21 June 2025

stolen art WW2: Cassirers, Camille Pissarro

 
Camille Pissarro, 1897
Rue St Honoré, Après-Midi, Effet de Pluie
Wiki

Millions of European Jews were forced to quickly sell their hom­es and businesses with WW2, their assets being confiscated by the Nazis. Works of art often seemed very significant to war heirs; they represented a last cultural conn­ect­­ion to their dead families. I particularly thank Marilyn Henry.

Sadly there had been an intentional campaign of con­fis­cation and destruction of European cultural prop­er­ty. Post-war, Allied Forces uncovered cac­h­es of looted goods and the U.S military returned mill­ions of art objects to the countries of the works’ origin. But those nat­ions were responsible for locating the actual heirs. Did they find them?

Once the Nazis sold the objects, the works entered the art market and were dispersed. Both the pre-war owner and the current owner may have had moral claims to the works, but legal ownership varied. Most Western legal sys­t­ems couldn’t deal with losses from other decades, and from oth­er coun­tries. Claims could be barred because Statutes of Lim­it­at­ion expired. Or claims and the rights of a curr­ent possessor were con­fused when art crossed borders. Add­ition­ally most nations had laws that protected good-faith pur­ch­as­ers. And who could define a forced sale? Only Germany recog­nis­ed some sales-under-duress.

In the U.S, most museums are private so ownership disputes were and are civil matters. The New York State Banking Dept estab­lish­ed its Hol­ocaust Claims Processing Office in 1997, to resolve claims without litigation. Since then, it accepted 142 art claims covering 25,000 objects. But the small staff of lawyers, linguists and hist­orians only secured the VERY slow return of 12 art works!

Camille Pissarro, 1897, Wiki
Boulevard Montmartre, Morning, Cloudy Weather
NGV Melbourne

Also in the U.S, the Nazi-Era Provenance Internet Portal created a database linked to American museums, identifying thousands of items that had been in Europe from 1933-45. But while the portal could be searched by an artist’s name, country of origin and a painting’s name, it could not be searched by the family own­er.

An artwork’s ownership chain was often patchy. There WAS a res­ponsibility to participate in provenance research, but it was exp­ensive. The paper trail about prov­enance history was often deposited in: multi-national settings, private family memorabilia, govern­mental or museum arch­iv­es.

Some museums did no additional research to clarify the history, until a claimant came forward. Others eg North Carolina Museum of Art, took the initiative. Artworks with uncertain gaps of war-time ownership were reviewed by prof­essional provenance research­ers.

Museums and collectors are more willing to acknowledge legitimate claims than they were a decade ago, and to settle them without lit­ig­ation. But of course museums and collectors still dispute ten­uous claims. Most museums have put their entire collections on Web sites so now the assertion of claims is much easier than it was.

The size of wartime art thefts will never be known. The size of their return, through some heroic post-war efforts, was very great. But those efforts were eventually seen as incon­sistent with foreign policy, or reflecting cold war ten­s­ions by the 1960s. Only West Germany paid partial com­p­en­sation to some claim­ants; read Nazi Confiscated Art Issues.

Camille Pissarro, 1897
Boulevard Montmartre Spring
Courtauld Institute of Art

These days attention to war-era ownership is emerging in the art wor­ld. Major auction houses and museums have provenance re­search­ers, so sellers and buyers routinely check objects with the Art Loss Reg­is­ter - an international database of lost and stolen art formed in 1991 by auction houses and art traders. Un­for­t­unately this did not happen 50 years ago.. when scrutiny could have helped.

As more artwork is identified and located, other nations are quest­ioning the ownership of their holdings. A number of European count­ries eg Austria and Britain have enacted restitut­ion policies or established independent panels to review claims. However these re­view processes didn’t ensure the recovery of loot­ed art, even with clear evidence. Many claimants, especially the children whose parents died in the Holocaust, continued to be frustrated at the expense and time required to pursue a work.   

The same Pissarro painting in Lilly Cassirer’s Berlin flat, c1930.
artnet news

There were 15 Camille Pissarros (1830–1903) that were painted from his Paris hotel room window. One version was called Boulevard Mont­martre, spring morning,  moved through the hands of two of my favourite art dealers: Galerie Durand-Ruel in Paris who acq­uired it from the art­ist in June 1898; and Paul Cassirer in Berl­in who acquired it from Durand-Ruel in Oct 1902.

Now consider Lilly Cassirer and her second husband Otto Neubauer, who swapped a beautiful Camille Pissarro impressionist painting for their free­d­om. A Nazi-appointed appraiser forced her to sell Rue St Honoré, Après-Midi, Effet de Pluie for $360 then. But when the coup­le fled Munich in 1939, they could not take the funds. Lil­ly’s first husb­and Fritz Cassirer, from the prom­inent German Jewish family of publishers and art dealers, had bought the painting from Pissarro’s agent in 1900.

Although the post-war German government voided the sale, Lilly nev­er re­covered the Pissarro. It was sold multiple times. In 1993, the Sp­anish government paid $350 million for the col­lection of industr­ialist-Nazi supp­ort­er Baron Hans Heinrich Thyssen-Bornemisza and placed in their Museum.

In 2001 in the US, grandson Claude Cassirer (1921-2010) found the painting after years of searching and spent five years trying to recover the Pissarro through diplomatic channels. Finally Claude filed a federal lawsuit in California against Spain and against Thyssen-Bornemisza Foundation to recover the paint­ing, now worth $40mill.   

Lilly Cassirer Neubauer and her beloved heir grandson Claude, born Berlin 1921
Claude's mother died flu 1921; Claude's grandmother loved and raised the child
itsartlaw

Claude Cassirer learned the painting was at the Thyssen-Bornemisza in 2000 and petitioned Spain and the museum to return it. See the legal proceedings: the District Court case was in 2006, the first appeal was 2009-10, the second appeal was 2013, the Spanish Law case was 2015 and a last decision was in 2019. Whose law should app­ly, Spain’s or the USA’s? In 2024 the U.S Court of Appeals for the 9th Circuit awarded the painting to the Spanish museum; it was legally bound to decide the case using Spanish law because the thefts occurred there. The Cassirers appealed the 9th Circuit ruling to the Supreme Court which vacated the Circuit Court of Appeals decision. It will now have to reconsider the case in light of the new California law on holocaust survivors' right to reclaim looted art.





17 June 2025

Bishop of Durham in Auckland Castle.

William the Conqueror did not instantly dominate the whole of England in 1066. His trickiest problem was the muscular Earldom of Northum­b­r­ia. After discovering that nobles could not be trusted, William I pl­aced his faith in the Bishop of Durham instead. From 1075, the role be­came a Prince Bishop, giving the holder unmatched secular powers to raise their own army, mint coins and levy taxes.

After the Auckland Project was completed in 2021
the crowds arrived to visit the Castle

Bishop Auckland was a small town in County Durham, so much of Durham City's early history seems to have been influenced by the Bishops of Durham and their estate. First established as a hunting lod­ge, it bec­ame the principal country resid­en­ce for the powerful Prince Bishops of Durham who for cent­ur­ies were virtual rulers of N.E England. In fact the power of the Prince Bishops of Durham was second only to the Eng­lish monarchy. Commissioned to defend that monarchy, the Bishops were placed strategically close to the border between England and Scotland, so they needed a home to match their status.

It was no surprise then that they enjoyed Auckland Castle and its lush surroundings as their countryside estate, when the pressures of London, York and Durham became too much. While their role has changed with the passage of time, the Bishop of Durham still has influence in modern life.

The gateway
England's North East

In the subsequent 750 years, 56 different Prince Bishops presided over County Durham as an independent state, answering on­ly to the king and God. But with great power, came great responsibility. Were the Prince Bishops inspir­ing or deceptive leaders?

St Peter's Chapel
Historic England

St Peter’s Chapel was one of Europe's largest private chapels. Originally a medieval banqueting hall, it replaced the orig­in­al C12th chapel, later lost in the English Civil War. In the 1660s Bishop Cosin transformed the Great Hall into today’s beautiful sacred space. He added the decorative ceiling, carved woodwork screen and pulpits, to inspire people to feel the glory of God and the beauty of holiness.

Discover the Bishop Trevor Gallery, named after Bishop Richard Trevor (1752-71). In 1756 an English ship seized looted cargo from the Spanish, including the old master paintings. The captured works were sold in England and the only one of the 13 port­raits not bought by Durham was that of Benjamin. Bishop Trevor was de­lighted, having bought the series of paintings of Jacob and his Twelve Sons by Francisco de Zurb­ar­án (1641-58). They have hung in the Long Dining Room at the Castle 250+ years.

Chairman of Bishop Auckland's Civic Society, Dr Robert McManners, said the timing of the Bishop's purchase was vital. Zurb­ar­an’s income largely came from commissions from the estab­lished Spanish Cath­ol­ic church. Yet the artist meticulously painted these Jewish symbols at a time when the practice of the Jewish religion was outlawed by Papal Bull and enforced by the Spanish Inqu­is­ition. McManners noted that Zurbaran had sympathy for oppressed Jewish people in his local community, and admired the great risks that Catholic artist took to his reputation and livelihood. See my blog post or read Robert McManners, The Zurbarans at Auckland Castle, available at Bishop Auckland Town Hall

The Zurbarans paintings in the Long Dining Room
The Guardian

Bishop Trevor and other bishops had sponsored the Jewish Naturalis­ation Act of 1753 which gave disenfranchised immig­rant Jews, often escaping persecution in their own countries, the same rights as those born in England. Alas this progressive legis­lation was rep­ealed the next year, and soon the Durham bishop bought the paint­ings! Dr McManners believed Bishop Trevor and Francisco de Zurb­aran were both thumbing their noses at their Establishment Churches.

**
In 2001 money was short and Durham's Church Commissioners decid­ed to cash in their easily sold art assets, for £20m. While those with a sense of nat­ional history and art heritage wanted to keep the coll­ec­t­ion together in the Church. It took 9 years of intense lobby­ing be­fore the commissioners conceded, due to a £15m donation by art collector-investment manager Jonathan Ruffer via a new charity, the Zurbarán Trust. His gallery opened in 2021.

The Castle is one of the best preserved Bishops’ palaces in Europe, sit­­ting at the heart of multi-million conservation Auckland Project which started in 2012 and continued until 2019. The goal was to coord­inate the col­l­ection of galleries, gardens and parkland, all organised around Auc­k­land Castle. After discovering the C18th wall colourings, furn­iture and textiles that decorated this elegant castle, they were res­t­ored to their for­mer lux­ury. The team of restorers and conservators show­ed the scope of the power, wealth, infl­uence and faith held by the residents. The most major conservations occurred when the State Rooms were rest­or­ed to their original Georgian Gothic splen­d­our, as de­signed by ar­ch­itect James Wyatt. Now the Prince Bishops’ private resid­ence at Auck­land Castle is rev­eal­ing 8 centuries of opulence and influence, seen in 1,000 years of forgotten pol­itical, economic and religious history!

The deer house

Apart from the stunning castle/Bishop’s Palace, the town (pop 24,000) has a thriving arts and cultural centre – library, cinema, theatre, arts complex and specialist boutiques.



14 June 2025

Mentoring local medicos in Africa

We, the Ladies Who Coffee, debated the best ever tv programme. I chose The Surgery Ship, an Australian series filmed when Mercy Ships visited West Africa in 2016 & 17. Thankyou to the helpful Surgery Ship for their data.

Staff waiting to board a Mercyship
Facebook

Each human deserves access to surgical and health care solutions. But in some parts of the world, people go without. Since 1978, Mercy Ships began a mission to provide hope and healing to those in need. Each year hospital ships are filled with volunteers who provide life-changing surgeries to children and adults who’d otherwise go without. The staff confront ethical decisions as they decide who can be helped and who cannot not. This is a complex journey for the volunteer medics as they deal with serious cases, and balance the patients’ fates in their hands.

Globally, 5 billion people lack access to safe surgery. Due to this lack of access to surgical care, up to 18.6 mill people die each year. Every day, children and adults in some of the poorest communities die from causes that can easily be treated in hospitals in many nations. 1 in 8 children die before they have the chance to go to school.

With international volunteers, ship staff can deploy state-of-the-art hospital ships to treat more people. As part of the commitment, the staff also train local health-care workers so this important work can continue. c70% of the world’s population lives near the coast, and the hospital ships provide unique platforms for workers to direct medical care to these villages. A customised 3-year partnership model goes to many African countries requesting support.

Grace, 17, from the Democratic Republic of Congo
before and after tumour was removed
express.co
 
A team of volunteer staff are aboard, going to the poorest nations on earth and facing the most severe issues anywhere. The challenge is enormous but the ship makes a huge difference by supporting the silent poor and by providing life-changing surgeries to those in great need.

The staff provides free corrective surgeries for hernias and goitres that plague unemployed adults, and children who miss school because of no accessible medical care. Doing critical eye surgeries gives patients with renewed sight and quality of life. Huge tumours left to grow unchecked, massive deformities and more; some had a 4 k tumour on the face for years, living a life of ridicule and shame.

anaesthetist prepares pre-operation
New Statesman

Many children live in pain and isolation by not having access to medical care for surgeries eg clef lip, cataracts and plastic reconstructive, and dental health care. Cleft lip surgeries are treated early in life in the West, but for many Africans, it can be years before surgery happens. This results in malnutrition and exclusion from the community. 

A child’s life can be severely impacted with poor eye health, so Mercy Ships provide corrective eye surgery and optical care for kids. Good dental health from an early stage means children are not susceptible to a myriad of other health conditions. Children and their families learn the basics of dental health and are provided with vital surgeries. Good dental hygiene prevents gum disease, cavities and teaches basic oral health education. 80% of the world’s fractures and the majority of club-feet occur in developing nations. Without quality orthopaedic surgeries, those who have these types of defects experience a life of pain and shame.

Infection control is a major issue in hospitals in both wealthy and developing nations. Mercy Ships teaches local medical staff to put safe-surgery protocols into practice but often the local environment makes it very difficult to keep even operating theatres clean and sterile. That’s where Mercy Ships projects like hospital refurbishment emerge, changing facilities that are uncleanable into areas where local staff can clean and sterilise, reducing secondary infections.

When the ship departs a country, the staff want to leave an improved healthcare system for the community. Before, during and after field services, Mercy Ships implements health care training projects that teach the medical knowledge, skills and attitude needed to heal patients long after. Infrastructure projects include renovating or expanding hospitals, helping these facilities become more available and to improve the quality of medical services. Previously, local staff struggled to care for their patients in very poor working conditions.

Dr Glenn Strauss performed the very first surgery aboard the Africa Mercy,
while mentoring local doctors
mercyships.co.za
 
The ship’s Medical Capacity Building Projects strengthen the standards of surgical care inside the local communities of the countries served. The legacy is a lasting impact that extends for years.

A child’s life can be dark because of a simple cataract. For most people in the West, a quick trip to the ophthalmologist resolves this issue, but for those who have no access to quality health care, their world dims. For 40 years, Mercy Ships has been dedicated to providing healing to those in need, via the dedicated ship volunteers.

Now to honour Dr Glenn Strauss who joined Mercy Ships in 1997 as an ophthalmologist with the Caribbean Mercy. He and his wife Kim continued to volunteer their skills for short-term missions, helping many to get care for the first time. Eventually the couple closed their practice at home and committed themselves to work fulltime on Mercy Ships from 2005. The couple developed Mercy Vision, a training programme for surgeons and paramedics from sub-Saharan Africa. Later he built a training programme in ophthalmology for regular surgeons.

Mercy Ships continues to provide essential surgery for the world’s most vulnerable people. And they also work to strengthen and support African health care systems via education, training, mentoring, equipment and supplies. Over 30 years, the staff trained 43,300+ local doctors and nurses who then trained others. The long-term impact of this medical training provides quality health care in the countries, long after the ship sails.

What is your favourite tv programme?






10 June 2025

First Romanian king; stunning Peles Castle

Romania united in 1859 and became a nation in 1877. First Prus­sian Prince Carol (1839-1914) of Hohenzollern became King Carol I of Romania from 1881. In 1873 when Carol visited the location where the beautiful castle now stands, he loved the stunning Carpathian Mountains scenery. So he quickly bought land in a small vil­lage Sinaia. Why there? Sinaia Monast­ery had been founded by Pr­ince Mich­ael in 1695, used as the roy­al res­id­ence until Peles was built.
                          
Peleş Castle in Sinaia

Under Charles’ control, 300 people laboured endlessly on Peles for two years. In 1875, the impressive castle was fin­ish­ed, spread­ing across 3,200 square ms. Sev­er­al teams of European architects and de­signers had to work throughout the years, including archit­ects Joh­an­nes Schultz (1873-83) and Karel Liman (1896-1924). The summer cas­tle was de­sign­ed in a Neo Ren­ais­­sance style combining features of cl­as­sic European styles - decorated by JD Heymann (Hamburg), August Bembe (Mainz) and Bernhard Ludwig (Vienna).

Carol planned the royal res­idence and hunting pre­serve for summer each year, the name coming from the Peles Creek that passed through the court­yard. Peles sat on a his­t­or­ic medieval road that connected Tran­syl­vania and Wallachia. A rail­way line was soon built to Buch­arest (122 km) and many aristo­cr­atic families moved their summer homes nearby.

He was the first King of Romania, from 1881 until his death. One of the most imp­ortant polit­ical figures in Romania’s his­tory for his successes, Carol refin­ed his passion for archit­ect­­ure. The Sov­ereigns’ Gate opened into the cast­le, and a mon­u­men­t­al marble stair­case went to the Hall of Hon­our, the official recep­tion space with walnut panelling and stat­ues. The ties bet­ween the Rom­anian and other royal families att­racted big names to the cast­le eg Austro–Hungarian Emperor Franz Joseph, in 1886. Carols’ wife, Queen Elizab­eth, was a patron of the arts and de­signed rooms sp­ec­ific­ally for artists, mus­icians and writers’ enter­t­ain­ment.
                            
Peles Castle Piano Room
  
The dec­or­ations in each of the 160 rooms were given themes, with the finest examples of Eu­r­opean art, Murano crystal chandeliers, German stained-glass and Cor­doba leather-cov­er­ed walls. Many of the rooms were decorated to resemble the various world cultures eg the 1906 Mus­ic Room’s carved teak Indian furniture was gifted by a Maharajah. It contained a 1621 harpsichord from Antwerp, upright piano and organ

Given his military background, King Carol had a solid knowledge of weapons. The Great Armory Room hosts fine col­lect­ions of 4,000+ arms and ar­mour. Mainly C14th-17th from Western and East­ern Eur­ope and Asia, they were collected in 1903. Note the German armour of the C16th or 17th, and a full armour for the horse and knight.
                               
Welcome inside the front door

Due to its remarkable archit­ecture and exhibits, The Royal Library-Great Salon was special. It impress­ed with ceiling carved from linden wood, gilt, large chandeliers and Italian neo-renaissance decor­ations. See rare books with leath­er covers and gold emboss­ing and look for a secret door behind a bookshelf for the king to hide.

Peles’ architects drew in­sp­iration from classical styles like German and Italian Renais­s­ance, and Fr­ench Baroque eg the German stained glass and painted mur­als on the castle exter­ior. The interior, espec­ially the main hall, is beau­t­if­ully decorated with sculpt­ed wood & stained glass windows, sym­bols of elegance and royalty.

Great Moorish Salon
Wiki

Carrara marble was everywhere eg terraces decorated with royal st­at­ues, so the cas­tle could be an imp­res­sive residence fit for its pol­itical and cult­ural functions. Moor Hall was by painter and sculptor Charles Lecompte du Nouy, having Spanish-Moorish elements with a marble fount­ain.

The castle's 60-seat Theatre Hall and royal box were decorated in Louis XIV style, while the ceiling paintings and decorative fre­sc­oes were designed by famous Austrian art­ists Gustav Klimt and Fran­tz Mat­sch. And handmade silk embroideries adorned the ceil­ing and walls of the Turk­ish Salon. The horology exhibition had 50 different clocks from the private royal collection: grand­fathers, pendulum table clocks, fireplace clocks, al­arm clocks, poc­ket wat­ch­es etc. And pieces that belong­ed to Queen Marie, Carol II and King Mich­ael, mostly dating to the C19th. These collections of dispar­ate int­er­ior decorat­ion styles probably reflected King Carol’s eclectic tas­te.
                       
Theatre Hall, Peles Castle

From the start Peles was one of the most tech­nologically adv­an­ced palaces and expensive in Europe. It was the first European cas­tle fully supplied by locally produced el­ectrical po­wer, had its own 1884 power plant, cen­t­ral heating system in 1897, central vacuum sys­t­em, elev­at­or for the royals, hot and cold running water.

Besid­es Peles Castle, other buildings were erected, such as the royal stables and Foisor Hunting Lodge. And King Carol I’s successor, King Ferdinand built a smaller castle, Pelisor, on Peles grounds. Pel­isor was de­s­ign­ed in the art nouveau-style by the Czech architect Karel Liman from 1893-1914.

Peles remained a royal residence until 1947 when, after the forced ab­dication of King Michael I, Peles and the other royal propert­ies were taken by the Communist govern­ment. In 1948 the whole estate was closed, and art works went to Bucharest’s Art Mus­eum. The comm­unist government opened the castle as a tourist attract­ion, decl­ar­ed it the National Peles Museum in 1953 and kept it open until 1975.

Pres Nicolae Ceaușescu closed the entire estate in 1975-90, making it a State Protocol Area, limited to 1] mil­itary per­sonnel and 2] visiting heads of state. Fortun­ately the museum curators fri­ght­en­ed the President, saving Peles from military damage and from the Ceaus­escus. After the 1989 Romanian Revol­ut­ion, the cas­­tle became a heritage site and re-opened as a mus­eum with c400,000 visitors an­nually. Peles Museum has guides for those wanting historic tours.

Passionate about art, King Carol had collections covering c60,000 art objects. Additionally the ceramics collection held tiles and porcel­ain taken from the greatest C19th centres, was established by Queen Marie from 1914-27, and later pieces were purchased by the Museum. The wealth of artwork includes thousands of paintings and scul­ptures.
                              
Peles Castle gardens and statues

All photo credits: effitimonholiday