Summary of news article "Landscape with Plunder" by Judd Tully with Google NotebookLLM
http://www.artnet.com/magazine_pre2000/news/tully/tully8-30-96.asp
PROMPT: "How did the Degas go from Friedrich Gutmann to Daniel Searle. Please name every entity involved and their role."
The Degas pastel, Landscape with Smokestacks, went from Friedrich Gutmann to Daniel Searle through a series of transactions involving several entities, some of which were connected to Nazi war loot. Here is a breakdown of the journey, based on the information in the sources:
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Friedrich Bernhard Gutmann and Louise Gutmann: A prominent Jewish couple who acquired the Degas in the late 1920s from Helmuth Lutjens, the Dutch agent for the Berlin art dealer Paul Cassierer & Co.. The pastel hung in their home in Holland until 1939.
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Paul Graupe & Cie: Fearing for their lives in 1939, the Gutmann family sent the Degas for safekeeping to this prominent antiques dealer in Paris.
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Rosenberg Action Team (ERR): After the Gutmanns were detained by the Gestapo, the Paris warehouse where Graupe & Cie. had deposited the Degas was looted by this Nazi bureau dedicated to stealing Jewish property.
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Louvre's Jeu du Paume: The stolen artwork, including the Gutmann's Degas, was stored in this museum, which was used as a storehouse for the ERR.
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Hans Wendland: A Berlin art dealer and Nazi collaborator operating in Paris during the German occupation, who is connected to the pastel after its time at the Louvre.
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Hans Fankhauser: A Swiss dealer reportedly known for handling Nazi art loot, who acquired the Degas after Wendland.
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Emile Wolf: A major New York collector who reportedly acquired the Degas from Fankhauser in Basel in 1951.
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Margo Pollins Schab: A New York private dealer who represented Emile Wolf and sold the Degas to Daniel Searle in 1987 for $850,000.
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Daniel Searle: A Chicago collector and former chairman of G.D. Searle & Co., who acquired the Degas in 1987.
The legal case filed by the Gutmann heirs aimed to reclaim the Degas, alleging it was Nazi war loot. The provenance of the Searle Degas, according to court papers, mirrored that of the Gutmann monotype.
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Source: Landscape with smokestacks : the case of the allegedly plundered Degas (pp:6-12)
Author:Howard J. Trienens
Prompt: What was the role of curators at the Art Institute of Chicago?
Based on the sources, the curators at the Art Institute of Chicago, specifically Douglas Druick (curator of prints and drawings) and Suzanne McCullagh, played a significant role in the journey of the Degas pastel, Landscape with Smokestacks, particularly in its acquisition by Daniel Searle. Their roles included:
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Identifying and desiring the artwork for the Art Institute's collection: McCullagh considered the landscape "ravishing, very unusual" and both she and Druick were very interested in acquiring it for the Art Institute. However, the museum could not afford the $900,000 asking price.
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Bringing the artwork to the attention of a potential buyer: Knowing Daniel Searle's interest in late-nineteenth and early-twentieth-century landscapes and his history of donating to the Art Institute, McCullagh brought the Landscape with Smokestacks to his attention. She described the Degas landscape to Searle in a letter, along with other works that might interest him, and invited him to view it. The curators hoped Searle would purchase the piece since the Art Institute could not. As Searle stated, "[The Art Institute] thought it was a unique, a very unique work of art and something that the Art Institute would very, very much like to own, that the Art Institute would have bought it had they had the resources. Since they didn’t, [they] were urging me to buy it”.
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Providing expertise and reassurance regarding the artwork's authenticity and history (provenance): Before Searle's purchase, both Druick and McCullagh examined the Landscape with Smokestacks for him. They proceeded by checking criteria and found no "red lights" or concerns with the artwork. The fact that Emile Wolf had possessed the landscape since 1951 was considered "comforting". McCullagh also highlighted the landscape's extensive and reputable publication history. They discussed the provenance with Searle and raised no cautions or concerns about it. Searle stated he relied on their expertise as art scholars and curators and that they pointed out the prestigious exhibition history, which fortified his belief in the painting's ownership and exhibition history. The Art Institute essentially gave the artwork a "clean bill of health" after examining it and its provenance.
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Advising a collector with ties to the Art Institute: Searle had previously received advice from curators at the Art Institute on art purchases and had donated paintings, including a Monet, to the museum. McCullagh had also recommended a Degas seascape to Searle prior to his interest in Landscape with Smokestacks. This existing relationship facilitated their role in bringing the landscape to his attention.
In summary, the curators at the Art Institute of Chicago acted as scouts for important artworks, even when the museum couldn't directly acquire them. They leveraged their expertise in art history and provenance to advise a potential donor and collector, facilitating the acquisition of a significant piece by someone who had a history of supporting the institution. Their desire was ultimately for the Landscape with Smokestacks to eventually benefit the Art Institute
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