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This publication was inspired by the 2017–2019 German/American Provenance Research Exchange Program (PREP).
The authors hope that it will augment our understanding of the role of antiquities in the art world in the Nazi period, the aesthetics of National Socialism, antiquities collectors and dealers in Europe in the late 19th century and the first half of the 20th century, and the various ways in which antiquities changed hands during the precarious Nazi period. The articles also provide a wealth of bibliographic and other resources, as well as a framework for research methodologies that can be employed by other scholars examining works of ancient art and archaeological objects that have a history in the Nazi period.

Guest-edited by Irene Bald Romano

Co-ordinated by the Zentralinstitut für Kunstgeschichte, München.

Abstract

This publication was inspired by the 2017–2019 German/American Provenance Research Exchange Program (PREP). It is a direct outcome of a PREP public session on "The Fate of Antiquities in the Nazi Era" proposed by Irene Bald Romano, professor at the University of Arizona and curator of Mediterranean archaeology in the Arizona State Museum in Tucson, AZ. A number of the authors contributing to this volume participated in the PREP workshops over the three-year period or were organizers or hosts in New York, Los Angeles, Washington, DC, Berlin, Munich, and Dresden. However, Irene Bald Romano, as guest editor, has solicited additional contributions from other experts in the field, making this special issue more than ordinary conference proceedings. The authors of this publication extend the original PREP network and represent museums, universities, and research institutes in France, Germany, Greece, Italy, Poland and the US.

Table of Contents

Forematter

Foreword
Gail Feigenbaum and Sandra van Ginhoven (Getty Research Institute, Los Angeles)

Foreword
Christian Fuhrmeister (Zentralinstitut für Kunstgeschichte, Munich)

Foreword
Hermann Parzinger (Stiftung Preußischer Kulturbesitz, Berlin)

Preface
Irene Bald Romano (University of Arizona, Tucson; Guest Editor)

Introduction

Antiquities in the Nazi Era: Contexts and Broader View
Irene Bald Romano (University of Arizona, Tucson)

Articles

Collecting Classical Antiquities among the Nazi Elite
Irene Bald Romano (University of Arizona, Tucson)

The Role of Antiquities between Fascist Italy and Nazi Germany: Diplomatic Gifting, Legal and Illegal Trades
Daria Brasca (Università degli Studi di Udine, Udine)

Göring’s Collection of Antiquities at Carinhall
Laura Puritani (Zentralarchiv, Staatliche Museen, Berlin)

Stolen and Returned: The Marble Statue of Philippe from Samos
Alexandra Kankeleit (Freie Universität, Berlin)

Export Regulations and the Role of Ancient Objects in the German List of Nationally Important Artworks
Maria Obenaus (Deutsches Zentrum Kulturgutverluste, Magdeburg)

The Annihilation of the German Numismatic Market during the Nazi Era, with Some Observations on the Countermeasures Adopted by Jewish Ancient Coin Dealers
Emanuele Sbardella (Technische Universität, Berlin)

The Patronage of Berlin’s Egyptian Museum by German-Jewish Press Tycoon Rudolf Mosse (1843–1920) and the Sequestration of His Art Collection during the Third Reich
Thomas L. Gertzen (Freie Universität, Berlin) and Jana Helmbold-Doyé (Ägyptisches Museum – Georg Steindorff – Universität Leipzig)

The Antiquities Trade during the German Occupation of France, 1940–1944
Mattes Lammert (Technische Universität, Berlin)

“Unclaimed” Artworks Entrusted to French Museums after World War II: The Case of Near Eastern Art and Antiquities
Anne Dunn-Vaturi (Metropolitan Museum of Art, New York), François Bridey (Musée du Louvre, Paris; French Consulate, New York), and Gwenaëlle Fellinger (Musée du Louvre, Paris)

The Fate of the Antiquities Collection of Izabela Działyńska (neé Czartoryska)
Inga Głuszek (Nicolaus Copernicus University, Toruń) and Michał Krueger (Adam Mickiewicz University, Poznań)

Object Case Studies

A Case Study in Plunder and Restitution: Three Ancient Sculptures from the Lanckoroński Collection
Victoria S. Reed (Museum of Fine Arts, Boston)

A Goddess of the Night, a Roman Gem, and the Bachstitz Gallery
Claire L. Lyons (J. Paul Getty Museum, Los Angeles)

DOI: doi.org/10.11588/riha.2022.2

PUBLISHED: 2023-09-25

Source

RIHA Journal Special Issue 2023