROPE, Ukraine Conquered the Heig
Galina Broiko Named The Most Called Eurovison, It's unbelievable bu
Beautiful Deaf Girl in the World it's a fact. Ruslana Won. Serhiy Shvets
www.ArtUkraine.com Information Reports from Istanbul, Turkey,
ICTV television, Kiev, Ukraine, in Ukrainian, 1
Service (ARTUIS), Kyiv, Ukraine, May 04,
Tuesday, July 22, 2003 BBC Monitoring Service, UK, in English, Sund
May 16, 2004
• "UKRAINIAN MODERNISM 1910-
1930," A NEW ART EXHIBITION • RUSLANA'S DIKI TANTSY VIDEO,
DETAILS ABOUT THE SHOOTING
Agreement on the Joint Project "Wild Dances" Performance for
"Ukrainian Modernism 1910-1930" Eurovision Song Competition,

173
National Art Museum of Ukraine, Kyiv, EUROVISION.TV, Istanbul, Turkey, Ukrainian
Song and Dance,
Ukraine, Tuesday, June 10, 2003
"Wild Dances" May, 2004
• "MOSES" • RUSLANA: UKRAINE WINS

New Opera Prepares for World
EUROVISION,
Premiere Week During Visit of Pope
John Paul II To Ukraine. Ruslana hands Ukraine its first
Composer Myroslav Skoryk, Lviv State victory at the celebrated Europe
Academic Theater for Opera and Ballet. Event,
Lviv, Ukraine, June 23-30, 2001 Agence France-Presse (AFP), Correspondents
Istanbul,
Istanbul, Turkey, Sunday, May 16, 2003
• MOSES... "A New Opera For A
Nation In Search of Itself" • RUSLANA OF UKRAINE WINS
By Joe McLellan EUROVISION WITH
Classical Music Critic Emeritus of The SONG "WILD DANCES,"
Washington Post, July 20, 2001, Grace Inspired by the folk music and dances
Notes highlanders
in the Carpathian Mountains,
Associated Press (AP), Istanbul, Turkey, Sun
• UKRAINIAN MOVIE PORTAL May 16, 2004
"KINOKOLO.UA" • RUSLANA WINS! UKRAINE WINS!
A wide range of information about the COMMENTARY: E. Morgan Williams, Publishe
Ukrainian movie scene, past, present and Editor,
THE ACTION UKRAINE REPORT,
and future
Washington, D. C., Sunday, May 16, 2004
• MUSEUM OF CRAFT & FOLK • UKRAINE WINS EUROVISION SONG

ART CONTEST,
Innovative Exhibitions of Craft and Folk Ruslana's Ukrainian Song "Wild Dance
Art from Cultures Past and Present, By Daren Butler, Reuters, Istanbul, Turkey,
Educational Programs and Publications. Saturday, May 15, 2004
San Francisco, California
• RUSLANA: UKRAINIAN SONG "WIL
DANCES" PERFORMED
• MUSEUM: UKRAINIAN MUSEUM BY RUSLANA ATEUROVISION 2004,
WILL STAY IN CLEVELAND, OHIO Unique character of the picturesque la
New two-story building to be built of the Hutsuls permeates the song
behind current structure, maps, through the sounds of ethnical music

174
photos used by Nazis to invade instruments, elements of the Hutsul
Ukraine in World War II will now be traditional dance, Kolomyika, vivid
exclamations 'Hey! Hey!' and 'dana-da
displayed EUROVISION.TV, Ukrainian Song "Wild Danc
By Angela Townsend, Plain Dealer Istanbul, Turkey, May, 2004
Reporter, The Plain Dealer, Cleveland,
Ohio, April 17, 2004 • RUSLANA: POPULAR UKRAINIAN
SINGER, COMPOSER, PRODUCER
• MUSIC THEATER PIECE Always Unpredictable, Ruslana is "wil
"KUPALA" TO BE PERFORMED IN energy.
EUROVISON.TV, Istanbul, Turkey, May, 2004
UKRAINE
YARA ART GROUP'S NEW SHOW • RUSLANA: NEWS BRIEFS FROM 20
"KUPALA" TRAVELING TO UKRAINE EUROVISION SONG CONTEST
DURING NOVEMBER OF 2002 Ukrainian Singing Star Ruslana,
ArtUkraine Information Service Eurovison Will be Viewed by 100 Millio
(ARTUIS): November 4, 2002 People,
EUROVISON: Istanbul, Turkey, Friday, May 1
2004
• MUSICAL INSTRUMENTS IN
UKRAINE THROUGH THE • RUSLANA: EUROVISION KICKS OF
CENTURIES: Lute, Torban, Kobza, WITH
Bandurka, Bandura. History, LOVE SONGS AND STOMPING,
Artists, Illustrations, Photographs, Ukrainian Star Ruslana One of the
Folk Music Favorites,
Agence France-Presse (AFP), Istanbul, Turke
May 13, 2004
• NALEPYNSKA-BOICHUK,
SOFIA: "FAMINE" • RECORDINGS: SMALL USA
Ukrainian Avant-Garde Artist, Wood RECORDING LABEL FEATURES
Engraving, 1927, State Museum of UKRAINIAN ARTISTS
Ukrainian Fine Arts, Kyiv, Ukraine
International Piano Legend
• NARAZYAN, VACHAGAN AND "Sviatoslav Richter Live in Kiev
SIX OTHER UKRAINIAN ARTISTS and More
TNC RECORDINGS & TNC JAZZ, Las
WITH TIES TO KHARKIV TAKE ON Vegas, NV, August, 2003
BEAUTY IN ART EXHIBITION
Beacon, New York Gallery Hosts

175
Exhibit "The Interconnection of • REVERSE PAINTING ON GLA
Time" Artworks by Vachagan ANASTASIA RAK
Narazyan, Dmitriy Dymshyts, Ukrainian Folk Art Master--For Fifty
Edward Yashin, Stas Gidzevich's Years Some of Anastasia Rak's work
and three other Ukrainians are for sale Contact ArtUkraine.com
By Rebecca Rothbaum, Poughkeepsie You Are Interested
Journal Poughkeepsie, New York, May
12, 2003 • Reverse Painting On Glass
Ivan Skolozdra, Folk Artist
N Painting Exhibition, Ukrainian House
• NATIONAL PHILHARMONIC Kyiv, Ukraine, March, 2001
SOCIETY OF UKRAINE
Holding Concerts Seasons Since 1863
• Reverse Painting On Glass
Kyiv, Ukraine Yaroslava Surmach Mills
Artist, Illustrator, Author
• NAZI ART: TRAIL OF NAZI West Nyack, New York
PLUNDER LEADS TO HIGH
• ROCK BAND: UKRAINIAN
COURT
BAND ROCKING THE FORMER
Case has wide implications in art
SOVIET WORLD AND BEYOND
world, foreign policy
By Richard Willing, USA TODAY,
Five-piece guitar-playing band
Washington, D.C., Mon, Feb 23, 2004 Okean Elzy [Elsa's Ocean] from
Lviv, the heart of nationalism in
• Nil Khasevych, Artist western Ukraine
Ukrainian Underground Art By Elizabeth Piper, Reuters, Kiev,
Album Of The Woodcuts Ukraine, Sunday, March 14, 2004
Made In Ukraine, 1947 - 1950
• RYPAN DESIGNS
• Nina Marchenko Ukrainian Style Beadwork
Ukrainian Monumental Artist [Gerdany]
Kyiv, Ukraine by Maria Rypan, Toronto, Ontario an
Warren, Michigan

176
• SADOVSKA, MARIANA:
UKRAINIAN BORN SINGER,
ACTRESS AND MUSICIAN
PERFORMING CONCERTS
AROUND THE UNITED STATES
ArtUkraine.com Information Service
January 24, 2003
• SAVCHENKO, SERHIY
Outstanding Young Artist from
Lviv, Ukraine
His Works Are Quite Interesting
and Luminous
Virtual Gallery Of Lviv Artist Serhiy
Savchenko
Biography, Exhibitions, His Works,
Articles
• Sculpture Art
• SEDLIAR, VASYL: KOBZAR B

TARAS SHEVCHENKO
The Collectivization-Famine
Kobzar?, Illustrations and
Quotations Focus on Stalin's
Crimes, not Tsarist Russia
Illustrations by Vasyl Sedliar, Edited
Andriy Richytsky, 1931 and 1933
Second Edition. Sedliar and Richytsk
were both later murdered by the
Soviet secret police
• SHEVCHENKO: SACRED
FREEDOM

177
Who helped liberate Taras
Shevchenko from serfdom and
how
By Ihor Siundiukov, The Day Weekly
Digest, Kyiv, Ukraine, July 8, 2003
• SHEVCHENKO: THE SPIRITU

EYES OF A GENIUS
Shevchenko's philosophy of art
By Mykola Skyba, Research Associa
National Taras Shevchenko Museum
Kyiv, The Day Weekly Digest in
English, Tuesday, March 16, 2004,
Kyiv, Ukraine
•SHEVCHENKO, TARAS: THE

MOST FAMOUS OF THEM ALL
Bard of Ukraine, Poet, Artist, Freedo
Fighter; History, Photographs,
Postcards, Monuments, Writings, Fo
Art, Figurines, Sculptures
• SHOSTAKOVICH, DMITRI:
COMPOSER
His 13th Symphony (1962), decr
the Ukrainian and Nazi massacr
of Jews at Babi Yar in Kiev
DANGEROUS DRAMA: "LADY MACBE
OF MTSENSK" "Lady Macbeth of
Mtsensk" was banned in the Soviet
Union for 30 years CLASSICAL MUSI
Chris Pasles, Los Angeles Times;
October 27, 2002

178
• SHYP, WOODEN SCULPTURE
ARTIST: Ukraine Through the Ey
of Laslo Shyp, Renowned
Transcarpathian Master of
Wooden Sculpture
By Yury Zelinsky, The Day Weekly
Digest, Kyiv, Ukraine, May 27, 2003
• SILVESTROV'S POETRY OF
MUSIC-NEW ALBUM IN 2002
Ukrainian Composer's CD
Features the Munich-based
Rosamunde Quartett
• SILVESTROV, VALENTIN: AN
ELEGANT INTRODUCTION TO
THE UKRAINIAN COMPOSER
By Melinda Bargreen, Music Critic;
Seattle Times, Seattle, Washington;
Friday, November 08, 2002
• SILVERSTROV, VALENTIN NE
CD OF UKRAINIAN COMPOSER
MUSIC
Romantic Ghosts in a Rueful
Present: "Leggiero, Pesante"
By PAUL GRIFFITHS; New York Time
August 11, 2002
• HRYHORY SKOVORODA
MUSEUM RENEWES ITS WORK
SKOVORODYNOVKA VILLAGE,
KHARKIV OBLAST

179
Ukrainian Poet and Philosopher,
UNIAN, Kyiv, December 2, 2002
• SPORTS FOOTBALL: NO-ONE

WOULD STOP THEM
February 24, 1943: It has now be
sixty-one years since FC Start
Ukrainian football [soccer] playe
were murdered by Nazis
By Rachel Sproule, The Hibernian
Football Club Web Site, Edinburgh,
Scotland, UK, 24 February 2004
• SPORTS: FRANCE-BOUND
UKRAINIAN ROWER THEODOR
REZVOY KNOWS WHAT FLOAT
HIS BOAT
"I do it for my country," he said.
The blue and yellow flag of
Ukraine will be aboard
By Charles Zusman, The Star-Ledge
NJ.com website, Newark, New Jerse
June 29, 2003
• SPORTS: IRYNA KOVALENKO

OF UKRAINE WAS A SURPRISE
WINNER IN THE WOMEN'S HIGH
JUMP AT THE 3RD IAAF WORLD
YOUTH CHAMPIONSHIPS HELD
AT SHERBROOKE, CANADA
• SPORTS: KLITSCHKO
BROTHERS LEARN TO SHARE

180
Ukrainian Heavyweight
Contenders Poised to Claim
Pieces of Title>
By Kevin Iole, Special to The
Washington Post, SPORTS, The
Washington Post, Washington, D.C.,
Friday, April 9, 2004; Page D01
• SPORTS: OKSANA BAIUL,

BACK ON THE BLADES AND
HAPPY
Tiny Ukrainian girl won Olympic
gold and the hearts of the world
By Marie Vasar, Los Angeles Daily
News, Los Angeles, CA, Jan 17, 200
• SPORTS GALLERY
Ukrainian Athletes Achieving
Excellence On The International
Scene
• SPORTS: SWIMMING: UKRAIN

LEADS THE WAY IN EUROPEAN
CHAMPIONSHIPS,
Gold Medallists Yana Klochkova
and Danys Sylantyev
By Astrid Andersson in Madrid,
Telegraph.co.uk, London, UK, Fri, M
14, 2004
• SPORTS: UKRAINIAN VITALI

KLITSCHKO STOPS CORRIE
SANDERS IN EIGTH ROUND TO

181
WIN HEAVYWEIGHT BOXING
TITLE
By Nigel Hunt, Reuters, Los Angeles
California, Saturday, April 24, 2004
• SPORTS: UKRAINIAN VITALI

KLITSCHKO STOPS CORRIE
SANDERS TO WIN WBC TITLE
By Tim Dahlberg, AP Boxing Writer,
Los Angeles, Saturday, April 24, 200
• State Bandura Players Conce

Ukrainian Palace
Kyiv, Ukraine, May 30, 2000
T
• TATAR ART: A CRIMEA LEFT
ONLY IN PICTURES
European Cultures Museum in
Berlin stores Crimean Tatar wor
of art
By Mykyta Kasianenko, Simferopol,
Interview with Crimean Deputy
Minister of Culture Ismet Zaatov, Th
Day Weekly Digest in English, Kyiv,
Ukraine, Tuesday, April 20, 2004
• TATARS
News and publications, online
communities, periodicals, books,
organizations, culture and history,
architecture, language, literature,
music and dance, travel and tourism
guides, transporation, maps. Crimea

182
Tatar Internet Resources Website
• CRIMEAN TATAR HISTORY

AND CULTURE CD-ROM
CREATED WITH U.S. EMBASSY
SUPPORT IN UKRAINE
www.ArtUkraine.com Information
Service (ARTUIS), Friday, July 4, 20
• TAURIC
CHERSONESOS--"LEGACIES O
A SLAVIC POMPEII"
City of Tauric Chersonesos has
been included on the World
Monuments Watch List of 100
Most Endangered Sites Since
1996, was founded in 421/422 B.
near Sevastopol, Ukraine. The
cradle of Rus [Eastern Slavic]
Orthodoxy
By Kristin M. Romey, Managing Edit
ARCHAEOLOGY Magazine
Volume 55 Number 6, Pages 18-25;
Long Island City, New York
• Toys and Dolls

Ukrainian Traditional Folk Art
Exhibition, Taras Shevchenko Museu
in Kyiv, December, 2000
• TRYPILLIAN CLAY POTTERY

"Molding Ancient Culture"
by Anna Kozmina
Kyiv Post Staff Writer

183
23 May 2002
• TRYPILLYA CULTURE IN
UKRAINE
Atlantis in the Steppes of Ukraine
History, Discoveries, Beliefs, Pottery
By Natalya Mykhaylova
•TRYPILLIAN CERAMICS
GALLERY
Home of Beautifully Handcrafted
Ceramics Inspired by the Artistry of
the Ancient Trypillian Culture by Art
Marika and Myron Bokalo
• TRYPILLIAN CIVILIZATION
Study and Tour in Ukraine,
Summer 2004
By Mykola Ponomarenko, Kolos
Corporation, Alexandria, VA, Februa
13, 2004
• TSYTUYEV, IHOR--YOUNG
UKRAINIAN PIANO PLAYER
Performs at the "Ukrainian Autumn
Japan" Event
Tokyo, Japan, September 20, 2002
• FIRST THEATRICAL
VOCABULARY DICTIONARY
PUBLISHED IN UKRAINE
Kyiv Weekly, Kyiv, Ukraine, Decemb
20, 2002

184
• Ukrainian Concert Series,
Washington, D.C.
• UKRAINIAN CULTURE: ART

FORM IN THE UNITED STATES
SIGNS OF THE CROSS:
Iron Landmarks of the Great Pla
By Deneen Gilmour, THE FORUM,
Accent on Living Section, Pages B1
B8, Fargo, North Dakota, USA,
September 1, 2002
• "Ukrainian Heritage"
A culture website supported by
"Memorial" organization. Contains a
wide array of information on Ukraini
history, arts and culture. Here you c
also find the complete list of Ukraini
historical sites by region and the list
all Ukrainian cities and towns with th
dates of their first mention in histor
data. The website is in Ukrainian on
• UKRAINIAN INSTITUTE OF
AMERICA (UIA) GIVES MAYOR O
KYIV OMELCHENKO "MAN OF
YEAR" RANK
Honors Reconstruction of
Historical Monuments, Photo
Exhibition to be Held in New Yo
City and Around USA in 2003
UNIAN-NEWS, Kyiv. Ukraine, Octobe
2, 2002

185
•UKRAINIAN INSTITUE OF
MODERN ART
2320 W. Chicago Avenue
CHICAGO, ILLINOIS
• UKRAINIAN LANGUAGE,
CULTURE AND TRAVEL PAGE
A website complied by Linda Hodges
free-lance writer and journalist from
Iowa. Linda is the co-author with
George Chumak of the book "Langu
and Travel Guide to Ukraine" now in
third edition. Major galleries on the
website include Folk and Fine Arts;
Folk traditions and Religion; Food,
Travel and tourism; Destinations an
Sightseeing, Books, Language Aids
much more
• "UKRAINIAN POWER"
Fun, educational children's products
such as puppet videos and much mo
Also Ukrainian language tools for
speakers of English. Milford, Michiga
• Ukrainian Tapestry Art

Stepan Hanzha Cossack Dancer, Poe
Tapestry Artist Hanzha Tapestry
Exhibition,
The National Union Of Folk Art Mast
November, 2000, Kyiv, Ukraine
• "The Undefeated"... A Feature

Film
Award Winning Film Director Oles

186
Yanchuk's True Story Of Roman
Shukhevych, Leader Of The
Underground Army Who Fought
Against Both The Nazis and the Sov
V
• VIRSKY IS COMING! VIRS
IS COMING! VIRSKY UKRAINIAN
NATIONAL DANCE COMPANY
VIRSKY 2004 CONCERT TOUR
SCHEDULE
Internationally Acclaimed Dance
Celebrate the Spirit of Ukraine
USA-Canada, September 13, 200
to December 5, 2004 Virsky will
perform over seventy concerts
By E. Morgan Williams,
Publisher and Editor
THE ACTION UKRAINE REPORT
www.ArtUkraine.com
Information Service (ARTUIS)
Washington, D.C.,
Sunday, August 22, 2004
• VESNIVKA CHOIR....
Ukrainian Liturgical, Folk and
Classical Music
A Community Based Choir Founded
1965, Toronto, Ontario, Canada
W
• Woodcarving Exhibition
Volodymyr V. Lupiychuk,
Master Woodcarver

187
National Union Of Folk Art Masters O
Ukraine, Exhibition Hall, Kyiv, Ukrai
March, 2001
• Woodcarving Exhibition
"Wood Is Singing"
Serhiy Karpenko, Master
Woodcarver
Taras Shevchenko Museum
Kyiv, Ukraine, March, 2001
• WOODWORKING: LOCAL
CRAFTSMAN WITH UKRAINIAN
HERITAGE BUILDS REPUTATIO
OF A MASTER IN SALEM,
OREGON
Learned the intricate skills and
techniques from his Ukrainian-
born father
By Matt Monaghan, Business,
Statesman Journal, Salem, Oregon,
February 16, 2004
• Woskobiynyk [Woskob]
Ukrainian Art Exhibition
Paintings By Fifteen Ukrainian Artist
The Ukrainian Institute Of America
November, 1998 New York, New Yo
•Woskobiynyk, Olexiy (Alex

Woskob)
'THE STORY OF MY LIFE"
Recorded by Oleh Chornohuz
Published by "VUS"

188
Kyiv, Ukraine 2000
KIEV, Ukraine — Ukraine is unlikely to return more than a dozen paintings by

Western European artists brought here from a German museum as Soviet war
trophies during World War II, an official said Thursday.
The German Foreign Ministry said Wednesday that it wants to negotiate the return of
the works, which are on exhibit at the Simferopol Art Museum in Crimea.
The Suermondt-Ludwig Museum in Aachen, Germany, claimed the paintings after

receiving a letter this month from German tourists who spotted them in Simferopol.
Simferopol Art Museum director Larina Kudryashova said the museum had 87
works by 16th to 20th century painters from the Netherlands, Germany and France, but
that not all of them initially belonged to the museum in Aachen. She said she is now
studying its catalogues to see how many works match.
But Ukrainian law prohibits the return of World War II trophy art, she noted,
adding that many Ukrainian paintings seized during the war have been exhibited in
Germany but "nobody is returning them to us."
Heinrich Becker, curator of the Aachen museum's gallery of lost artworks, said he
believes 15 of the missing paintings are at Simferopol and was certain about nine of
them after seeing a DVD of the exhibition made by a German couple on holiday.
He said the paintings included
Hans Herrmann's "October Morning in Amsterdam,"
Johann Gottfried Pulian's "Aachen Cathedral,"
August von Brandis' "Autumn Sun,"
Gregor von Bochmann's "Farmhouse in Estonia,"
Carl Georg Adolph Hasenpflug's "Roman Cloister,"

189
Christian Friedrich Mali's "Shepherd Resting,"
Pedro Orrente's "John the Baptist."
Becker also cited two painting by anonymous artists,
"The Mystical Marriage of Saint Catherine" and
"The Martyrdom of Saint Sebastian."
The curator said he identified six others to a high degree of probability.
"We would, of course, be pleased if the paintings were to be returned, but the most
important thing is knowing that they haven't been destroyed," Becker said.
Ukraine's Foreign Ministry declined immediate comment.
Ukraine and Germany are disputing the right to a number of artworks seized during the
war. There have been similar art disputes between Germany and Russia.
___
Associated Press Writer William Peacock contributed to this report from Berlin.
Copyright 2008 The Associated Press. All rights reserved. This material may not be
published, broadcast, rewritten or redistributed.

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UKRANIAN BY NAZI STOLEN PAINTINGS DURING WW II

ΜΥΘΙΣΤΟΡΗΜΑ ΑΠΥΘΜΕΝΗΣ ΠΡΑΓΜΑΤΙΚΟΤΗΤΑΣ. ΔΕΝ ΠΩΛΕΙΤΑΙ. Η ΓΝΩΣΗ ΔΩΡΙΖΕΤΑΙ.

With lots of love dedicated, to my parents, to EL_lines in Natalia, Olga, Onder,

With lots of love dedicated, to my parents, to EL_lines in Natalia, Olga, Onder,

При большом количестве посвященный, любви мои родители

Συγγραφέας ΛΙΑΠΗΣ ΠΑΝΑΓΙΩΤΗΣ

ΜΥΘΙΣΤΟΡΗΜΑ ΑΠΥΘΜΕΝΗΣ ΠΡΑΓΜΑΤΙΚΟΤΗΤΑΣ. ΔΕΝ ΠΩΛΕΙΤΑΙ. Η ΓΝΩΣΗ ΔΩΡΙΖΕΤΑΙ.

A few words from the author

ΜΥΘΙΣΤΟΡΗΜΑ ΑΠΥΘΜΕΝΗΣ ΠΡΑΓΜΑΤΙΚΟΤΗΤΑΣ. ΔΕΝ ΠΩΛΕΙΤΑΙ. Η ΓΝΩΣΗ ΔΩΡΙΖΕΤΑΙ.

ΜΥΘΙΣΤΟΡΗΜΑ ΑΠΥΘΜΕΝΗΣ ΠΡΑΓΜΑΤΙΚΟΤΗΤΑΣ. ΔΕΝ ΠΩΛΕΙΤΑΙ. Η ΓΝΩΣΗ ΔΩΡΙΖΕΤΑΙ.

1. This project is a bottomless MYTHISTORIMA Reality

Copyright by Panagioti Liapi

THE BOOK IS NOT FOR SALE

I GIVE THE KNOWLEDGE FREE – NO COST

AT THE BEGINNING ON EARTH FROM TITHIS WAS ONLY TWO

ΜΥΘΙΣΤΟΡΗΜΑ ΑΠΥΘΜΕΝΗΣ ΠΡΑΓΜΑΤΙΚΟΤΗΤΑΣ. ΔΕΝ ΠΩΛΕΙΤΑΙ. Η ΓΝΩΣΗ ΔΩΡΙΖΕΤΑΙ.

(From Dialogues of Diomidis with Alexander the Great )

ΜΥΘΙΣΤΟΡΗΜΑ ΑΠΥΘΜΕΝΗΣ ΠΡΑΓΜΑΤΙΚΟΤΗΤΑΣ. ΔΕΝ ΠΩΛΕΙΤΑΙ. Η ΓΝΩΣΗ ΔΩΡΙΖΕΤΑΙ.

I. United States Museums World War II ClaimsResolved

1.Institution: Wadsworth Athenaeum, Hartford, Connecticut

2.Institution: Art Institute of Chicago

ΜΥΘΙΣΤΟΡΗΜΑ ΑΠΥΘΜΕΝΗΣ ΠΡΑΓΜΑΤΙΚΟΤΗΤΑΣ. ΔΕΝ ΠΩΛΕΙΤΑΙ. Η ΓΝΩΣΗ ΔΩΡΙΖΕΤΑΙ.

4. Institution: Seattle Art Museum Work of Art: Odalisque, 1928, Henri

5. Institution: Museum of Fine Arts, Boston

ΜΥΘΙΣΤΟΡΗΜΑ ΑΠΥΘΜΕΝΗΣ ΠΡΑΓΜΑΤΙΚΟΤΗΤΑΣ. ΔΕΝ ΠΩΛΕΙΤΑΙ. Η ΓΝΩΣΗ ΔΩΡΙΖΕΤΑΙ.

6. Institution: Denver Museum of Art Work of Art: The Letter, 17th

7. Institution: National Gallery of Art, Washington, D.C.

8. Institution: The Art Institute of Chicago

ΜΥΘΙΣΤΟΡΗΜΑ ΑΠΥΘΜΕΝΗΣ ΠΡΑΓΜΑΤΙΚΟΤΗΤΑΣ. ΔΕΝ ΠΩΛΕΙΤΑΙ. Η ΓΝΩΣΗ ΔΩΡΙΖΕΤΑΙ.

9. Institution: Princeton University Art Museum

10. Institution: Springfield Library and Museum Association

ΜΥΘΙΣΤΟΡΗΜΑ ΑΠΥΘΜΕΝΗΣ ΠΡΑΓΜΑΤΙΚΟΤΗΤΑΣ. ΔΕΝ ΠΩΛΕΙΤΑΙ. Η ΓΝΩΣΗ ΔΩΡΙΖΕΤΑΙ.

11. Museum:Metropolitan Museum of Art

12. Institution: Yale University Art Gallery

ΜΥΘΙΣΤΟΡΗΜΑ ΑΠΥΘΜΕΝΗΣ ΠΡΑΓΜΑΤΙΚΟΤΗΤΑΣ. ΔΕΝ ΠΩΛΕΙΤΑΙ. Η ΓΝΩΣΗ ΔΩΡΙΖΕΤΑΙ.

13. Institution: Vizcaya Museum and Gardens, Florida

14. Institution: The Menil Collection, Houston, Texas

ΜΥΘΙΣΤΟΡΗΜΑ ΑΠΥΘΜΕΝΗΣ ΠΡΑΓΜΑΤΙΚΟΤΗΤΑΣ. ΔΕΝ ΠΩΛΕΙΤΑΙ. Η ΓΝΩΣΗ ΔΩΡΙΖΕΤΑΙ.

15. Institution: Los Angeles County Museum of Art

16. Institution: Detroit Institute of Arts

ΜΥΘΙΣΤΟΡΗΜΑ ΑΠΥΘΜΕΝΗΣ ΠΡΑΓΜΑΤΙΚΟΤΗΤΑΣ. ΔΕΝ ΠΩΛΕΙΤΑΙ. Η ΓΝΩΣΗ ΔΩΡΙΖΕΤΑΙ.

17. Institution: Metropolitan Museum of Art (loan)

ΜΥΘΙΣΤΟΡΗΜΑ ΑΠΥΘΜΕΝΗΣ ΠΡΑΓΜΑΤΙΚΟΤΗΤΑΣ. ΔΕΝ ΠΩΛΕΙΤΑΙ. Η ΓΝΩΣΗ ΔΩΡΙΖΕΤΑΙ.

19. Institution: Virginia Museum of Fine Arts

ΜΥΘΙΣΤΟΡΗΜΑ ΑΠΥΘΜΕΝΗΣ ΠΡΑΓΜΑΤΙΚΟΤΗΤΑΣ. ΔΕΝ ΠΩΛΕΙΤΑΙ. Η ΓΝΩΣΗ ΔΩΡΙΖΕΤΑΙ.

20. Institution: San Diego Museum of Art

21. Institution: Virginia Museum of Fine Arts

ΜΥΘΙΣΤΟΡΗΜΑ ΑΠΥΘΜΕΝΗΣ ΠΡΑΓΜΑΤΙΚΟΤΗΤΑΣ. ΔΕΝ ΠΩΛΕΙΤΑΙ. Η ΓΝΩΣΗ ΔΩΡΙΖΕΤΑΙ.

22. Institution: Kimbell Art Museum

ΜΥΘΙΣΤΟΡΗΜΑ ΑΠΥΘΜΕΝΗΣ ΠΡΑΓΜΑΤΙΚΟΤΗΤΑΣ. ΔΕΝ ΠΩΛΕΙΤΑΙ. Η ΓΝΩΣΗ ΔΩΡΙΖΕΤΑΙ.

2. Institutions: Metropolitan Museum of Art; Art Institute of Chicago;

ΜΥΘΙΣΤΟΡΗΜΑ ΑΠΥΘΜΕΝΗΣ ΠΡΑΓΜΑΤΙΚΟΤΗΤΑΣ. ΔΕΝ ΠΩΛΕΙΤΑΙ. Η ΓΝΩΣΗ ΔΩΡΙΖΕΤΑΙ.

ΜΥΘΙΣΤΟΡΗΜΑ ΑΠΥΘΜΕΝΗΣ ΠΡΑΓΜΑΤΙΚΟΤΗΤΑΣ. ΔΕΝ ΠΩΛΕΙΤΑΙ. Η ΓΝΩΣΗ ΔΩΡΙΖΕΤΑΙ.

3. Institution: The Museum of Modern Art (loan)

ΜΥΘΙΣΤΟΡΗΜΑ ΑΠΥΘΜΕΝΗΣ ΠΡΑΓΜΑΤΙΚΟΤΗΤΑΣ. ΔΕΝ ΠΩΛΕΙΤΑΙ. Η ΓΝΩΣΗ ΔΩΡΙΖΕΤΑΙ.

4. Institution: Detroit Institute of Arts

ΜΥΘΙΣΤΟΡΗΜΑ ΑΠΥΘΜΕΝΗΣ ΠΡΑΓΜΑΤΙΚΟΤΗΤΑΣ. ΔΕΝ ΠΩΛΕΙΤΑΙ. Η ΓΝΩΣΗ ΔΩΡΙΖΕΤΑΙ.

5.Institution: Toledo Museum of Art

ΜΥΘΙΣΤΟΡΗΜΑ ΑΠΥΘΜΕΝΗΣ ΠΡΑΓΜΑΤΙΚΟΤΗΤΑΣ. ΔΕΝ ΠΩΛΕΙΤΑΙ. Η ΓΝΩΣΗ ΔΩΡΙΖΕΤΑΙ.

ΜΥΘΙΣΤΟΡΗΜΑ ΑΠΥΘΜΕΝΗΣ ΠΡΑΓΜΑΤΙΚΟΤΗΤΑΣ. ΔΕΝ ΠΩΛΕΙΤΑΙ. Η ΓΝΩΣΗ ΔΩΡΙΖΕΤΑΙ.

III. United States Non-Museum

ΜΥΘΙΣΤΟΡΗΜΑ ΑΠΥΘΜΕΝΗΣ ΠΡΑΓΜΑΤΙΚΟΤΗΤΑΣ. ΔΕΝ ΠΩΛΕΙΤΑΙ. Η ΓΝΩΣΗ ΔΩΡΙΖΕΤΑΙ.