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Two Dürer Paintings – Kunstsammlungen Zu Weimar v. Elicofon
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In 1945, two portraits by Albrecht Dürer were stolen from the collection of the Staatliche Kunstsammlungen zu Weimar. Stored for safekeeping in the Schwarburg Castle during the Second World War, the paintings disappeared during the time that American troops occupied the Castle.
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Two Lithographs of the Glaser Collection – Glaser Heirs and Kunstmuseum Basel
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In 1933, the Kunstmuseum Basel purchased about 200 drawings and prints at the Max Perl auction in Berlin. These works belonged to Curt Glaser, a Jewish art collector and director of the Art Library in Berlin. In 2004, the Glaser heirs requested the Kunstmuseum to return two artworks by Edvard Munch, but the Museum refused. Following negociations, the Kunstmuseum Basel and the heirs of Curt Glaser reached a seemingly “just and fair solution”.
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Two Schiele Paintings – Grunbaum Heirs v. Richard Nagy
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In 1938, the Nazis expropriated the art collection of Fritz Grunbaum while he was detained in Dachau concentration camp. In 2016, the Grunbaum heirs filed suit against Richard Nagy, the art dealer in possession of two of the paintings by Schiele that formed part of Fritz Grunbaum’s collection (“Woman in a Black Pinafore” and “Woman Hiding Her Face”). Eventually, the New York’s Supreme Court directed Nagy to return the artworks to the Grunbaum heirs.
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Two Souza paintings – Kurtha v. Marks
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In 1982, Dr Aziz Kurtha purchased two paintings from the Indian artist Francis Souza. They were stolen years later and their ownership changed a number of times, before Michael Marks purchased them on 10 January 2006.
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Ulanen auf dem Marsch – Fondation Max et Iris Stern et Bayerische Staatsgemäldesammlungen
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En juin 1936, dans un contexte de montée du nazisme, Max Stern, un galeriste juif, vend l’œuvre d’art intitulée « Ulanen auf dem Marsch ». Cette œuvre d’art est acquise en 1986 par le Bayerische Staatsgemäldesammlungen. La Fondation Max et Iris Stern, représentant les héritiers de Max Stern, demande la restitution de la peinture au musée bavarois par le biais de la « Beratende Kommission ».
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Vallée de la Stour – Héritiers Jaffé et La Chaux-de-Fonds
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En 2006, la Ville de La Chaux-de-Fonds reçoit une demande de restitution pour le tableau « La Vallée de la Stour » de John Constable exposé au Musée des beaux-arts de La Chaux-de-Fonds. Le requérant représente les ayants droit héritiers de John et Anna Jaffé, dont les biens, y compris ce tableau, ont été spoliés par les Nazis durant la Deuxième Guerre mondiale. Après avoir d’abord refusé, la Ville accepte de restituer le tableau à l’automne 2017 suite à une procédure de conciliation judiciaire. Le Tableau est restitué aux héritiers le 12 mars 2018.
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View of Les Saintes-Maries-de-la-Mer – Mauthner Heirs v. Switzerland
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Andrew Orkin sued the Swiss Confederation, the Oskar Reinhart Foundation and the Oskar Reinhart Collection in the United States in order to recover possession of the drawing “View of Les Saintes-Maries-de-la-Mer”. Orkin alleged that his great-grandmother, Margarethe Mauthner, sold the painting under duress during the Nazi era.
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View of the Asylum and Chapel at St. Rémy – Mauthner Heirs v. Elizabeth Taylor
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In 2007, the court battle over the van Gogh painting “View of the Asylum and Chapel at St. Rémy” came to an end when the United States Supreme Court denied a writ of certiorari, thereby finalising the decision of the Court of Appeals for the Ninth Circuit in Pasadina.
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Warehouse Fire – Gillian Ayres et al. and Momart
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One of the most significant cases in Great Britain in the recent years concerns the Momart Warehouse Fire, where a warehouse owned by Momart burned down in 2004 causing the destruction of a great amount of artworks by renowned British artists (the Brit Art movement). Following the filing of a class action, Momart decided to mediate the case and to settle by a secret payout.
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Young Couple in a Landscape – Feldmann Heirs and British Museum
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Czech-Jewish Arthur Feldmann’s collection of drawings, including “Young Couple in a Landscape”, was illegally seized and liquidated by the Gestapo in 1939. The painting was later acquired by the collector Edmund Schilling in the 1960s, who donated it to the British Museum in 1997. Uri Peled, Feldmann’s grandson, made a claim to the drawing a few years later.
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