How solid is an art provenance text? Analysis of a Degas sculpture at the NGA

"Probably", "possibly", "apparently", "proposes" and "allegedly" in texts for Degas' Dancer Adjusting the Shoulder Strap of Her Bodice, original wax 1880s/1890s, cast 1920/1949 at the NGA

Provenances for Chagall at the Kunstmuseum Basel in Switzerland?

 How are Swiss museums progressing on Nazi-era provenances?

A search for Marc Chagall at the Kunstmuseum Basel.

• Marc Chagall
• • Ma fiancée aux gants noirs, 1909
• Öl auf Leinwand
• 87.4 x 64.4 cm
• Kunstmuseum Basel, mit einem Beitrag von Dr. h.c. Richard Doetsch-Benziger erworben 1950
• Inv. 2239

Provenienz

spätestens 1920 – Datum unbekanntHerbert von Garvens-Garvensburg (1908–1953), Hannover
1926Alfred Flechtheim (1878–1937), Berlin (in Kommission?)
Datum unbekannt – ca. 1930Christoph Bernoulli (1897–1981), Basel
ca. 1930 – 1950Eduard Freiherr von der Heydt (1882–1964), Ascona, angekauft bei Christoph Bernoulli
1950 – heuteKunstmuseum Basel, angekauft bei Eduard von der Heydt

Holocaust victims and refugees in art provenances

Museums and auction houses rarely mention that a name in a provenance of an artwork corresponds to a person who was robbed and murdered by the Nazis or a Jewish refugee fleeing to escape the Holocaust.

This Wikidata Sparql query displays a few of the art collector whose names are absolutely to be considered red flags in provenances because they either died in the Holocaust or were forced to flee to survive.

Wikidata query run 18 May 2024: Short link: https://w.wiki/A7pr

Table: Art Collectors and Dealers who died in the Holocaust or were forced to flee

Osthaus Museum Hagen restitutes Renoir "View of the Sea from Haut Cagnes" to heirs of Jakob Goldschmidt (1882-1955)

Jakob Goldschmidt (1882-1955) was one of the most important bankers of the Weimar Republic. Persecuted by the National Socialist regime, Goldschmidt fled Germany in the spring of 1933 and emigrated to the USA via Switzerland in 1936. His German citizenship was revoked in 1940 and his assets were confiscated the following year. 

Goldschmidt's art collection was auctioned off on September 25, 1941 at the Hans W. Lange auction house in Berlin. 

The Renoir painting Blick von Haut Cagnes aufs Meer (cat. no. 45) (View of the Sea from Haut Cagnes) was purchased by Hildegard Diehn, the wife of Wehrmacht officer Wilhelm Diehn. In 1960 the Renoir was at the Nathan Gallery in Zurich, where it was acquired by Prof. Gustav Stein from Cologne, a member of the Federation of German Industries. He passed the painting on to Fritz Berg, President of the South Westphalian Chamber of Industry and Commerce in Hagen in 1948 and the first BDI President from 1949. After the death of his widow, Hildegard Berg, the Berg art collection was transferred to the Osthaus Museum Hagen. 

- source: press release from Osthaus Museum Hagen https://www.osthausmuseum.de/web/de/keom/presse/renoir2023.html

Minneapolis Institute of Art provenance status for selected artworks - mostly European

The Minneapolis Institute of Art publishes provenances for some artworks but not for others.

Below is a list of selected artworks at Artsmia.

Provenances, where present, are from April 20, 2024)

Download Data in  CSV for research

Tracking Looted Art with Knowledge Graphs: A Wikidata Case Study

Art looting networks operate on many levels, many of them hidden, over long periods of time. The native graph function of Wikidata enhanced by federated queries can help track them.

Tracking Looted Art with Graphs

April 9, 2022, Laurel Zuckerman

Graphs and Networks in the Humanities 2022 Technologies, Models, Analyses, and Visualizations

6th International Conference, 3. – 4. February 2022, Online

The 6th international conference on Graphs and Networks in the Humanities took place from Thursday 3. February to Friday 4. February 2022 online, co-organized by scholars from the Huygens Institute (Royal Netherlands Academy of Arts and Sciences), the Academy of Sciences and Literature | Mainz, Vienna University, University of Leipzig, and the University Ca’ Foscari Venice

Paper: Tracking Looted Art with Graphs: A Case Study 

See also:

The Error is the Message: Extracting Insights from Deceptive Data for Nazi looted art

The Knowledge Graph Conference, 2023

VIDEO: 

https://youtu.be/WBMpZ3NDNRQ?si=wsFtV9wzBEghCSoB

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

Provenance at American university art museums

 Morning on the Seine, Giverny (Matinée sur la Seine)
MONET AC 1966.48
(no provenance)
 https://museums.fivecolleges.edu/detail.php?t=objects&type=ext&id_number=AC+1966.48

 Part of the series on museum websites, provenance and transparency:

this post looks at the availability of provenance information on artworks at:

• Smith College Museum of Art (172 artworks on NEPIP)

• Mead Art Museum at Amherst College (18 artworks on NEPIP)

• Mount Holyoke College Art Museum (80 artworks on NEPIP)

• University Museum of Contemporary Art at UMass Amherst

• Historic Deerfield and the Hampshire College Art Gallery

DATABASE search https://museums.fivecolleges.edu

Explore the museum's full collection through the Five College Collections Database, which combines SCMA’s holdings with the collections of the Mead Art Museum at Amherst College, the Mount Holyoke College Art Museum, the University Museum of Contemporary Art at UMass Amherst, Historic Deerfield and the Hampshire College Art Gallery.

Provenance Evaluation: POOR

This evaluation was conducted by live tests on December 5, 2022. Please address corrections or any new information to OAD.

The museums appear to publish Credit Line but not provenance

Open Art Data is on Mastodon @openartdata@mastodon.art

Now on Mastodon!

Decentralized, more thoughtful, fewer trolls, more space to write. 

handle: @openartdata@mastodon.art

url: https://mastodon.art/@openartdata

Example of "Toots" on Mastodon

I'm wondering about the #mapping of #stories and the different versions that are told over time by different people in different places.

My own focus is the stories that are told about the #itineraries of #artworks, called #provenance.

But when I look at this #map of #iceberg #movement from Peter T Fretwell, I'm inspired about #dataviz possibilities for alternative histories of artworks (of which only one is true, the others false)

#30DayMapChallenge

 https://mastodon.art/@openartdata/109397742358396244

 

The #map function on #Digital #Benin is brilliant.

https://twitter.com/OpenLinkArtData/status/1595301214354571264

Can switch from #historical #landmarks of Benin Kingdom to the #museums in possession today.
Then #drill down for details and #datasets, with #provenance #links

Wonderful #dataviz #design.

https://digitalbenin.org/map

Could one go further and show #movement ?

#30DayMapChallenge

https://mastodon.art/@openartdata/109392975167318554 

DATASET: E. & A. Silberman Galleries and American museums

E. & A. Silberman Galleries was an art dealership owned by Abris and Elkin Silberman.  This dataset includes artworks in American museums that mention Silberman in the ownership history.

View DATASET 

See details below:

Provenances that mention Beyeler (Getty Provenance Index)

, Juan Gris, Mandolin and Fruit Dish, Gift of Joseph Pulitzer, Jr., inv 67.1161  

https://collections.mfa.org/objects/34014

In this post, a few provenances that mention Beyeler are gathered.

(Titles may have changed.)

Getty Provenance Index Public Collections Database 19MARCH2021

Provenance of Paintings Record 10627 GRIS, JUAN Still Life with a Guitar Boston, MA, Museum of Fine Arts 67.1161 canvas Gris, Juan. Paris, France (the artist) Simon, Galerie. Paris, France by 1960 - still in 1961 Thompson, G. David. Pittsburgh, PA, USA Beyeler, Galerie. Basel, Schweiz 1961 - 1967 Pulitzer, Joseph, Jr.. Saint Louis, MO, USA 1967 - Boston, MA, USA. Museum of Fine Arts (gift of Pulitzer)

Provenance of Paintings Record 10819 KIRCHNER, ERNST LUDWIG Mountain Landscape from Clavadel Boston, MA, Museum of Fine Arts 56.13 canvas Kirchner, Ernest Ludwig, estate of (estate of the artist, who d.1938) Beyeler, Galerie (executor of Kirchner estate?) - 1956 Silberman, (E. and Abris), Galleries. New York, NY, USA (from Beyeler) 1956 - Boston, MA, USA. Museum of Fine Arts (from Silberman?)

Provenance of Paintings Record 19766 GRIS, JUAN Mandolin and Pipe Hanover, NH, Hood Museum of Art P.959.128 canvas Kahnweiler, Daniel-Henry. Paris, France Simon, Galerie. Paris, France by 1925 - Reber, Gottlieb Friedrich, Dr.. Lausanne, Schweiz (d.1959) Fritsch, Irmgart, Mlle.. Lausanne, Schweiz Gasser, Galerie. Zürich, Schweiz Hadorn, Walter, Prof. Dr.. Bern, Schweiz Hutton, (Leonard), Galleries. New York, NY, USA Beyeler, Galerie. Basel, Schweiz Bruxelles, Belgique. Anonymous collection - 1959 Lachman, Charles R., Mr. and Mrs.. New York, NY, USA 1959 - Hanover, NH, USA. Hood Museum of Art (gift of Lachman)

Provenance of Paintings Record 3721 MONET, CLAUDE Water-Lilies London, England, National Gallery 6343 canvas - 1926 Monet, Claude. Giverny, France (the artist; d.1926) 1926 - still in ca. 1945 Monet, Claude, heirs of. Giverny, France (by inheritance; painting remained in Monet's studio until after WWII) by 1956 - Granoff, Katia. Paris, France (possibly from Monet heirs, who sold other paintings to her ca. 1950) by 1962 - 1963 Beyeler, Galerie. Basel, Schweiz 1963 - London, England, UK. National Gallery (from Galerie Beyeler)

Provenance of Paintings Record 2552 CÉZANNE, PAUL Portrait of Anthony Valabrègue Los Angeles, CA, J. Paul Getty Museum 85.PA.45 canvas by 1911 - Doria, François, Comte. Château d'Orrouy, France Pellerin, Auguste. Paris, France by 1936 - still in 1939 Pellerin, Jean Victor. Paris, France (by inheritance?) Wildenstein (?). London, England, UK; New York, NY, USA; Paris, France 1980/10/22 (0021) Meyer sale (Sotheby Parke Bernet) New York by 1962 - 1980 Meyer, André. France; New York, NY, USA (from Wildenstein?; d.1979) 1980 - 1985 Beyeler, Galerie. Basel, Schweiz (bought at Meyer sale) 1985 - Los Angeles, CA, USA. J. Paul Getty Museum (from Galerie Beyeler

Provenance of Paintings Record 25501 CÉZANNE, PAUL L'éternel féminin Los Angeles, CA, J. Paul Getty Museum 87.PA.79 canvas by 1907 - 1929 Pellerin, Auguste. Paris, France 1929 - still in 1939 Pellerin, Jean Victor. Paris, France (by inheritance) by 1947 - 1954 Wildenstein. London, England, UK; New York, NY, USA; Paris, France 1954 - still in 1959 Niarchos, Stavros S.. Paris, France (loaned painting to an exhibition in January 1959) 1959 - Hecht, Harold (?). Beverly Hills, CA, USA (loaned painting to an exhibition at Wildenstein in New York, November 1959) [This information not included on Getty central file sheet, thus the question.] by 1963 - Wildenstein (?). London, England, UK; New York, NY, USA; Paris, France (painting exhibited at Wildenstein in London) [according to Getty central file sheet 12-1988, painting loaned to exhibition by Wildenstein, but this information not included in file sheet of 12-1989; cannot find copy of catalogue to verify. If Hecht owned the painting when it was exhibited at Wildenstein in 1959, then he probably was the lender at this exhibition as well.] 1963 - still in 1964 Hecht, Harold. Beverly Hills, CA, USA (may have had painting since 1959) by 1970 - New York, NY, USA. Anonymous collection - 1973 Wildenstein. London, England, UK; New York, NY, USA; Paris, France 1973 - still in 1980(?) Goulandris, John, Mrs.. New York, NY, USA - 1987 Beyeler, Galerie. Basel, Schweiz 1987 - Los Angeles, CA, USA. J. Paul Getty Museum (from Galerie Beyeler)

Provenance of Paintings Record 54689 MONET, CLAUDE The Portal of Rouen Cathedral in Morning Light Los Angeles, CA, J. Paul Getty Museum 2001.33 canvas - 1895 Monet, Claude. Giverny, France 1895 - 1895 Durand-Ruel, buying for Gonse. New York, NY, USA; Paris, France (from Monet) 1895 - 1921 Gonse, Louis. Paris, France (buying through Durand-Ruel) - 1962 Gonse, Emmanuel, Mme. (née Suzanne Boas). Paris, France (by inheritance; daughter-in-law of Louis Gonse) - 1962 Durand-Ruel. New York, NY, USA; Paris, France (from Gonse) 1962 - 19th and 20th Century French Art, Inc. (Sam Salz). New York, NY, USA (from Durand Ruel) in ca. 1968 Vogel, Edwin C.. New York, NY, USA in ca. 1971 19th and 20th Century French Art, Inc. (Sam Salz). New York, NY, USA in ca. 1972 Goulandris, Basil P.. Schweiz Beyeler, Galerie. Basel, Schweiz Fujikawa Gallery. Tokyo, Japan [Unknown] - 2001 Acquavella Contemporary Art, Inc.. New York, NY, USA 2001 - Los Angeles, CA, USA. J. Paul Getty Museum (from Acquavella)

Provenance of Paintings Record 5256 RENOIR, PIERRE AUGUSTE Portrait of Albert Cahen d'Anvers Los Angeles, CA, J. Paul Getty Museum 88.PA.133 canvas 1881 - Cahen d'Anvers, Albert (original commission; the sitter; d.1903) Cahen d'Anvers, Hubert (presumably by inheritance) - ca. 1971 Cahen d'Anvers family (by inheritance) Steegman, Joseph, Dr.. Zürich, Schweiz Beyeler, Galerie. Basel, Schweiz [sold to Geneva, anon coll in 1984?] 1984 - Genève, Schweiz. Anonymous collection [from Beyeler??] - 1988 Beyeler, Galerie. Basel, Schweiz 1988 - Los Angeles, CA, USA. J. Paul Getty Museum (from Beyeler)

Provenance of Paintings Record 5815 KANDINSKY, WASSILY Study for Improvisation V Minneapolis, MN, Minneapolis Institute of Arts 67.34.2 wood Jawlensky, Helene von, Mrs.. Ascona, Schweiz Abels, Anne. Köln, Deutschland - 1967 Beyeler, Galerie. Basel, Schweiz 1967 - 1967 Dayton, Bruce B., Mr. and Mrs.. Minneapolis, MN, USA 1967 - Minneapolis, MN, USA. Minneapolis Institute of Arts (gift of Dayton)

Provenance of Paintings Record 5705 MANET, EDOUARD Le Fumeur (The Smoker) Minneapolis, MN, Minneapolis Institute of Arts 68.79 canvas 1888/06/06 (0001) Pertuiset sale (Tual, Escribe) Paris [as "La Bonne Pipe"] by 1866 - 1888 Pertuiset, M.. Paris, France 1888 - Bloch, Isidore. Paris, France Durand-Ruel. New York, NY, USA; Paris, France (Durand-Ruel in Paris) Milliken, E.F.. New York, NY, USA Durand-Ruel. New York, NY, USA; Paris, France (Durand-Ruel in New York) in 1907 Whitney, Helen Hay Payne, Mrs.. New York, NY, USA Miller, C. MacCulloch, Mrs.. New York, NY, USA Tribune Gallery. New York, NY, USA - 1968 Schweiz. Anonymous collection 1968 - 1968 Beyeler, Galerie. Basel, Schweiz 1968 - 1968 Dayton, Bruce B., Mr. and Mrs.. Minneapolis, MN, USA 1968 - Minneapolis, MN, USA. Minneapolis Institute of Arts (gift of Dayton)

Provenance of Paintings Record 27811 PICASSO, PABLO Bust of a Woman Pasadena, CA, Norton Simon Museum M.1970.5.16.P canvas - 1966 Picasso, Pablo. Cannes, France Beyeler, Galerie. Basel, Schweiz Rosenberg, (Paul), and Co.. London, England, UK; New York, NY, USA; Paris, France 1967 - 1970 Hunt Foods and Industries 1970 - Pasadena, CA, USA. Norton Simon Museum (from Hunt Foods)

Provenance of Paintings Record 27569 PICASSO, PABLO Women of Algiers I Pasadena, CA, Norton Simon Museum M.1986.3.P canvas Rosenberg [assumably the dealer Paul Rosenberg] Frua de Angeli, Carlo. Milano, Italia (d.1972) Beyeler, Galerie. Basel, Schweiz 1973 - 1986 Los Angeles, CA, USA. Norton Simon Foundation 1986 - 1986 Los Angeles, CA, USA. Norton Simon Art Foundation 1986 - Pasadena, CA, USA. Norton Simon Museum (from Norton Simon Art Foundation)

Provenance of Paintings Record 17073 PICASSO, PABLO Nude Woman Washington, DC, National Gallery of Art 1972.46.1 canvas - 1939(?) Pierre, Galerie. Paris, France [additional non-provenance: painting bears a label with Gertrude Stein's and Alice Toklas' 1938 address, but several sources deny that it ever belonged to them.] 1939 - Callery, Meric, Mrs.. New York, NY, USA; Boulogne-sur-Seine, France (apparently from Pierre) 1960 - 1972 Frua de Angeli, Carlo. Milano, Italia (d.1972) 1972 - 1972 Beyeler, Galerie. Basel, Schweiz (from Frua de Angeli estate) [according to a letter from Douglas Cooper in Washington NG file, painting was at Beyeler for over a decade, but they were unable to sell it. According to Beyeler, it was in Frua de Angeli's collection until his death in 1972, and was purchased from the estate in May 1972. The writer sounded pretty annoyed at Cooper's allegations that the painting was trash and denied that it had been sitting around for ten years. Since the Cooper story sounds a bit fishy (why would NGDC spend big bucks on a painting nobody wanted?), I'm ignoring it and going by Beyeler's version.] 1972 - Washington, DC, USA. National Gallery of Art (from Beyeler; formerly acc.no. 2631)

 

Mountain Landscape from Clavadel, Kirchner, Inv 56.13, Boston MFA
https://collections.mfa.org/objects/33551

Study for Improvisation V, Kandinsky, Inv. 67.34.2, 
https://collections.artsmia.org/art/1639/study-for-improvisation-v-vassily-kandinsky

Walter Bareiss in provenances of European artworks in American museums

 

The Bend in the Road by Cézanne, Exhibited at the Bignou Gallery in New York in 1940*

Walter Bareiss was, along with Baron Leon Lambert, Eugene Victor Thaw, David Carritt, Count Christian zu Salm-Reifferscheidt, Philippe R. Stoclet, Count Artur Strachwitz, Heinz Berggruen and Baron Alexis de Rede,  on the board of the art trading syndicate Artemis S.A.  

(Artist and social critic Hans Haacke included information about Artemis S.A. and its board members in his installation work. See Framing and Begin Unframed page 108 to 112)

In this series of posts, we look at artworks owned by members of the Artemis syndicate.

Tooth in Provenance: UK Collections Trust Spoliation Reports and Getty Public Collections

The name "Authur Tooth" appears frequently in provenances with gaps for the Nazi era. 

This post lists the search results for "Tooth" in the UK Spoliation Reports published by the Collections Trust

Where is the Duchess of Courland, gifted by Red Flag Zacharie Birtschanky to LACMA in 1946?

Half-length Portrait of the Duchess of Courland 

1785
Angelica Kauffmann
Switzerland
1741–1807

Oil on canvas, 30 ¼ x 25 in. (76.85 x 63.5 cm), signed and dated "Angelica Kauffmann Pinx. Romae 1785," Gift of Zacharie Birtschansky, 46.33.1.

Germanisches Nationalmuseum Nürnberg in Lost Art (Fundmeldung)

German Lost Art Foundation Listings for the Germanisches Nationalmuseum Nürnberg

Benno Geiger in Provenances of Artworks Auctioned at Christies or Sothebys

 The panelists at the conference on Nazi-looted art in Italy that just took place in Venice offered many interesting insights. One of the topics that came up was the art dealer Benno Geiger, a known dealer of Nazi looted art, in a presentation by researcher Katharina Hüls-Valenti.

Geiger has been a subject of interest to us for a while. (See: "Geiger" artworks currently in American or British museums)

In this post, we look at a few of the artworks that have been auctioned at Christies or Sothebys that have some link to Benno Geiger, either in the provenance (an obvious red flag that calls for in depth verification) or in the references.  Why references? Because Nazi art looters like Benno Geiger have been known to lie about ownership histories.

Warning: given Geiger's involvement in the art market for Nazi-looted artworks and forced sales, there is no guarantee that the provenances are correct or complete. Sometimes, however, bringing the texts together in one place can make it easier to see the patterns that remain hidden when one studies each artwork individually.

Artworks linked to Benno Geiger that have been auctioned at Christies or Sothebys

The Art Loss Register Ltd Speech given at a Symposium in Amsterdam on 30th January 2008 hosted by Sotheby’s Auctioneers

 Our research began in August 2002 when we were asked to record a picture by Picasso ‘Still Life with Painting’ on the ALR database by two claimants living in England and the USA.   

As proof of ownership, they showed us a page from an exhibition catalogue for an exhibition of Dutch paintings held at the Stedelijk Museum from February to April 1939.  

Although the lender was noted as ‘Private Collection, Amsterdam’, the archives of the Stedelijk Museum held documents that could prove that the lender of the Picasso was their great-aunt,  Dr Meyer-Udewald, then living at an address in Vijzelstraat, Amsterdam.   

Within a week, we traced the Picasso to a private collection in the USA where it had been since 1952 but we had little idea then that we were facing four years of meticulous research in eleven countries to piece together how the Picasso had come to rest where it did.    

In the course of that research, not only did we reconstruct the provenance of this early Picasso but we discovered that, thanks to a Will written in 1925 by a Mr Schlesinger of Hamburg, that the claimants who had approached the ALR were not, after all, entitled to claim the Picasso as a war loss as their great aunt had only been granted a life interest in it.  

On her death, whenever that took place, the Picasso was to revert to Mr Schlesinger’s wife and children.    We discovered Käthe Schlesinger and the three children emigrated from Nazi Germany in 1938, settling in the USA and we located the heirs and advised them about the Picasso.   

Dr Meyer-Udewald, who was also Jewish, had emigrated from Hamburg to Tilburg in the Netherlands in 1936 loaning the Picasso to the Stedelijk Museum three years later.  In 1940, Dr Meyer Udewald moved to Belgium.  Once in Belgium, Dr Meyer-Udewald moved between safe houses in Brussels and Antwerp until she was betrayed and sent to the transit camp for Jewish prisoners at Malines.  

On 20 September 1943, she was deported from Malines to Auschwitz where she died.  Her premature death activated the terms of the 1925 Will of Ernst Schlesinger.  In wartime Brussels, the Picasso passed through the hands of Joseph Albert Dederen, a resident of Brussels and Dr Robyn, who loaned the picture to an exhibition in Knokke, its first public reappearance after the war.  The painting then surfaced at the Bollag Gallery in Zurich from whom it was purchased by the Galerie Benador, Geneva.  In October 1952, the Picasso was acquired in good faith by Duncan Phillips, founder of the Phillips Collection in Washington DC.   Following the ALR’s reconstruction of the provenance, we negotiated a settlement on behalf of the heirs of Ernst Schlesinger with the legal representative of Duncan V. Phillips.

The Art Loss Register Ltd

A Database for Nazi Looted Art Claims 

Speech given at a Symposium in Amsterdam on 30^th January 2008 hosted by Sotheby’s Auctioneers 

https://web.archive.org/web/20210914022316/https://webcache.googleusercontent.com/search?q=cache:iq3s0wJp68AJ:https://www.lootedart.com/web_images/artwork/Sarah%2520Jackson%2520Speech%2520for%2520Sothebys%2520Symposium%2520in%2520Amsterdam.doc+&cd=1&hl=en&ct=clnk&gl=us&client=safari

Pinakothek Munich: artworks with no provenance transferred from the German state

Where to find the provenance of artworks held at the Pinakothek in Bavaria, Germany?

Not, it seems, on the Pinakothek website.

Frequently, the information provided in the Origin or Herkunft field limits itself to the mention: "on loan" or "transferred from the German state".

But there is no link or reference to any further information. 

Yet we know that many looted artworks returned to Germany after the war and then distributed to museums "on loan" or as "transfers").

How to verify whether or not an artwork held at the Pinakothek is referenced in the LostArt.de database, the DHM Munich or Linz databases?

To find out, we will look at a selection of artworks at the Pinakothek, many of which are "on loan" or transferred from State possession.

See file here 

Download CSV here

(please note: The dataset contains only a few hundred artworks out of the more than 8000 artworks created before 1940 that contain the word "Überweisung")

https://www.sammlung.pinakothek.de/en/search?phrase=Überweisung#filters={"yearRange":{"min":1400,"max":1940},"onDisplay":false,"publicDomain":false}

"Special Nazi law covered the seizure of Jewish and enemy property." - CIR 4 Chapter IX Conclusions and Recommendations

 "Special Nazi law covered the seizure of Jewish and enemy property."

Excerpt from Art Looting Investigation Unit Consolidated Interrogation Report Number 4: Linz

Karl W. Bümming: Key figure in movement of looted works of art between Germany and Switzerland.

"Key figure in movement of looted works of art between Germany and Switzerland."

Question for provenance researchers: Who was Karl W. Bümming?