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The Windmill – Rüdenberg Heirs v. City of Hannover
Max Rüdenberg, a Jewish salesman and art collector, acquired several modern art pieces beginning in the late 1910s. Due to the discriminatory Nazi politics, the Rüdenberg family was forced to sell the art collection, including the painting “The Windmill” by Karl Schmidt-Rottluff.
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14 Artworks – Malewicz Heirs and City of Amsterdam
In 2003, 14 artworks by the Russian artist Kazimir Malewicz were exported to the United States by the Stedelijk Museum of Amsterdam to be part of a temporary exhibition at the Guggenheim Museum in New York and the Menil Collection in Houston. Shortly before the end of the loans, the heirs of Malewicz brought an action against the City of Amsterdam seeking to recover the value of the artworks or, in the alternative, the artworks themselves.
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Maori Panels – New Zealand and Ortiz Heirs
In 1972, five rare Maori wooden panels were discovered in a swamp in New Zealand’s North Island. Shortly after the discovery, the panels were illegally exported out of the country by an antiquities dealer and then bought by Swiss collector George Ortiz. In 2014 New Zealand obtained the return of the Maori panels by virtue of an agreement with the heirs of Ortiz.
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Buste d’un jeune garçon – Héritiers Gentili di Giuseppe et Art Institute de Chicago
En 1999, les héritiers de l’important collectionneur d’art de confession juive Federico Gentili di Giuseppe ont contacté l’Art Institute de Chicago afin d’obtenir la restitution d’un buste de Francesco Mochi (« Buste d’un jeune garçon »). Ce buste avait été vendu en France lors d’une vente par la suite annulée par les juges français car constitutive de spoliation.
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Nature morte au tableau de Picasso – Héritiers Schlesinger et Phillips
En 1925, Ernst Schlesinger lègue à Johanna Meyer-Udewald l’usufruit d’une toile de Picasso (« Nature morte au tableau »). De confession juive, Johanna Meyer-Udewald est faite prisonnière par les Nazis et la toile passe par diverses mains avant d’arriver dans celles de Duncan C. Phillips, qui l’acquiert sans connaître son histoire.
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Khmer Statue – Cambodia and Sotheby’s and the United States
In March 2011, Sotheby’s offered at auction in New York a Khmer statue. The statue was pulled out of the sale as a result of Cambodia’s request for its restitution. Cambodia claimed that it was illegally removed from the site Koh Ker during the 1970s and should be returned to them.
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Manuscrit du Marquis de Sade – Héritier Nordmann et héritier de Noailles et Gérard Lhéritier
Les « Cent Vingt Journées de Sodome » du Marquis de Sade avait été dérobé à la famille de Nouailles puis acquis par un collectionneur suisse – Gérard Nordmann – qui a toujours refusé de la rendre. C’est grâce à un accord entre l’héritier des Nouailles et l’héritier Nordmann que le manuscrit a pu retourner en France, où il a été classé trésor national en 2017.
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Banksy Mural – Bioresource, Inc. and 555 Nonprofit Studio/Gallery
Artists from the 555 Nonprofit Studio/Gallery removed an endangered mural painting by the graffiti artist Banksy from a derelict site in Detroit. The owner of the site, Bioresource, Inc. subsequently filed suit with the Wayne County Circuit Court requesting the wall art’s restitution. The parties finally settled their dispute as the Company agreed to donate the mural to the Gallery, who paid the Company a symbolic amount.
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Two Bronze Animal Heads – China and Pierre Bergé
In February of 2009, Christie’s offered at auction two 18th-century bronze fountainheads – a rabbit and a rat – owned by the estate of Yves Saint Laurent and his longtime-partner Pierre Bergé. Stolen from the Old Summer Palace by British and French forces during the Second Opium War in 1860, the two heads’ sale provoked controversial international debate, inspiring a Chinese national to bid upon the bronzes at auction and refuse payment. In June of 2013, François-Henri Pinault, owner of Christie’s, returned to China the fountainheads in an effort to strengthen diplomatic and trade relations between France and China.
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Chagall Gouache – Solomon R. Guggenheim Foundation and Lubell
In 1993, the Guggenheim Foundation, Mrs. Rachel Lubell, and other interested parties reached a settlement regarding a Marc Chagall painting that had been stolen from the Museum and purchased by Mrs. Lubell almost thirty years prior. Though a trial court had originally held the Guggenheim’s suit seeking recovery was time-barred, the Appellate Division reversed the lower court’s decision and clarified New York’s “demand and refusal” rule. On remand, the parties settled just one day after the new trial began.
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