Swiss Museum Accepts Gurlitt Collection—with Caveats

Kunstmuseum

November 21, 2014; New York Times

A few weeks ago, NPQ reported on the issues that could arise if Swiss museum Kunstmuseum Bern accepted a donation of potentially Nazi-looted art. To recap, in May 2014, Cornelius Gurlitt passed away, leaving over 1,000 pieces of art to the museum. In 2013, close to 600 of those pieces were flagged as potentially being Nazi-looted art, but were not at that point fully investigated or evaluated. At the time, Gurlitt’s will was released the collection was under possession of German authorities.

The museum made a public announcement on Monday, November 24, indicating that it would accept the artwork collection per Gurlitt’s last will and testament. The announcement was made alongside German and Bavarian governments and noted that all Nazi-looted items would be returned to their rightful owners even though a last-minute claim to the estate raised questions about the timing of some restitution.

When this situation was first reported, it was unclear what it would mean if the museum accepted potentially Nazi-looted art. Concerns came from Jewish World Congress president, Ronald Lauder, who warned that the museum might face lawsuits if it accepted the collection. However, the museum has decided to accept the entire collection under the condition that any work that is proven to be Nazi-looted art would be returned to its rightful owner. Kunstmuseum Bern has agreed to act in accordance with the Washington Conference Principles on Nazi-Confiscated Art. Three of those pieces, paintings by Max Liebermann, Henri Matisse, and Carl Spitzweg, will be returned immediately.

Unfortunately, this situation is not fully resolved, as another turn of events has put a twist on the museum’s acceptance of the gift. A cousin of Gurlitt, Uta Werner, has requested a certificate of inheritance for Gurlitt’s estate. Werner questions Gurlitt’s mental capacity during the time of crafting his last will and testament and will challenge his gift to the museum. It may be a few months before any more information is uncovered with the intent and direction of Gurlitt’s family.

For now, Kunstmuseum Bern has accepted Gurlitt’s art collection and will honor an original agreement between Gurlitt and the German and Bavarian governments that makes Germany responsible for researching each artwork’s origin. Any artwork that has unquestionable origin will go to the museum; those revealed as Nazi-looted art will be returned. The next step in this story of accepting this collection will be whether or not Gurlitt’s surviving family will deter the decision of the courts.—Jennifer Swan

About the author

Jennifer Swan

Jennifer Swan is currently the Associate Director for Arts Services Initiative of WNY (ASI). In this role Ms. Swan assists in positioning ASI as the link between the arts and cultural community and other sectors of the region. She provides outreach and administrative support to ASI’s partner networks including the Greater Buffalo Cultural Alliance (GBCA), Cultural Alliance of Niagara (CAN), and serves on the Arts Partners for Learning (APL) Leadership Team. Ms. Swan is the New York State Council on the Arts Decentralization (DEC) Grant Program Coordinator for Erie and Niagara Counties. Previously Ms. Swan was the Business Manager for the Buffalo Philharmonic Chorus where she was responsible for the day–to-day operations, working alongside the Board of Directors and committees. Major projects included the involvement of the Chorus in the Music Culture 716 collaborative and extending the Chorus’ regular season to include special performances at community events such as the National Historic Preservation Conference held in Buffalo in October 2011. Ms. Swan currently serves on the Chorus’ Concert, Marketing, and Nominating Committees. From 2009-2011 she managed and maintained the box office and front of house at the Lancaster Opera House, and orchestrated and organized an annual fundraiser for two years. Here she solicited donations and managed all aspects of the event from preparation to day-of activities. Her other arts and cultural work includes judging Congressman Higgins’ Congressional Student Art Competition in 2012, 2013, and 2014; past work includes Music is Art’s The Big Easy in Buffalo Committee, Volunteer Coordinator for Hallwalls Contemporary Arts Center’s Artists and Models: Nocturminal fundraiser, Marketing/Concert Crew for Slee Hall at Lippes Concert Hall at the University at Buffalo, and Music Librarian and Marketing for the Amherst Chamber Ensembles. Additional work in the for-profit sector includes Promotions for Citadel Broadcasting and Righteous Babe Records, and management and marketing for several individual music projects. Ms. Swan has presented at a variety of community-wide engagements including to Leadership Buffalo’s Arts, Culture, and Tourism Day (June 2014), Daemen College’s Art and Community Class (April 2014), University at Buffalo’s Management Career Development Class (November 2013), and the Public Relations Student Society of America (PRSSA) Evening with the Professionals at Buffalo State College (October 2012). Ms. Swan has a MA in Arts Management from the University at Buffalo and a BA in Communications/Broadcasting with a minor in music from Buffalo State College. While at the University at Buffalo she traveled abroad with NUROPE (Nomadic University for Art, Philosophy, and Enterprise in Europe) to Sweden and Finland, completing an intensive scholarly program entitled Beyond Bergman and Nobel: Scandinavian Cultural Policy and Performing Arts. As a result of that academic excursion, Ms. Swan co-wrote an article forUB International titled “Summer School in Arts Management Held in Finland and Sweden.”

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