Showing posts with label digital methods. Show all posts
Showing posts with label digital methods. Show all posts

Oct 23, 2023

Contextual Information for Nazi-era Provenance Research - Wikidata Sparql Query

Holocaust victim, art looting Red Flag name, Nazi party member, or persecuted person?

Art historians, provenance researchers, museum curators, scholars of the Holocaust and the art market,

If you would like to know whether a person in a provenance is a Holocaust victim, a looting Red Flag name, a Nazi party member, or a persecuted person, here is a Sparql query in Wikidata that can help:
                                                       (collectors, dealers)

Clicking on the link above runs a Wikidata Sparql query.

The link below is more complete but runs slower...

(collectors, dealers, curators, art historians)

Oct 4, 2023

Comparing 1961 and May 30 2019 provenances for Manet's La Sultane in the Bührle collection

How many times did the provenance change?
Word/Phrase 1961 Catalogue Count 2019 Bürhle website Count
dealer 1 0
silberberg 1 9
? 0 2
art market 0 1
by 0 7
rosenberg 0 5
might 0 1
until 0 1
no documents 0 1
was never really and completely owned by Silberberg 0 1

Edouard Manet

Young Woman in Oriental Garb

ca. 1871

Jul 25, 2023

British Museum Acquisitions from Spink and Sons: analysis with ChatGPT prompts

 QUESTION TO CHATGPT (code interpreter)

Spink and Sons is an art dealer involved in selling many looted artifacts. Please examine this file and tell me three ways it could be analysed to rank artworks most likely to have been looted

- Spink prov British Museum.csv

Dec 7, 2022

How to use information in the provenance texts of Nazi looted art that has been restituted to find other Nazi-looted artworks

This Nazi-looted painting was restituted in 2016.

Often, when a painting is restituted, it is the conclusion of a long and arduous process of archival research to establish the itinerary of the painting and the different actors involved in its looting (or sale, or transfer, or translocation). 
What happens if we take the NAMES that appear in the provenance AFTER an artwork has left the possession of the persecuted Jewish owner and plug them in to some powerful digital tools to check other provenance texts for their presence?

Could this application of digital tools provide clues that lead to other Nazi-looted artworks?