Dashboard and Metrics Needed for Nazi-Era Provenance Research: Some Suggestions

Are we there yet? What is the Estimated Time of Arrival? 

Dashboards with objective measurements provide clarity and transparency in project management.  Below are some suggested indicators for monitoring the progress of Nazi-era provenance research projects in various collections both institutional and private:

• Total Artworks in Collection

• Total Artworks Online

• Total European artworks created before 1945 and acquired after 1933

• Total NEPIP (or artworks listed in Nazi Era Provenance Research Projects) items

• Total Provenances published online for NEPIP (or artworks listed in Nazi Era Provenance Research Projects) items

• Total Provenances published online for European artworks

• Completion Date for publication online of provenances

• Project Manager

• Provenance Transparency Index Score

Question for the community: What other indicators would be helpful? 


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author: OAD
published by: Open Art Data
Date of Publication: 01/24/2020
url/permalink: https://www.openartdata.org/2020/01/art-provenance-dashboard-metrics.html

DATASET: Saint Louis Art Museum Provenance Disclosure Project

This Dataset presents provenance of artworks from the Provenance Disclosure Project of the Saint Louis Art Museum in an easy to download CSV file. It is intended to facilitate research into Holocaust-era provenance for scholars, art historians and families.

The Saint Louis Art Museum’s collection includes more than 34,000 objects spanning 5,000 years of history and cultures. More than 5,000 objects are currently searchable online. This dataset is a small subset of 295 items listed in SLAM's Provenance Disclosure Project

Version: 1.0

Date Provenance Retrieved: January 4, 2020

Original Data Source: SLAM Provenance Disclosure Project

Licence: CC0

File Format: CSV

Download https://docs.google.com/spreadsheets/d/e/2PACX-1vR7B5yhAhN3NLuH9y3NTIXoJv6lCuXkU9miUKMhFiOXGIm7sHOq7RrfL_hKo_Q3yluCS2BlzQEbHE1Q/pub?gid=1079966801&single=true&output=csv 


Google Sheet: https://docs.google.com/spreadsheets/d/e/2PACX-1vR7B5yhAhN3NLuH9y3NTIXoJv6lCuXkU9miUKMhFiOXGIm7sHOq7RrfL_hKo_Q3yluCS2BlzQEbHE1Q/pubhtml?gid=1079966801&single=true

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Dataset Date of Publication: January 21 2020
Formatted by: Open Art Data
url: https://www.openartdata.org/2020/01/dataset-provenance-slam-art-museum.html


image: image: View Along the Amstel SLAM

Art Museums in Switzerland

Switzerland has many excellent art museums

How are Swiss art museums doing on provenance? Which museums do -- and which museums do not -- publish online provenance texts for their art collections? Have all issues regarding Nazi-era provenance been resolved as 2020 begins? What work remains to be done? Who is doing it? With what resources, goals and deadlines?

In a new series of posts, OAD will look at the situation in Switzerland regarding the provenance of artworks.

Nazi-era Provenance Gaps and Digital Analytics: A Stunning Lack of Progress

As 2019 draws to a close, one is astonished at how little digital analysis has been published concerning artworks that changed hands during the Nazi era and still have provenance gaps today.

Powerful digital tools exist. Yet they are not used by the Nazi-era art provenance research community. 

• There is no "dashboard".
• No "at-a-glance" executive summary that tells us how the different museums and institutions around the world are advancing in their provenance research projects related to the persecution of the Jews during the Nazi era. 
• No "Transparency/Opacity Index" to identify institutions that do and do not publish provenance
• No executive management tool (with goals, tasks, resources, action items and persons responsible) for ensuring that provenance information is publicly available, much less accurate.  
• No single database that brings together provenances that have already been published publicly. 
• No world map that compares the pre-1932 location of Jewish-owned artworks and their current location today.
• No digital network analysis of the art dealers, collectors, institutions, publishers, and experts who collectively managed to shift artworks once owned by Jewish collectors in Europe to other hands.
• No database of fake provenances, (and authors of fake provenances), even though "errors" in provenance texts correlate significantly with illicit transactions that a person or persons has tried concealed
• No attempt at pattern detection in the provenance texts, though tools for regression analysis and even AI are becoming mainstream

Here we are in the digital age, but only the tiniest fraction of the power of the digital tools available has been applied to the problem of the Nazi-era art market. 

The task is massive, as everyone knows. Each individual artwork can take years to research. Archives are missing, hidden, destroyed, manipulated. Access is hard to obtain. Partial. But even amid all these obstacles, there is plenty that can be done in using digital tools to gain insights from the research that already exists. 

Let 2020 be the watershed year in the use of advanced digital tools to track, expose and analyse Nazi-era art provenance gaps.

Perhaps the recent interest in the cultural heritage of colonial era transfers from Africa, Asia and other lands will infuse new energy  and more advanced digital methodologies into provenance research.

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image credit:
Font Awesome by Dave Gandy - https://fortawesome.github.com/Font-Awesome [CC BY-SA 3.0], via Wikimedia Commons

ART PROVENANCE DATASET: Origins Unknown: artworks recovered from Germany after WWII and held by the Dutch state

The Netherlands, which saw more than 75% of its Jews murdered in the Holocaust*, has created a website for "what remains of the artworks recuperated from Germany after World War II and is managed by the State". 

The Nederlands Kunstbezit collection, or NK-COLLECTION, includes around 4,700 paintings (approx. 1,600), drawings, prints, ceramics, silverware, furniture, carpets and other special art objects. The artworks are currently located in a variety of places: Dutch museums, embassies and government buildings, as well as  the Cultural Heritage Agency (RCE) depot.** 

The "Origins Unknown Agency" (Bureau Herkomst Gezocht  or "BHG")  was created in 1998, however digitisation and online publication only began in 2015. (see Origins Unknown)

Several databases are public and can be consulted, item by item. However, there is not to our knowledge at present an easy way to download all the provenance files in order to analyse them with advanced digital tools outside of Holland.

This first dataset is an attempt to facilitate access to the public provenance information published online by the Dutch authorities, and to put it in a form that will facilitate digital analysis.

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  Name of Dataset: 

Origins Unknown: File One Version 1

  Description: 

Detailed information, including provenance, of 1638 artworks selected from the artworks listed on the Origins Unknown public website.

  Public Data Source:  

http://www.originsunknown.org/en/origins-unknown-agency

  Artwork Provenance Version Date : 

December 20, 2019 

  File Format: 

CSV

 URL for Download: 

https://docs.google.com/spreadsheets/d/e/2PACX-1vQjJaX6wDx0Cx0s2jdtYnvnCsC09XFt84ErzQRN_yVJkVq98DDrYmptO90JDyvrsfNoW79tFaIAttgm/pub?gid=449322899&single=true&output=csv

Example of some of the information included Provenance Dataset

Url	Herkomstgezocht Nl	Title	Inventarisnummer	Title	Artist	Findings	Reconstruction Origin History
http://herkomstgezocht.nl/en/nk-collection/rocky-landscape-waterfall	Origins Unknown Agency	Rocky landscape with waterfall	NK1835	Rocky landscape with waterfall	Anoniem	The provenance data are inconclusive. It is not known when and from whom J.H.J. Mellaart purchased this painting.	Mellaart, J.H.J. Borgharen ICN inventariskaart, Archief SNK 183, 227, 436, 866, Bundesarchiv Koblenz B323 nr.574;Fach, J. Frankfurt am Main ICN inventariskaart, Archief SNK 183, 227, 436, 866, Bundesarchiv Koblenz B323 nr.574;Herwig, G. Frankfurt Archief SNK nr.227;Declaration;Registration;Number Wie 4525 Naam: München (Collecting point)
http://herkomstgezocht.nl/en/nk-collection/still-life-dead-birds	Origins Unknown Agency	Still life with dead birds	NK2557	Still life with dead birds	Fyt, J.	This painting was returned to its rightful owner in 2006.	Cavens, Comte Brussel Archief SNK nr.190, 243, 861, G.A.A. 1341 nr.38, Tent.cat. Goudstikker, Den Haag, november 1924, nr.44;Roi, Le GAA 1341 nr.38;1924-11 1940-07-13 Goudstikker, J. Amsterdam (2) Archief SNK nr.243, 861, GAA 1341 nr.38, 79,, Archief NBI nr.021080, Tent.cat. Goudstikker, Den Haag, november 1924, nr.44;1940-07-13 Göring, H. Berlin GAA nr.113, Archief NBI nr.021080;Goudstikker/Miedl Amsterdam (2) Archief SNK nr.190, Bundesarchiv Koblenz B323 nr.574, Archief NBI nr.021080;Rijkskanselarij Berlin Archief SNK nr.190, 243, 861;Führermuseum Linz Bundesarchiv Koblenz B323 nr.574;Declaration;Registration;Number 996 Naam: Goudstikker
http://herkomstgezocht.nl/en/nk-collection/camel	Origins Unknown Agency	A camel	NK1179	A camel	Bauer, M.A.J.	The provenance data are conclusive.	1930-12 1943-08-10 Westendorp-Osieck, B. Amsterdam (2) Mr H.K. Westendorp, the husband of B. Westendorp-Osieck who died in 1941, had - over the course of decades - acquired a collection of Marius Bauer etchings from kunsthandel Van Wisselingh, who controlled the sale of all Bauer etchings. Payments for the purchase of Bauer etchings by Westendorp were found in Van Wisselingh's archives dating from 1893 to December 1930. Archief SNK nr.385, 910, Bundesarchiv Koblenz B323 nr.575, Archief Van Wisselingh nr.139, 141, 142;1943-08-10 1943-08-10 Wisselingh & Co, E.J. van Amsterdam (2) On 10 August 1943, the collection of Bauer etchings was purchased as a whole by kunsthandel Van Wisselingh from Mrs B. Westendorp-Osieck. The collection was resold to E. Göpel by Van Wisselingh on the same day. Archief SNK nr.385, 910, Bundesarchiv Koblenz B323 nr.575, Archief Van Wisselingh nr.112;1943-08-10 1943-08-10 Göpel, E. The Hague Archief SNK nr.385;1943-08-10 Führermuseum Linz Archief SNK nr.385, 910, Bundesarchiv Koblenz B323 nr.575;Declaration;Registration;Number W 99 Naam: Wisselingh
http://herkomstgezocht.nl/en/nk-collection/head-madonna	Origins Unknown Agency	Head of Madonna	NK2339	Head of Madonna	Lorenzo Monaco	The provenance data are conclusive. Belonged to the former O. Lanz collection.	Certosa Florence Archief SNK nr.273;Brauer, G. Nice Archief SNK nr.273;1935 1941-03-11 Lanz, O. Amsterdam (2) Archief SNK nr.433, 790, 862, 963, Bundesarchiv Koblenz B323 nr.574;1941-03-11 1941-03-11 Wickel, F.W. The Hague Archief SNK nr.433, 862, Archief Rijksmuseum nr.2456;1941-03-11 Posse, H. Linz Archief SNK nr.433, 862, Archief Rijksmuseum nr.2456;Führermuseum Linz Bundesarchiv Koblenz B323 nr.574;Declaration;Registration;Number L 99 Naam: Lanz
http://herkomstgezocht.nl/en/nk-collection/still-life-chinese-bowl-and-high-gilt-cup	Origins Unknown Agency	Still life with Chinese bowl and high gilt cup	NK2491	Still life with Chinese bowl and high gilt cup	Kalf, W.	The provenance data are inconclusive. It is not known when and from whom M.J. Schiltman purchased this painting.	1930 Diemen & Co. (1), Galerie van Berlin O. ter Kuile, Seventeenth-century North Netherlandish Still Lifes, Den Haag, 1985, p.126;1930-03-15 Ploeg, H. van der Amsterdam (2) Archief kunsthandel P. de Boer;1930-03-15 1932-03-17 Boer, P. de Amsterdam (2) Archief kunsthandel P. de Boer;1932-03-17 1933-03 Hermsen, D. The Hague Archief SNK nr.184, O. ter Kuile, Seventeenth-century North Netherlandish Still Lifes, Den Haag, 1985, p.126, RKD fotodocumentatie;Schiltman (2), M.J. Amsterdam (2) This painting was sold during the war to the Museum Karlsruhe. ICN inventariskaart, Archief SNK nr.184, 435, 863, Bundesarchiv Koblenz B323 nr.575;Museum Karlsruhe Karlsruhe Archief SNK nr.184, 435, Bundesarchiv Koblenz B323 nr.575;Declaration;Registration;Number 985 Naam: De Boer
http://herkomstgezocht.nl/en/nk-collection/young-mercury-stealing-cattle-herd-apollo	Origins Unknown Agency	The young Mercury stealing cattle from the herd of Apollo	NK2318	The young Mercury stealing cattle from the herd of Apollo	Campagnola, D.	The provenance data are conclusive. Belonged to the former O. Lanz collection.	1934 1941-03-11 Lanz, O. Amsterdam (2) Archief SNK nr.434, 863, 790, Cat. tent. Italiaansche kunst in Nederlandsch bezit, Stedelijk Museum, Amsterdam, 1934, nr.63;1941-03-11 1941-03-11 Wickel, F.W. The Hague Archief SNK nr.858, 862, Archief Rijksmuseum nr.2456;1941-03-11 Posse, H. Linz Archief SNK nr.434, 863, Archief Rijksmuseum nr.2456;Hitler, A. Archief SNK nr.434, 863;Führermuseum Linz Bundesarchiv Koblenz B323 nr.574;Declaration;Registration;Number 9808 Naam: München (Collecting point);Number 21 Naam: Lanz
http://herkomstgezocht.nl/en/nk-collection/vision-st-anthony-padua-or-st-francis-assisi	Origins Unknown Agency	The vision of St. Anthony of Padua or St. Francis of Assisi	NK2321	The vision of St. Anthony of Padua or St. Francis of Assisi	Carracci, L.	The provenance data are conclusive. Belonged to the former O. Lanz collection.	West London Archief SNK nr.433, 861, Tent.cat. Italiaansche kunst in Nederlandsch bezit, Stedelijk Museum, Amsterdam, 1934, nr.75;1934 1941-03-11 Lanz, O. Amsterdam (2) Archief SNK nr.433, 861, 790, 963, Bundesarchiv Koblenz B323 nr.574, Tent.cat. Italiaansche kunst in Nederlandsch bezit, Stedelijk Museum, Amsterdam, 1934, nr.75, Tent.cat. Verzameling Lanz, Verkorte catalogus, Rijksmuseum, Amsterdam, 1940, nr.69;1941-03-11 1941-03-11 Wickel, F.W. The Hague Archief SNK nr.433, Archief Rijksmuseum nr.2456;1941-03-11 Posse, H. Linz Archief SNK nr.433, Archief Rijksmuseum nr.2456;Führermuseum Linz Archief SNK nr.433, Bundesarchiv Koblenz B323 nr.574;Declaration;Registration;Number 9803 Naam: München (Collecting point)
http://herkomstgezocht.nl/en/nk-collection/winter-landscape-7	Origins Unknown Agency	Winter landscape	NK3115	Winter landscape	Ostade, I. van	The provenance data are conclusive. Belonged to the former F. Mannheimer collection.	Marigny Dr. C.Hofstede de Groot, Beschreibendes und Kritisches Verzeichnis der Werke der hervorragendsten Holländischen Maler des XVII. Jahrhunderts, London 1910, p.543, Der Reichskommissar für die Besetzten Niederländischen Gebiete / Dienststelle Mühlmann, Sichergestellte Kunstwerke in den besetzten Niederländischen Gebieten, Wenen, ca. 1941, p.5;1782-02 1782-02 Onbekend (Amsterdam) (2) Amsterdam (2) Dr. C.Hofstede de Groot, Beschreibendes und Kritisches Verzeichnis der Werke der hervorragendsten Holländischen Maler des XVII. Jahrhunderts, London 1910, p.543;1782-02 Menars, Marquis de Paris Archief SNK nr.433, 862, Dr. C.Hofstede de Groot, Beschreibendes und Kritisches Verzeichnis der Werke der hervorragendsten Holländischen Maler des XVII. Jahrhunderts, London 1910, p.543, Der Reichskommissar für die Besetzten Niederländischen Gebiete / Dienststelle Mühlmann, Sichergestellte Kunstwerke in den besetzten Niederländischen Gebieten, Wenen, ca. 1941, p.5;1801-02-23 Tolozan, C. Paris Archief SNK nr.433, 862, Dr. C.Hofstede de Groot, Beschreibendes und Kritisches Verzeichnis der Werke der hervorragendsten Holländischen Maler des XVII. Jahrhunderts, London 1910, p.543, Der Reichskommissar für die Besetzten Niederländischen Gebiete / Dienststelle Mühlmann, Sichergestellte Kunstwerke in den besetzten Niederländischen Gebieten, Wenen, ca. 1941, p.5;Winter, Van Amsterdam (2) Archief SNK nr.433, 862, Dr. C.Hofstede de Groot, Beschreibendes und Kritisches Verzeichnis der Werke der hervorragendsten Holländischen Maler des XVII. Jahrhunderts, London 1910, p.543, Der Reichskommissar für die Besetzten Niederländischen Gebiete / Dienststelle Mühlmann, Sichergestellte Kunstwerke in den besetzten Niederländischen Gebieten, Wenen, ca. 1941, p.5;1920-06-29 Six, Jonkheer J.W. Amsterdam (2) Archief SNK nr.433, 862, RKD fotodocumentatie, Dr. C.Hofstede de Groot, Beschreibendes und Kritisches Verzeichnis der Werke der hervorragendsten Holländischen Maler des XVII. Jahrhunderts, London 1910, p.543, Der Reichskommissar für die Besetzten Niederländischen Gebiete / Dienststelle Mühlmann, Sichergestellte Kunstwerke in den besetzten Niederländischen Gebieten, Wenen, ca. 1941, p.5;1920-06-29 1920-06-29 Frederik Muller Amsterdam (2) RKD fotodocumentatie;1935 1940 Mannheimer, F. Amsterdam (2) Archief SNK nr.24, 430, 433, 511, 549, 790, 862, 964, Bundesarchiv Koblenz B323 nr.575, RKD fotodocumentatie, O. von Falke, Katalog der Sammlung F.M., 1935-1936, nr.G6, A. Venema, Kunsthandel in Nederland 1940-1945, Amsterdam, 1986, p.601;1940 1941 Mühlmann, Dienststelle The Hague Archief SNK 433, 862, Bundesarchiv Koblenz B323 nr.575, A. Venema, Kunsthandel in Nederland 1940-1945, Amsterdam, 1986, p.601, Der Reichskommissar für die Besetzten Niederländischen Gebiete / Dienststelle Mühlmann, Sichergestellte Kunstwerke in den besetzten Niederländischen Gebieten, Wenen, ca. 1941, p.5.;Hitler, A. Archief SNK nr.433, 862;Führermuseum Linz Bundesarchiv Koblenz B323 nr.575;Declaration;Registration;Number 9606 Naam: München (Collecting point)
http://herkomstgezocht.nl/en/nk-collection/christ-and-his-apostles-mount-olives	Origins Unknown Agency	Christ and his apostles on the Mount of Olives	NK2853	Christ and his apostles on the Mount of Olives	Anoniem	The provenance data are inconclusive. It is unknown when and from whom J. Mühlmann purchased this painting.	1941-03-10 Onbekend (Parijs) (3) Paris Bundesarchiv Koblenz B323 nr.57;1941-03-10 1941-03-10 Mühlmann, J. Zell am See J. Mühlmann was primarily active on the French art market. Bundesarchiv Koblenz B323 nr.57;1941-03-10 1944-02-09 Göring, H. Berlin Bundesarchiv Koblenz B323 nr.57, 72, etiket achterzijde (H-nummer);1944-02-09 1944-02-09 Hofer, W.A. Berlin Archief SNK nr.243, 439, 552, Bundesarchiv Koblenz B323 nr.57, 72, etiket achterzijde (H-nummer);1944-02-09 1944-04-15 Goudstikker/Miedl Amsterdam (2) ICN inventariskaart, Archief SNK nr.439, 552, Bundesarchiv Koblenz B323 nr.57, 72, etiket achterzijde, RKD inventariskaart Goudstikker/Miedl;1944-04-15 Schramm, H. Neuss Archief SNK nr.439, 552, RKD inventariskaart Goudstikker/Miedl;Declaration;Registration;Number H 96 Naam: Hofer
http://herkomstgezocht.nl/en/nk-collection/sea-battle	Origins Unknown Agency	Sea battle	NK2363	Sea battle	Bellevois, J.A.	The provenance data are conclusive.	Onbekend (Ierland) Ierland Archief SNK nr.182;1933-11 1940-09-26 Hoogendijk & Co., D.A. Amsterdam (2) Archief SNK nr.717, 721, 867, NARA RG239 box 77, RKD fotodocumentatie, Tent.cat. Schilderijen uit het bezit van D.A. Hoogendijk & Co., Amsterdam, oktober-november 1934, nr.3;Hofer, W.A. Berlin Archief SNK nr.717, 721, 867, NARA RG239 box 77;1940-09-26 Göring, H. Berlin Archief SNK nr.717, 721, 867, NARA RG239 box 77;Declaration;Registration;Number OS 945 Naam: Hoogendijk

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This is the first of several datasets concerning the "NK Origins Unknown" artworks. All comments and feedback appreciated for improving the presentation, transparency and usability.
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image source: NK1727 Bacchanalian festival. Carpioni, G. http://herkomstgezocht.nl/en/nk-collection/bacchanalian-festival

Reconstruction origin history
1940-04-09 Beets, N.Amsterdam (2)
ICN inventariskaart; Archief SNK nr.435, 865; Bundesarchiv Koblenz B323 nr.575; Tent.cat. Italiaansche kunst in Nederlandsch bezit, Stedelijk Museum, Amsterdam, 1934, nr.74
1940-04-091940-04-09 Frederik MullerAmsterdam (2)
This painting was possibly not sold during the auction.
RKD geannoteerd exemplaar vlg.cat. Frederik Muller, Amsterdam, 9 april 1940, nr.298
1941-05-07 Esher SurreyThe Hague
ICN inventariskaart; Archief SNK nr.435, 865,790; Bundesarchiv Koblenz B323 nr.575
Hitler, A.
ICN inventariskaart; Archief SNK nr.435, 865
1941-05-07 FührermuseumLinz
Bundesarchiv Koblenz B323 nr.575

* see: Beyond Anne Frank: The Dutch Tell Their Full Holocaust Story
By NINA SIEGALJULY 17, 2016, NYT

** see: ORIGINS UNKNOWN AGENCY

ARTNews articles listed in the Looted Art Bibliography

The Looted Art Bibliography lists 398 references to newspaper articles, journals, books and monographs about looted art. However, many of these seem to be difficult to find online today, even for major publications like Artnews.*

Where, for example, can one find, access and read the following articles written by Konstantin Akinsha and published in ArtNews?

10	Akinsha, Konstantin	Russia: whose art is it?	ARTnews 91, no	5(May 1992): 100+
4	Akinsha, Konstantin	The secret depositories slowly open	ARTnews 91, no	4(April 1992): 48+
5	Akinsha, Konstantin	A Soviet-German exchange of war treasures?	ARTnews 90, no	5(May 1991): 134-139
6	Akinsha, Konstantin	The turmoil over Soviet war treasures	ARTnews 90, no	10(December 1991): 110-115
7	Akinsha, Konstantin	Duma does it	ARTnews 96, no	4(April 1997): 65-66
8	Akinsha, Konstantin	Hermitage sequel	ARTnews 96, no	3(March 1997): 56
9	Akinsha, Konstantin	War loot: drawings for Deutsche Marks?	ARTnews 91, no	7(September 1992): 35
11	Akinsha, Konstantin and Grigorii Kozlov	Spoils of war: the Soviet Union's hidden art treasures	ARTnews 90, no	4(April 1991): 130-141
12	Akinsha, Konstantin and Grigorii Kozlov	Yeltsin - repatriation is a long way off	ARTnews 91, no	6(Summer 1992): 45+
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+
15	Akinsha, Konstantin and Grigorii Kozlov	Moscow: let the museums decide	ARTnews(December 1992)
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
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
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

*In 2015 it was announced that, as part of a merger, "‘ARTnews’ Magazine Ceases Monthly Print Publication After 113 Years" but all the concerned publications were to be online by the end of the year. Did this include archives?)

The Looted Art Bibliography contains references to many more informative articles published in Artnews, including:

25	Attias, Laurie	Looking for loot at the Louvre	ARTnews 97, no	4(April 1998): 74
26	Beck, Ernest	Hungary asks Russia for missing art treasures	ARTnews 91, no	4(April 1992): 45+
37	Buomberger, Thomas	The baron's share?	ARTnews(November 1998): 75
41	Cembalest, Robin	It's official: the Trojan Gold is in Russia	ARTnews 92, no	4(April 1993): 125
49	Czernin, Hubertus	Law of return?	ARTnews(November 1998): 80
53	Decker, Andrew	An untapped, if forbidden, source	ARTnews 91, no	7(September 1992): 36+
54	Decker, Andrew	A legacy of shame	ARTnews 83, no	10(December 1984): 54-82
55	Decker, Andrew	My argument was not with the German people""	ARTnews(September 1992): 36 - 37
56	Decker, Andrew and Konstantin Akinsha	A worldwide treasure hunt	ARTnews 90, no	6(Summer 1991): 130-138
57	Decker, Andrew and Milton Esterow	Austria's bid for justice	ARTnews 95, no	11(December 1996): 90
58	Decker, Andrew and Ferdinancd Protzman	Vienna: complexity, contradictions	ARTnews 88, no	5(May 1989): 63
59	Decker, Andrew and Mariana Schroeder	Blocking the black market	ARTnews 94, no	4(April 1995): 46
65	Dornberg, John	The mounting embarrassment of Germany's Nazi treasures	ARTnews 88, no	7(September 1988): 130-141
74	Esterow, Milton	A little justice in Austria	ARTnews 94, no	7(September 1995): Editorial
92	Frankfurter, Alfred M	Return of the Dresden paintings	ARTnews 54(February 1956)
94	Freudenheim, Tom L	Will everything become suspect?	ARTnews 97, no	3(March 1998): 100
133	Henry-Künzel, Ginger and Andrew Decker	Never look a gift horse in the mouth	ARTnews 93, no	4(April 1994): 51-52
138	Hinchberger, Bill	Brazil uncovers Nazi war loot	ARTnews(September 1998): 67
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
141	Hochfield, Sylvia	The Russians renege	ARTnews 93, no	6(Summer 1994): 68+
142	Hochfield, Sylvia	Twice stolen	ARTnews 94, no	4(April 1995): 85-86
143	Hochfield, Sylvia	Nobody knows what to do next	ARTnews 94, no	5(May 1995): 65-66
144	Hochfield, Sylvia	Do the right thing	ARTnews 97, no	2(February 1998): 66
145	Hochfield, Sylvia	Will the Hermitage return the Degas?	ARTnews 94, no	3(March 1995): 48+
146	Hochfield, Sylvia	The Malevich legacy: heirs vs. museums	ARTnews 92, no	9(November 1993): 65+
147	Hochfield, Sylvia	The Russian surprise	ARTnews(January 1999): 56, 58
148	Hochfield, Sylvia	Wrestling with restitution	ARTnews(Summer 1998): 59
149	Hochfield, Sylvia	Back to the drawing room	ARTnews(December 1998): 61
150	Hochfield, Sylvia	Statute with limitations	ARTnews(November 1998): 57
177	Jolis, Alan	War loot goes on-line	ARTnews 95, no	8(September 1996): 58
229	Lauria, Joe	An amicable resolution	ARTnews 97, no	9(October 1998): 54
240	Lowenthal, Constance	The Quedling embarrassment	ARTnews 91, no	6(Summer 1992): 158+
242	Lowenthal, Constance	The Quedling embarrassment	ARTnews 91, no	6(Summer 1992): 158
263	Morey, Charles R	What we are actually doing to save Europe's art	ARTnews 43(May 15-31,1944): 9-10, 24-25
284	Petropoulos, Jonathan	Exposing deep files""	ARTnews 98, no	1(January 1999): 143-144
367	Tully, Judd	The war loot questions: no easy answer	ARTnews 94, no	6(Summer 1995): 144
368	Tully, Judd	The war loot questions: no easy answer	ARTnews 94, no	6(Summer 1995): 144
383	Waxman, Sharon	Austria: ending the legacy of shame	ARTnews 94, no	7(September 1995): 122-125
384	Waxman, Sharon	Justice in Austria... finally?	ARTnews 94, no	1(January 1995): 154+

***

In the interest of facilitating historical research into the Holocaust, looted art and provenance, it would be desirable to place the URL or DOI where the article can be read next to each one of these references. However, for dozens of the articles in the Looted Art Bibliography, it is hard to see how to do this. There is frequently no URL on the publisher site. EBSCO does not always publish the text. Articles are not necessarily discoverable to Google, even if some of them continue to exist behind paywalls. For certain Artnews articles, even paper copies of back issues can, in some cases, be difficult to obtain.

 ARTnews publishes author archives. We had hoped to find the articles in the Looted Art Bibliography listed there, but did not have success.

Below, for example, are the Artnews author archives for Konstantin Akinsha, retrieved on October 31, 2019

Author Archives: Konstantin Akinsha

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NEWS  FEBRUARY 2013

High Court Drama: Scholars, Christie’s, and the Russian Oligarch

BY Konstantin Akinsha POSTED 02/05/13 7:00 AM 

A judge decided it was a fake, but some scholars say that a Russian painting sold at Christie’s is genuine READ MORE

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NEWS  JUNE 2010

Resurrecting Stalin?

BY Konstantin Akinsha POSTED 06/01/10 12:00 AM 

Russians debate the future of old monuments to the leader and their meaning for the present. READ MORE

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INVESTIGATIONS  JUNE 2010

Where the Pictures Don’t Always Match the Labels

BY Konstantin Akinsha POSTED 06/01/10 12:00 AM 

Experts say that many of the works attributed to Russian masters in a Venice exhibition are not what they're claimed to be. READ MORE

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FEATURES  OCTOBER 2009

Art in Russia: Under Attack

BY Konstantin Akinsha POSTED 10/01/09 12:00 AM 

With trials, harassment, and other forms of intimidation, Russian authorities are striking out against curators and artists—who are, in turn, organizing projects that are increasingly provocative and political. READ MORE

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INVESTIGATIONS  FEBRUARY 2009

The Mauerbach Scandal

BY Konstantin Akinsha POSTED 02/01/09 12:00 AM 

An exhibition in Vienna brings to light new evidence of Austria’s reluctance to return art looted by the Nazis. READ MORE

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INVESTIGATIONS  FEBRUARY 2008

The Mysterious Journey of an Erotic Masterpiece

BY Konstantin Akinsha POSTED 02/01/08 12:00 AM 

Femme nue couchée, one of several Courbets owned by the Hungarian Jewish collector Baron Ferenc Hatvany, disappeared after World War II from a Budapest bank vault. The painting resurfaced 50 years later in Slovakia, setting off a cat-and-mouse game that resulted in its restitution to Hatvany’s heirs—who loaned it to the Courbet retrospective at the Grand Palais in Paris. READ MORE

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ARTNEWSLETTER ARCHIVE

Rostropovich Collection Comes Home to Russia

BY Konstantin Akinsha ORIGINALLY PUBLISHED 10/02/07

On Sept. 14 billionaire Alisher Usmanov acquired the entire art collection of legendary cellist Mstislav Rostropovich (1927-2007) and his wife, Galina Vishnevskaya, for more than $70 million. Usmanov immediately announced plans to return the trove—which includes paintings by Boris Grigoriev, Nikolai Roerich and Vladimir Borovikovsky—to Russia. READ MORE

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MARKET  APRIL 2007

More Demand, More Questions

BY Konstantin Akinsha POSTED 04/01/07

As the market grows for Russian and Eastern European art, forgeries proliferate. READ MORE

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INVESTIGATIONS  JANUARY 2006

The Scandal Sweeping Russia’s Art Market

BY Konstantin Akinsha POSTED 01/01/06 12:00 AM 

Forgers have been retouching hundreds of works by minor European artists, putting the signatures of major Russian artists on them and selling them for many times their worth. READ MORE

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ARTNEWSLETTER ARCHIVE

Disputed Larionov Painting Stays Close to Its Russian Roots

BY Konstantin Akinsha ORIGINALLY PUBLISHED 12/20/05

Despite serious concerns about the provenance of a Russian artwork—raised just days before the work went on the auction block—it sold for £420,000 ($722,400) to a Russian buyer.
The picture In the Dukhan, Imaginary Journey to Turkey, by Mikhail Larionov (1881-1964), was a highlight of the Russian art sale on Nov. 28 at the MacDougall auction house, London. Estimated at £250,000/350,000, the painting had been authenticated by art historian Anthony Parton, Larionov’s biographer and compiler of a forthcoming catalogue raisonné, who wrote that the work was “one of Larionov’s most significant paintings from 1910.” Larionov and his wife, Natalia Goncharova, were major figures of the Russian avant-garde. They settled in Paris in 1917. READ MORE

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FEATURES  APRIL 2005

Provocateurs, Ghosts, Accomplices, and Starz

BY Konstantin Akinsha POSTED 04/01/05 12:00 AM 

Whether the first Moscow Biennale accomplished its aims—to legitimize contemporary art in Russia and to thrust contemporary Russian art onto the international stage—is debatable, but it was certainly the most important art event in the city in many years. READ MORE

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FEATURES  MAY 2004

‘Orthodox Bulldozer’

BY Konstantin Akinsha POSTED 05/01/04 12:00 AM 

Artists whose works deal with religious themes are reviled by the Russian Orthodox Church, while the vandals who destroy their works are hailed as martyrs. READ MORE