The Washington Post notes two American museums battling in court to prevent works claimed as Nazi-loot from returning to the families who claim them as rightfully theirs.  “I find it outrageous, and I’m embarrassed,” says Oklahoma state Rep. Paul Wesselhoft of the Fred Jones Jr. Museum of Art at the University of Oklahoma, one of the museums refusing to return a work. “With this artwork, we have definitive proof that it was stolen. We have copies of the Nazi documents. As an Oklahoman, I think it’s a moral outrage.” (more…)

The New York Times notes the increasing popularity of Chinese art on the secondary market, as the Chinese Communist Party increases its efforts to secure and repatriate works that have been looted, taken or sold away from the state in past centuries to the west, including, in some cases, thefts from national museums that target works looted from Beijing’s Old Summer Palace during  its century raid by British and French troops in the mid 19th century.  “They knew very well what they were after,” said Jean-François Hebert, president of the Château de Fontainebleau, where a number of iconic Chinese gold and bronze works were stolen in 2012. (more…)

A Los Angeles Judge has rejected a lawsuit against the nation of Spain and the Thyssen-Bornemisza Museum in Madrid to return a Camille Pissarro taken from the Cassirer family through forced sale by Nazis in 1939.  The painting, Rue Saint-Honoré, Après-midi, Effet de Pluie, was subject to Spanish law, Judge John F. Walter ruled, and therefore could not be removed by his decision.  The family plans to appeal.  “Museums and governments around the world recognize the need to return Nazi-looted art to its rightful owners,” said Laura Brill, a lawyer for the Cassirer family. “Here, it is undisputed that the Pissarro was owned by the Cassirer family until it was stolen by the Nazis in 1939.” (more…)

The Kunstmuseum Bern has released a full list of the works received from Cornelius Gurlitt, offering the most in-depth look at the collection since it was discovered.  The museum has announced that it will be accepting the collection, but released the full list “in the interests of transparency.” (more…)

German investigators have announced that they have found a landscape by Claude Monet hidden inside the suitcase of Cornelius Gurlitt, adding yet another work to the considerable selection of works he had stored away in his Munich apartment.  Gurlitt had apparently tried to bring the work with him when he left for the hospital, which scholars are estimating was painted around 1864. (more…)

Cornelius Gurlitt, the Munich man at the center of the discovery of hundreds of artworks potentially looted from Jewish collectors during World War II, has announced that he will begin returning the works to their rightful owners.  The return will begein this week, as Seated Woman/Woman Sitting in Armchair, an iconic Matisse, is delivered to the descendants of French collector Paul Rosenberg.  “Mr. Gurlitt has given us free rein to return those pictures that belonged to Jews to their previous owners or their descendants,” says court-appointed lawyer Christoph Edel. (more…)

Cornelius Gurlitt, the German man at the center of the controversy over thousands of Nazi-looted artworks found in his Munich apartment, has launched a website in an attempt to tell his side of the story.  “Some of what has been reported about my collection and myself is not correct or not quite correct,” Gurlitt says on the site. “Consequently my lawyers, my legal caretaker and I want to make available information to objectify the discussion about my collection and my person.” (more…)

The German government has announced plans to search its public museums through an independent center, the Wall Street Journal reports.  The news follows the ongoing outcry over the seized collection of Cornelius Gurlitt, and the attempted claims laid by families from whom the art was looted during WWII.  “These are delicate matters to articulate,” says German Culture Minister Monika Grütters. “It’s a matter of earning back trust.” (more…)

Reporter Doreen Carvajal has published an article in the New York Times, detailing her independent efforts to track down the potential heirs to paintings lost or stolen during the Nazi occupation of much of Europe.  The search was inspired by the French government’s increased efforts to return confiscated paintings, and the legal challenges it faces.  The article also addresses a perceived indifference to the process of returning the works, which is in part caused by a need for thoroughly exhaustive research.  “There is no French omerta to refuse to return the paintings,” says Cultural Minister Aurélie Filippetti.  “On the contrary, I am committed to move faster and further.” (more…)

ArtNews offers an inside look on the secret market for Nazi-looted artworks, an underground network of curators, dealers and collectors who maintained a market for looted works long after the war.  With little involvement from occupying American forces, former influential Nazi art officials quickly attained positions of prominence again after the war, often maintaining ties to collectors with little qualms in purchasing formerly confiscated works.   (more…)

A once Nazi-looted painting has been returned to its rightful owner, who in turn donated it to the Los Angeles County Museum of Art.  The donation is a rare occurrence for looted works, which are often sold to cover inheritance claims.  The 17th century Baroque portrait by Bernardo Strozzi was installed Monday on the third floor of LACMA. (more…)

A Nazi-instituted law from 1938 is complicating the situation in the return of the works discovered in the Munich apartment of Cornelius Gurlitt, the New York Times reports.  Allowing the government to seize non-German or Jewish artworks deemed “degenerate,” the law is still on the books, and has made it more difficult for German and European museums which previously had work removed from its collection.  “The legal situation is relatively obvious and clear,” said Wolfgang Büche, of the Moritzburg Foundation in Halle. “With art taken from Jewish collectors, there are sometimes legal or at least moral circumstances under which they can seek to have their works restituted. We can only seek to buy them back.” (more…)

The New York Times reports on the private life of German collector Cornelius Gurlitt, whose huge trove of Nazi-looted art, including works by Otto Dix and Pablo Picasso, left him leading a secluded existence in his Munich flat.  “There is nothing I have loved more in my life than my pictures,” he said. (more…)

The recent disclosure of hundreds of looted Nazi artworks discovered this past month in Munich has families around the world digging through archives and records in an effort to fulfill their claims to a number of masterpiece works confiscated or sold during World War II.  “It’s a little out of the respect for the memory of my grandfather that I pursue it,” says Michel David-Weill, former banker whose grandfather’s Canaletto etching appeared in the first round of works placed on the Lost Art Database. (more…)

The Guardian reports on the exploits of the Einsatzstab Reichsleiter Rosenberg, the Nazi art theft division that was responsible for the theft of over 5 million works during its existence, including loot from the Uffizi, the Louvre, and countless churches across Europe.  It is reported that one of the group’s most infamous prizes, the Mona Lisa, was rumored to have been recovered from an Austrian salt mine after the war, although recent research has determined that this loot was in fact a copy of the original work. (more…)

The story behind the collection of Nazi-looted artworks discovered in a Munich flat this week has taken a new twist, with the discovery that the works had toured the U.S. after World War II, the Wall Street Journal reports.  Part of the collection of Nazi propaganda director Hildebrand Gurlitt traveled to the United States as part of a larger show in 1956, reports illustrate, showing the increasingly difficult challenges of locating the artworks’ original owners. (more…)

Despite a vocal commitment to the return of Nazi-looted works to the proper owners by French culture minister Aurélie Filippetti, the French government has taken few steps towards a faster, more efficacious practices towards stolen works.  While over half of the over 100,000 works stolen from the country during the war have been recovered, a low percentage of works have found their way back to their original owners, which Filippetti blames on “the deaths of the victims and their direct descendants, and not because of a lack of will on the part of museums.” (more…)