Over 1500 Paintings and Sketches found in Cornelius Gurlitt's apartment in Munich

In the last couple of years, German authorities have started checking more frequently for tax evasion carried out by wealthy citizens, namely through deposits in Switzerland.

 It was during one of those checks on a train from Switzerland in September 2010, that Cornelius Gurlitt, sole survival son of art dealer Hildebrandt Gurlitt, was caught with an envelope containing 9,000 Euros in cash. Cornelius had never worked and presented no other means of income.

 Official authorities issued a search warrant for his near €700-a-month rented apartment in Munich suburb of Schwabing and in 2011 the over 1500 paintings and sketches estimated to be worth over 1 billion Euro were discovered. 
Bizarre enough, the works of art were stashed behind piles of canned food and noodles that would reach the ceiling, much of it from the 1980's.

However, customs issued a ban on information about the raid and things were kept in secret from the public. But now the German magazine Focus has published an article about this surprising case and the story has been revealed to the public. A case worthy of a novel, such are the ingredients and the people directly and inderectly involved.

 Among the paintings and sketches, are famous names such as Albrecht Dürer, Edvard Munch, Emil Nolde, Ernst LLudwig Kirchner, Franz Marc, Henri Matisse, Marc Chagall, Max Beckmann, Max Liebermann, Oskar Kokoschka, Pablo Picasso and Paul Klee.

 Hildebrandt Gurlitt had supposedly acquired those artworks in the 1930s and 40s from Jews who would dispose of their valuable works of art for a pittance in exchange for escaping from the Nazis. At a later date, Hildebrandt reported them all to be destroyed during the vast bombing of Dresden in February 1945.
His Jewish ascendancy and initial opposition to Nazism made him, in the perspective of the Allies, a victim not a persecutor and was never acused of taking advantage of Jews by acquiring and selling their collections for scanty amounts of money in exchange for their escape to safe countries. Hildebrandt  carried on dealing in art until 1956 when he was killed in a car crash.

 Included in the discovered paintings is a portrait of a woman by the French master Matisse that belonged to the Jewish French art dealer Paul Rosenberg, who had to leave behind his collection before his escape from Paris when the country fell in 1940. Rosenberg was renowned for representing Georges Braque, Henri Matisse and Pablo Picasso. Him and his brother Léonce Rosenberg were among the world's major dealers of Modern art.
 
 Paul Rosenberg's granddaughter Anne Sinclair, the wife of former top banker Dominique Strauss-Kahn, has been fighting for decades for the return of his artworks stolen by the Nazis, but according to Focus she 'knew nothing' of the existence of this painting.

 Art historians in charge of examining the Cornelius Gurlitt collection claim that near 300 of those works were part of an Munich exhibition organized in 1937 by the Nazi called 'Degenerate Art' (Enkartete Kunst) - modern 'dissident' pieces to show German people what not to like.

 Hitler, who himself had been a watercolourist, liked only romantic paintings that idolised his vision and art movements such as modernism and cubism had no place in the Third Reich. Together with his propaganda minister Josef Goebbels, Hitler confiscated near 20,000 such works before WW2.

"Sunset at Montmajour" attributed to Vincent van Gogh

 It was inventoried among Theo van Gogh's collection of his brother's works in 1890 and then sold by Theo's widow, Johanna van Gogh-Bonger to a Paris art dealer in 1901.
 During the year of 1970, re-emerges as part of the estate of the recently deceased Norwegian industrialist Christian Nicolai Mustad.
However, Mustad was advised by the French ambassador to Sweden that it was not a Van Gogh. As a consequence, "Sunset at Montmajour" was stashed away in the attic, where it stayed until the current owners purchased it from him.

 In 1991, the unsigned painting was taken to the Van Gogh Museum, but at the time the museum experts didn't conclude as authentic.

 About twenty years later, its owners brought back to the museum to seek authentication, and its researchers have been examining it ever since.
Under the supervision of Louis van Tilborgh, the Van Gogh Museum’s senior researcher, it was recently concluded that the work was a genuine van Gogh painting because the pigments correspond with those of van Gogh’s palette from Arles. “This time, we have topographical information plus a number of other factors that have helped us to establish authenticity,” said the museum director,  Mr. Axel Rüger. “Research is so much more advanced now, so we could come to a very different conclusion.”

 Mr. van Tilborgh states that "Sunset at Monmajour" was was painted on the same type of canvas and with the same type of underpainting van Gogh used for at least one other painting of the same area, “The Rocks.” The work was also listed as part of Theo van Gogh’s collection in 1890. It has “180” painted on the back, which corresponds to the number in the collection inventory. “That was the clincher,” he said

 The date of completion of the painting  has been identified as July 4, 1888. This conclusion was based upon a letter that Vincent van Gogh wrote to his brother on the next day, where he discribes the scene:

 “Yesterday, at sunset, I was on a stony heath, where very small, twisted oaks grow, in the background a ruin on the hill, and wheat fields in the valley. It was romantic, it couldn’t be more so, à la Monticelli, the sun was pouring its very yellow rays over the bushes and the ground, absolutely a shower of gold. And all the lines were beautiful; the whole scene had charming nobility.”

 The painter moved to Arles in February 1888, where he spent time exploring the landscapes in Provence and doing plein air painting. Van Gogh was particularly fascinated by the flat landscape around the hill of Montmajour, with its rocky outcroppings and hay-colored fields.

In a letter dated July 1888, he said that he had been to Montmajour at least 50 times “to see the view over the plain.”

 Art historian Mr. Leeman, said that “in hindsight, many pointers in his letters and entries in catalogs of the 1900s have been linked to other paintings or misidentified,” adding, “Here, we see a painting that fits those descriptions exactly.”

 Depicting dusk in the hilly, forested landscape of Montmajour, in Provence, with wheat fields and the ruins of a Benedictine abbey in the distance, the 73.3 cm × 93.3 cm (28.9 in × 36.7 in) oil painting was completed during the most important period of van Gogh's life, when he created his significant masterpieces, such as 'Sunflowers,' 'The Bedroom' and 'The Yellow House.'

 "Sunset at Montmajour" will be on display at the van Gogh Museum during one year, starting on September 24, as part of the current exhibition, "Van Gogh at Work," which focuses on other new discoveries about the painter’s artistic development.
According to Mr. Rüger, the current owners have not indicated what they intend to do with it after that.

 This is the first full-size painting by Van Gogh to be discovered since 1928.

"The Ages of the Sea" at Calouste Gulbenkian

 Organized by the Calouste Gulbenkian Museum with the support of the Musée d’Orsay, the exhibition "Ages of the Sea" (As Idades do Mar) can be visited until January 27th, 2013.

 This major exhibition presents one hundred and nine works created between the sixteenth and the twentieth century, lent by fifty institutions from ten different countries, including public and private collections.

 Based on an historical survey of the visual representation of the Sea, the exhibition seeks to identify the major themes which led to its extensive and recurrent depiction in Western Painting. "Ages of the Sea" developes the concept that provides the title to the project in six sections: ‘The Age of Myths’, ‘The Age of Power’, ‘Sea and Labour’, 'Storms and shipwrecks’, ‘The Ephemeral’, and ‘The Quest for Infinity’.

 Arnold Bocklin, Eugène Boudin, Constable, Courbet, Giorgio de Chirico, Friedrich, Hopper, Fattori, Francesco Guardi, Paul Klee, Claude Lorrain, Manet, Monet, Signac, Sorolla, Turner and Van Goyen, as well as the Portuguese Amadeu de Souza-Cardoso, Henrique Pousão, João Vaz, Maria Helena Vieira da Silva and Menez, are some of the eighty-nine authors represented in the exhibition.

 "Ages of the Sea" can be visited between until January 27th, 2013 (10:00 am - 20:00 pm) at the main buliding of the Calouste Gulbenkian Foundation, Av. Berna, 45-A (GPS: 38.738286,-9.154821).
Admission is €5,00.

Renoir's "Paysage Bords de Seine" was allegedly stolen and its auction has been cancelled

The story involving Pierre-Auguste Renoir's painting "Paysage Bords de Seine" (On the Shore of the Seine), bought at the Harpers Ferry Flea Market in Virginia, is starting to assume the form of a novel.

 Last week, The Art Inquirer mentioned that the 5 1/2 x 9 in oil on linen napkin painting was going up for auction this September 29th at The Potomack Company. But unforeseen events have detemined its cancellation.

 Washington Post reporter Ian Shapira, entered the library at the Baltimore Museum of Art and among the letters and artwork receipts from Baltimore arts patron, collector and important benefactor of the museum, Saidie Adler May, he found records showing that she had lent Renoir's to the museum in 1937. The discovery startled museum officials, who had already said the flea-market Renoir never entered their institution.

 In the possession of the loan registration number, museum officials ended up discovering an even-more-astounding clue about the painting's journey. An old museum loan registration document revealed that the "Paysage Bords de Seine" was stolen on November 17, 1951, from the Baltimore Museum of Art — shortly after May’s death.

A copy of the original police report from 1951 was provided by the Baltimore police this last Friday.

 Due to these unexpected events, the auction of the painting that had been acquired in 1926 by international lawyer Herbert L. May at the Gallerie Bernheim-Jeune in Paris and bought at a flea market over eight decades after, has been cancelled and now the FBI is investigating, while at the same time museum officials are trying to learn more about the painting’s theft and why they couldn’t explain why it does not appear on a worldwide registry of stolen and lost art.

  The museum's Director Doreen Bolger has stated that the painting belongs in the BMA’s May Collection, but  for Potomack Company’s President Elizabeth Wainstein,  Herbert L. May is listed as the buyer by the French gallery where the piece was first sold, she’s not certain that Saidie May technically owned it.
According to Wainstein, the painting will remain at the auction house until the matter is settled.

These and other details may trigger a legal showdown over the painting's ownership and besides the already mentioned players (the Baltimore Museum of Art, The Potomack Company and the woman that inadvertently bought the painting together with a plastic cow and a Paul Bunyan doll at the flea market), one cannot forget about the company that insured the painting and paid a $2,500 claim for the stolen artwork.

 According to Christopher A. Marinello, executive director and general counsel of the London-based Art Loss Register, the world’s largest private database of stolen and lost art, the rightful owner of "Paysage Bords de Seine" might be the company that insured the painting at the time of its disappearance. In the mid-20th century, most art insurers had policies stipulating that they were entitled to stolen artwork that was recovered and for which they’ve paid claims.

 The Art Inquirer contacted The Potomack Company and received the following feedback:

Quote:

"Bellow is our press release from Thursday that explains the situation. Since then, a police report of the theft from the Baltimore Museum of Art has surface. Potomack Commpany is fullly cooperatin with the FBI to help ascertain who has the clear title to this work of art.


RENOIR PAINTING PAYSAGE BORDS DE SEINE WITHDRAW FROM SEPTEMBER 29 AUICTION.


FOR IMMEDIATE RELEASE: SEPTEMBER 27, 2012

The Potomack Company announces the withdrawl of Pierre-Auguste Renoir's painting Paysage Bords de Seine from a planned sale on September 29 at the Potomack Company auction house after a question was raised by The Baltimore Museum of Art on Wednesday, September 26, about the ownership of the painting.


Backround:

On July 27, 2012, a consignor brought a painting into The Potomack Company that she had bought at a flea market., and Potomack's fine art specialist, Anne Norton Craner, confirmed that it was a known Renoir painting titled Paysage Bords de Seine painted in the late 19th century.

The same day, July 27, 2012, Potomack Company promptly contacted Art Loss Register – a service that records and follows missing and stolen works of art - confirming that the painting had never been reported stolen or missing. Potomack also consulted the FBI’s art theft website to confirm that it was not listed as stolen by the FBI. Potomack researched the provenance of the painting, determining that it was a painting listed in Bernheim-Jeune’s Renoir catalogue raisonne and that the last record of the painting’s exhibition or sale was in Paris in 1926. The buyer was Herbert L. May, husband of Saidie May until their separation in 1924. Saidie May was an important donor of paintings and other objects to the Baltimore Museum of Art.

On September 6, Potomack issued a press release announcing the upcoming sale and explaining the mysterious provenance and discovery of the painting. The release was sent to major news organizations, to The Baltimore Museum of Art and to international Renoir specialists. Since the press release, there has been worldwide media coverage of the painting and the mystery of its whereabouts since 1926."

End of Quote.


   As you can see, this story is far from over. Further developments will be reported as soon as they become available.
The Art Inquirer used Lynda Robinson and Magda Jean-Louis report at The Washington Post (Post Local) as a reference for this article.

Renoir's Painting found at a Flea Market in Virginia is Going for Auction

 It's one of those stories that we wish it would happen to us. During a weekend day at the Harpers Ferry Flea Market in Virginia, a Shenandoah Valley woman acquired a box of miscellaneous items - a plastic cow and a Paul Bunyan doll had caught her eye. After taking those two items, the remaining content was put inside a white plastic bag and stored in a shed. Later was moved into her car’s trunk and eventually into her kitchen.

 However, part of the content of the box, was also a painting of a landscape. But the woman wasn't really interested in the painting, but in the frame. She had already tored the brown paper off the back and thrown it in the trash when she asked her mother for help to take the painting from the frame.
Fortunately her mother told her to get the painting looked first before throwing it away. She hardly knew that she was in presence of a genuine Renoir, worth many times more than the price that she had payed for box's content: $50.

 A plaque on the frame with the author's name, led the owner to seek advice with a reliable expert, so she scheduled an appointment with The Potomack Company in Alexandria (VA).

 The painting's radiant plein air quality – the rapid brush strokes, the vibrant purple and pink colors, the Seine as subject matter and the luminous light, reminded fine arts specialist, Anne Norton Craner, of Renoir’s 1879 Landscape of Wargemont.
After further investigation, Craner was able to identify the painting as "Paysage Bords de Seine" (oil on canvas: 5 1/2 x 9 in), one of Renoir’s many river scenes painted along the Seine River near the towns of Bougival and Chatou.

 Anne Craner concluded the painting had been last purchased in 1926 from the Gallerie Bernheim-Jeune in Paris, one of the preeminent dealers of Renoir’s work, by international lawyer Herbert L. May, husband of Baltimore arts patron and collector Saidie Adler May. Mrs. May was an important benefactor of the Baltimore Museum of Art, donating over 300 works of art as well as funds to establish the museum’s Renaissance and Modern Art wings.

 In the words of Elizabeth Haynie Wainstein, owner of The Potomack Company, the painting’s journey is a rare story of a lost treasure found, now expected to fetch $75,000-100,000 at auction.
 The painting will be auctioned as Lot 1 on September 29th, included in the Sale 40 - September 29th/30th Auction at Main Gallery.