Looted Art Detector: Part 2 Using custom indicators
example with : ALIU Red Flag restorers
The user can analyse provenances for any names or words that seem interesting.
The list below contains the last names of art restorers who were investigated by the OSS Art Looting Investigation Unit for their role in the art market for Nazi-looted art.
| word | type of flag |
| Brabender | RestorerALIURedFlag |
| Hagenow | RestorerALIURedFlag |
| Hofer | RestorerALIURedFlag |
| Polhammer | RestorerALIURedFlag |
| Sieder | RestorerALIURedFlag |
| Uhlworm | RestorerALIURedFlag |
| Unger | RestorerALIURedFlag |
| Beraudiere | RestorerALIURedFlag |
| Beraudière | RestorerALIURedFlag |
| Bregere | RestorerALIURedFlag |
| Bregère | RestorerALIURedFlag |
| Helfer | RestorerALIURedFlag |
| Leegenhoek | RestorerALIURedFlag |
| Raphael | RestorerALIURedFlag |
| Raphaël | RestorerALIURedFlag |
| Backermund | RestorerALIURedFlag |
| Bohemen | RestorerALIURedFlag |
| Jan Dik | RestorerALIURedFlag |
| de Wild | RestorerALIURedFlag |
| Veken | RestorerALIURedFlag |
To verifiy provenance texts, credit lines, references or descriptions of artworks for the above names, copy or download the CSV file.
https://docs.google.com/spreadsheets/d/e/2PACX-1vQlAlUNelCn3L8PfcL6thPtR9u--sx8eZNimbkqpG-zYypEAGM0rIVxdVjHH6Tqg5hnsTTT_Kyb0_ee/pub?gid=357744891&single=true&output=csv
Then upload it in the optional "Replace default indicator file with custom CSV file.
The Detector will, for each text, count the number of times one of these names appears and sum them up under "RestorerALIURedFlag".
WARNING: The appearance of a name does NOT mean that it is the same person. It is an indicator, a flag. The use must be attentive to nuance and context and VERIFY whether the selection corresponds to the target person or maybe the family or maybe to a different person entirely.
FAQ:
Q: What if I want to have each name counted SEPARATELY? (not lumped together)
A: Add a line for each name, like this:
| word | type of flag |
| Brabender | Brabender |
| Hagenow | Hagenow |
| Hofer | Hofer |
| Polhammer | Polhammer |
| Sieder | Sieder |
| Uhlworm | Uhlworm |
| Unger | Unger |
| Beraudiere | Beraudiere |
| Beraudière | Beraudiere |
| Bregere | Bregere |
| Bregère | Bregere |
| Helfer | Helfer |
| Leegenhoek | Leegenhoek |
| Raphael | Raphael |
| Raphaël | Raphael |
| Backermund | Backermund |
| Bohemen | Bohemen |
| Jan Dik | Jan Dik |
| de Wild | de Wild |
| Veken | Veken |
(note that variations of spelling are grouped together)
Results for 20,000 artworks
Above is the screen of the Looted Art Detector with the provenance file and the indicator files loaded. We told it to analyse the column named "provenance".
You can use Excel, Google Sheets, Numbers, R or whatever tool you like.
This is a big file, so I'm going to use Workbenchdata to analyse it quickly. And to show the filters I use.
(Workbenchdata is a free tool used by investigative journalists. It is good at keeping a record of all the changes made to a file.)
Of the 86,000 provenance texts analysed by the Looted Art Detector, 314 contain a word from the list.
The filter used was simply "RestorerALIURedFlag > 0."
Which names are appearing? Are they really the names of the people on the ALIU Red Flag list )- or other people or words entirely?
Let's check.
Hofer appears the most frequently, but on verification it looks like there are many hits for Philip Hofer and Frances Hofer. Are they any relation to the Frau Hofer, the restorer in the ALIU Red Flag Name list? It appears not. So we will filter out the hits for Philip or Frances, or Philip's brother, Myron. (perhaps to return to later?)
The Hofer selection is thus narrowed down to three artworks*.
Examining the first one produces:
Landscape with Burning City
about 1500
According to the provenance published by the Museum of Fine Arts, Boston,
the painting appears to have been looted and given a false provenance.
In 1946 the MFA purchased the painting from Aram Gallery, in New York. Siegfried F. Aram (letter to the MFA, September 20, 1948) attested that he had purchased it from Julian Acampora, a New York restorer, and that it had come from the collection of the Count d'Urbania. After inquiring further about its history, Aram was told that it been with Devany's auction galleries, New York, and that it had come from a collection in Chicago. This account is inconsistent and was almost certainly fabricated.
ADDITIONAL INFORMATION:
By 1948 the MFA was aware that the painting had come from Carinhall and was being sought by the Dutch government. The museum entered discussions with the authorities in the Netherlands at this time.
***
The second one, at the J. Paul Getty, was also seized and restituted to France, where it sat at the Louvre for half a century before being restituted (finally) to the heirs of Federico Gentili di Giuseppe in 1999.
https://www.getty.edu/art/collection/objects/128454/giovanni-battista-tiepolo-alexander-the-great-and-campaspe-in-the-studio-of-apelles-italian-about-1740/
Hans Wendland (Berlin, Germany), sold through Walter Andreas Hofer (Berlin) to Hermann Göring, about 1941.
Hermann Göring, 1893 - 1946 (Carinhall, Schorfheide, Brandenburg, Germany), restituted to the French government by Allied troops with four other paintings, 1945.
Musée du Louvre (Paris, France), restituted to Christiane Gentili di Giuseppe, Emmanuelle Maupas, Daniel Salem, and Lionel Salem, 1999.
Remark: So far we see that by searching for the name of a restorer (Frau Hofer) on the OSS Art Looting Investigation Unit Red Flag list, and then removing the people who are unrelated to her (Philip, Frances, Myron), we are left with three paintings looted by Nazis by the HUSBAND of the restorer and restituted to their owners.
Coincidence and blind luck?
Possible.
Let's try another Red Flag restorer
***
de Wild
| url | provenance |
| https://www.harvardartmuseums.org/art/228239 | Collection Dumbar, Deventer. Mrs. Dyckmester-Dumbar, Deventer. C.F. L. de Wild, the Hague. [F. Kleinberger, Paris]. Paul M. Warburg, New York,?by descent, to his son, James P. Warburg, New York, (by 1932)gift, to the Fogg Art Museum, 1962.;Notes;Paul M. Warburg died 1932. |
| https://www.harvardartmuseums.org/art/226624 | Mme Devos, sold July 9, 1910, to [Bernheim-Jeune, Paris, no. 18230], sold, to [Knoedler, New York], sold December 5, 1916, to Carel F.L. de Wild, Larchmont, NY (1), his sale [Anderson Galleries, New York, January 18-19, 1924, lot 309]. [Scott & Fowles, New York], sold (2), to Duncan Stewart Ellsworth, Salisbury, Connecticut, bequeathed, to his wife Helen W. Ellsworth, gift, to Harvard University Art Museums, 1996.;(1) Wildenstein incorrectly lists his middle initials as P.L. rather than F.L.;(2) Wildenstein incorrectly lists "private collection, United States," after Scott & Fowles and before Duncan Ellsworth. Mrs. Ellsworth states that her husband purchased the painting from Scott & Fowles (letter of Dec. 9, 1996, in file). |
| https://www.nga.gov/content/ngaweb/Collection/art-object-page.50721.html | Said to have been at the Imperial Hermitage Gallery, Saint Petersburg.[1] (D. Katz, Dieren), by 1933; J.M.B. Beuker, Heelsum, by 1934;[2] by inheritance to his widow, Mrs. J.C. Beuker [née De Kruyff van Dorssen]; sold 5 April 1967 through (A. Martin de Wild, The Hague) to NGA.[1] In the catalogues for the 1934 and 1938 exhibitions in which it was included, the painting was described as having been previously in the collection of the Hermitage. However, the picture is not listed in any of that museum's collection catalogues.[2] Labels from the 1933 and 1934 exhibitions both say that Katz was the “exhibitor,” but they give two different names as the “owner” (removed from the back of the painting, now in NGA curatorial files). The owner’s name on the 1933 label is difficult to decipher, but appears to be two initials followed by “te H.” The owner’s name on the 1934 label clearly reads “J.M.B. Beuker Heelsum.” |
| https://www.nga.gov/content/ngaweb/Collection/art-object-page.91173.html | Sir Anthony Westcombe [died 1752]; Bernard Granville; by descent to his heirs (their sale, London, Puttick & Simpson, 22 December 1857, probably part of lot 94); Charles Fairfax Murray [1849-1919]; (his sale, London, Christie's 30 January-2 February 1920, part of lot 164); purchased by Frank Sabin; Hendrikus Egbertus ten Cate [1868-1955] (Lugt 533b), Almelo; (Gallery L. de Wild, New York); J. Theodor Cremer (his sale, Amsterdam, Sotheby Mak van Waay, 17 November 1980, lot 63); purchased by Jacob A. Klaver (his sale, Amsterdam, Sotheby's, 10 May 1994, lot 63, not sold); purchased (via Sotheby's from Klaver heirs) by NGA, October 1994. |
| https://www.metmuseum.org/art/collection/search/459083 | Commissioned by Jan van Duren, Deventer, his son, Damiaan van Duren, his daughter, Elisabeth van Duren, who married Martinus van Doorninck in 1738, by descent to M. van Doorninck D Jzn., Deventer, by 1882 and still in 1897, P.W. van Doorninck, Bennekom and later Colmschate, at least 1901-1909, C. F. L. de Wild, The Hague, [F. Kleinberger Galleries, Paris and New York], Charles Beistegui, Paris, by 1912, [M. Knoedler and Co., London and New York]. Acquired by Philip Lehman from Knoedler in November 1912. |
| https://www.metmuseum.org/art/collection/search/381623 | Collection Johnson Neale, T. Mark Hovell, sale, Sotheby's, London (British), 3 July 1918, part of lot 124, P. & D. Colnaghi && Co.;Anton W. Mensing, his sale, Amsterdam, April 24, 1937, part of lot 218, A. Mayor, C. F. Louis de Wild (American), Karl Lilienfeld (American), Herbert E. Feist, May-June, 1967, cat. 5, John Steiner and Alice F. Steiner (American), Steiner Family Collection by descent, Donor: Katrin Bellinger |
| https://www.metmuseum.org/art/collection/search/459084 | Commissioned by Jan van Duren, Deventer, his son, Damiaan van Duren, his daughter, Elisabeth van Duren, who married Martinus van Doorninck in 1738, by descent to M. van Doorninck D Jzn., Deventer, by 1882 and still in 1897, P.W. van Doorninck, Bennekom and later Colmschate, at least 1901-1909, C. F. L. de Wild, The Hague, [F. Kleinberger Galleries, Paris and New York], [Thomas Agnew and Sons, London], [M. Knoedler and Co., London and New York], 1912. Acquired by Philip Lehman from Knoedler in February 1912. |
(to be continued)
TRY IT https://www.openartdata.org/search/label/Looted%20Art%20Detector
* searching for Hofer ("Frau Hofer") finds three Nazi-linked artworks that passed through her husband. However in the first painting the restorer is Julian Acampora.
| url | provenance |
| https://collections.mfa.org/objects/32987/landscape-with-burning-city | By 1929, Franz W. Koenigs (b. 1881 - d. 1941), Haarlem, the Netherlands [see note 1], April 2, 1940, ownership transferred from Koenigs to Lisser and Rosenkranz Bank in partial payment for a loan [see note 2], April 19, 1940, consigned by Lisser and Rosenkranz to Jacques Goudstikker Gallery [see note 3], June, 1940, sold by Lisser and Rosenkranz, through Goudstikker and with the intervention of Franz Koenigs, to Alois Miedl [see note 4], June, 1940, sold by Miedl to Hermann Goering, Carinhall [see note 5]. 1946, Julian Acampora, New York [see note 6], 1946, sold by Acampora to Aram Gallery, New York, 1946, sold by Aram to the MFA for $3,200. (Accession Date: November 14, 1946);NOTES;[1] Koenigs was a Protestant German businessman living in the Netherlands. Along with other drawings and paintings from his art collection, this landscape was on loan to the Museum Boymans, Rotterdam, from 1935 to 1940. It was included in the exhibition catalogues "Ausstellung alter Malerei aus Privatbesitz" (Kunstverein, Düsseldorf, June 1 - July 15, 1929), cat. no. 5 and "Verzameling Koenigs Schilderijen" (Museum Boymans, Rotterdam, 1935), cat. no. 12.;[2] In 1931, Koenigs took out a loan from Lisser and Rosenkranz bank, using his art collection as collateral. In 1935 the terms of this loan were formalized: Koenigs gave the bank the right to sell the collection, if necessary, when the loan became due in June 1940, or if the bank was liquidated before this five-year term was up. On April 2, 1940, Lisser and Rosenkranz did go into liquidation and Koenig's debt became due. On this date the bank declared itself the sole owner of the art collection.;[3] By the end of 1939 it had already become clear that Koenigs would not be able to pay off his loan to Lisser and Rosenkranz before the due date of June, 1940, without selling his art collection. Jacques Goudstikker gallery had been employed on behalf of Koenigs and Lisser and Rosenkranz to help sell the collection. On April 19, Goudstikker collected thirty-five paintings from the Koenigs collection on behalf of Lisser and Rosenkranz, in order to sell them.;[4] On May 15, 1940, Hitler's second-in command, Hermann Goering, visited Goudstikker accompanied by his chief purchasing agent, Andreas Hofer, and his friend Alois Miedl. In June, Miedl purchased thirty-one paintings from the Koenigs collection from Goudstikker. Evidence suggests that Franz Koenigs himself was active in the sale of these paintings and understood the conditions of the sale. According to interviews with Jacques Goudstikker's widow and Miedl, Koenigs approved of Miedl's intention to offer one of the paintings as a gift to Goering and may have offered his assistance with this.;[5] Miedl sold nineteen paintings, including the Landscape with Burning City, to Hermann Goering. They were delivered to his residence at Carinhall, Germany, on June 10, 1940. In early 1945, Goering attempted to safeguard his collection by shipping the objects from Carinhall to Berchtesgaden in Bavaria. The train was intercepted by the Allies. Much of the collection was recovered, but numerous articles were also looted, possibly by Allied troops and by the local population. Some objects were found in private homes and on the black market. They were returned to the Netherlands and became the property of the Dutch government. This painting, however, was not recovered. For further on the shipments from Carinhall, see Nancy H. Yeide, Beyond the Dreams of Avarice: The Hermann Goering Collection (Dallas: Laurel Publishing, 2009), p. 16, and for information on the MFA painting, p. 292, cat. no. A452.;[6] In 1946 the MFA purchased the painting from Aram Gallery, in New York. Siegfried F. Aram (letter to the MFA, September 20, 1948) attested that he had purchased it from Julian Acampora, a New York restorer, and that it had come from the collection of the Count d'Urbania. After inquiring further about its history, Aram was told that it been with Devany's auction galleries, New York, and that it had come from a collection in Chicago. This account is inconsistent and was almost certainly fabricated.;ADDITIONAL INFORMATION;By 1948 the MFA was aware that the painting had come from Carinhall and was being sought by the Dutch government. The museum entered discussions with the authorities in the Netherlands at this time. In a letter from A. P. A Vorenkamp, Director of Boymans Museum, to George Edgell, Director of the MFA (November 25, 1948), he confirmed that he had "turned the 'Herri met de Bles affair' over" to the General Commission of Recuperation, Amsterdam. However, the MFA was not contacted by the Commission. In 1998, the MFA again contacted the Netherlands, corresponding with the Inspectorate of Cultural Heritage. It was confirmed that the painting was missing from the Netherlands and it could not be determined why it had not been returned.;An heir of Franz Koenigs has also claimed to have legal title to the objects sold through Goudstikker, on the grounds that Koenigs was forced to sell his possessions at a cost below fair market value. On November 3, 2003, the Dutch Advisory Committee on the Assessment of Restitution Applications rejected these claims. The resolution, "Advice concerning the application for restitution of the Koenigs collection," is accessible online at: https://www.restitutiecommissie.nl/en/summary_rc_16.html;The MFA awaits communication from the interested parties regarding their attempts to reach a neutral resolution of the ownership of the painting. |
| https://www.getty.edu/art/collection/objects/128454/giovanni-battista-tiepolo-alexander-the-great-and-campaspe-in-the-studio-of-apelles-italian-about-1740/ | Provenance by 1913;Sedelmeyer Gallery (Paris, France) -;Galeries Trotti (Paris, France) - 1941;Federico Gentili di Giuseppe, 1868 - 1940 (Paris, France) [sold, Hôtel Drouot, Paris, April 23-24, 1941, lot 72, to Hans Wendland.] 1941 - about 1941;Hans Wendland (Berlin, Germany), sold through Walter Andreas Hofer (Berlin) to Hermann Göring, about 1941. about 1941 - 1945;Hermann Göring, 1893 - 1946 (Carinhall, Schorfheide, Brandenburg, Germany), restituted to the French government by Allied troops with four other paintings, 1945. 1945 -;French government 1950 - 1999;Musée du Louvre (Paris, France), restituted to Christiane Gentili di Giuseppe, Emmanuelle Maupas, Daniel Salem, and Lionel Salem, 1999. 1999 - 2000;Christiane (Castel) Gentili di Giuseppe and Emmanuelle (Salem) Maupas and Daniel Salem and Lionel Salem [sold, Christie's, New York, January 27, 2000, lot 82, to the J. Paul Getty Museum.] |
| http://www.moma.org/collection/works/80354 | Estate of the artist (Madeleine Knobloch), Paris, 1881 [1]; sold to Veuve (Sylvie) Monnom (1836-1921), Brussels, 1892 [2]; to Marie (née Monnom) (1866-1959) and Théo (1862-1926) van Rijsselberghe, Brussels, by 1904 until at least 1909 [3]. [Galerie Druet, Paris, 1913] [4]; [Félix Fénéon, Paris] [5]; [Galerie Alfred Flechtheim, Düsseldorf] [6]. Sold through Gösta A. Olson, Stockholm to Rolf de Maré, Stockholm/Paris, 1918 (in de Maré"s possession until at least 1936) [7]; sold to Paul Rosenbe, Paris [8]; confiscated during the Nazi occupation by the ERR (Einsatzstab Reichsleiter Rosenberg), 1941 [9]; traded by Hermann Goering"s agent Andreas Hofer to Hans Wendland and Theodor Fischer, Lucerne, in exchange for objects acquired for the Goering collection, April 1942 [10]; turned over by Fischer at the request of the Swiss government to the collecting point at the Kunstmuseum Bern, 1945 [11]; returned to Paul Rosenberg, New York, June 1948 [12]; sold to William A. M. Burden, New York, October 1948 [13]; acquired by The Museum of Modern Art, New York (Gift of Mr. and Mrs. William A. M. Burden), 1963.[1] Included in the 7th Salon des Artistes Indépendants, Pavillon de la Ville de Paris, March 20-April 27, 1891 no. 1106 (see de Hauke 1961, Seurat et son oeuvre, Paris: Gründ, 1961, p. 227).[2] Henri Dorra and John Rewald, eds., Seurat: L’Oeuvre peint, biographie et catalogue critique, Paris: Les Beaux-Arts, 1959, no. 203: "Monnom, Bruxelles (acquis pour 400 francs en 1892)." Included in the 8th Salon des Artistes Indépendants, Pavillon de la Ville de Paris, March 19-April 27, 1892, no. 1107: "Prêté par M. Monnom." (see de Hauke 1961, p. 228). |
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