Category Archives: Nazi Looted Art and Gurlitt

all information about Nazi Looted art, the Gurlitt affair, Monuments men, Hitler, Eva Braun and museum conspiracies

PICASSO, PUTIN BRIBES FIFA THIEVES-HERMITAGE THEFT

durere albrecht sex picasso fifa russia hermitage

The world of international soccer was rocked  when seven officials from its governing body, FIFA, were arrested, and many more indicted, by US and Swiss authorities in Zurich on charges of racketeering, fraud, and money laundering as part of an investigation that the US Justice Department has declared has only just begun. But what does this have to do with art?

It’s alleged that soccer authorities systemically took personal bribes, some $150 million according to the New York Times, to sway their decision-making about things like who would get to televise games, who would oversee the worldwide soccer organization, and who would get to host the World Cup.

Russian Prime Minister Vladimir Putin was accused this past December by England’s 2018 World Cup bid committee of having bribed Michel Platini, the president of the Union of European Football Associations (UEFA) and FIFA executive committee member with a painting by Pablo Picasso in exchange for voting for Russia to stage the next World Cup. The painting was reportedly taken from the Hermitage Museum in St. Petersburg.

The committee got its information about the Russian bid “from a network of British embassies and private intelligence firms staffed by former MI6 officers” and was disclosed in a dossier that parliament published.

Perhaps it’s because the Russian President has a greater vested interest in Russia hosting the 2018 World Cup than previously thought.

https://news.artnet.com/in-brief/putin-fifa-scandal-picasso-303249?utm_campaign=artnetnews&utm_source=053115daily&utm

THE INTELLECTUAL ELITE! CHRISTIE’S BILLION $ WEEK? You now enslaved !

art sex NYC durer albrecht christies auctions

 

Lucien Freud’s Benefits Supervisor Resting-THIS IS ART?

OH THE ART WORLD IS EVEN MORE NARCISSISTIC WITH THEIR INCESTUOUS RELATIONSHIPS AND THIS REPORTING, BUT PAY ATTENTION TO THE UNDERTONES OF WHAT THIS ARTICLE IMPLIES, WHICH IS  YOU HAVE BEEN SO RIPPED OFF BY ALL THESE 1% PEOPLE, THEY HAVE SO MUCH OF YOUR MONEY, THEY ARE NOW INTO HEDONISTIC EXCESS AND BIDDING WARS BETWEEN THEMSELVES IN STATUS SEEKING TO FLAUNT THEIR POWER WITH BAUBLES SUCH AS ART

AND THEY WHINE ABOUT IT!  I GUESS THE MORE ONE LOOKS AT THE ABOVE PICTURE, IT GROWS ON YOU, FOR THE COLOR APPLICATION

HERE’S ARTNET’S FAWNING ARTICLE ABOUT THESE PRETTY PEOPLE AND HOW WONDERFUL THE PARTY IS.  DON’T FORGET THE US JUSTICE DEPARTMENT IS ONCE AGAIN INVESTIGATING SOTHEBY’S AND CHRISTIES. BUT ALL THESE POEPL KNOW THEY ARE ABOVE THE LAW, AFTER ALL THEY ARE THE INTELLECTUAL ELITE! NOT DOCTORS OR LAWYERS OR SCIENTISTS THAT ACTUALLY SOLVE WORLD PROBLEMS

In a night of frenzied selling, Christie’s New York racked up $658.5 million from the world’s wealthiest over a two-and-a-quarter-hour sale of postwar and contemporary art.

The astronomical sale saw three works sell for north of $50 million, eight for upwards of $20 million, and 20 for better than $10 million. It was the house’s fifth-highest sale ever.

FIFTY MILLION IS THE NEW NORMAL! MAYBE THE NAZI LOOTED ART WILL GET RESTORED TO THEIR FAMILIES AND THESE VICTIMS CAN SHARE IN THE PARTY

“Fifty million is the new normal,” New York dealer Francis Beatty, of Richard Feigen & Co., said after the sale.

Mark Rothko’s eight-foot-tall abstract No. 10 (1958) was the prize lot. The painting was guaranteed to sell. Off the market for nearly 30 years, the canvas hasn’t been on public view since 1987. It features the artist’s trademark floating rectangles of color, in this case deep reds, floating in front of a black ground. Seven anonymous phone bidders slugged it out over nearly six minutes.

Even Arte Povera, “poor art,” a post-war Italian movement that expressed scarcity, turned up very rich, with the night’s first offering, a Giovanni Anselmo sculpture estimated at up to $800,000, rising to eight times its high estimate to command $6.4 million, a record for the artist. That set the tone for a night of wild spending. SHADES OF A ROMAN BACCANALIA!

Eight new auction records were set, including for Anselmo, Carroll Dunham ($509,000), Lucien Freud ($56.2 million), Hans Hoffmann ($6.3 million), Robert Ryman ($20.6 million), Sturtevant ($5 million), and Rudolf Stingel ($4.8 million).

Robert Rauschenberg’s 1961 assemblage Johanson’s Painting also set a record when it sold for $18.6 million, beating his previous high by $4 million. That work was one of 20 lots on offer early in the evening, that came from the collection of fabled New York dealer Ileana Sonnabend.

MONEY MAKES ONE PART OF THE INTELLECTUAL ELITE????????????OH THEY ARE THE INTELLECTUAL ELITE, HUH? ISN’T THIS WHAT HITLER THOUGHT?

“That was a thing of beauty,” New York dealer Cristin Tierney said. “Just when you think auctions are about nothing but diamond dust, a bidding war over something rigorous and conceptual restores your faith in an intellectual elite. There are still some collectors out there who are the real deal.” Several of the Sonnabend lots dramatically exceeded their estimates.

 

 

“When you start off so high,” he said, “it makes it hard for others to jump in.”

HERE’S THE WHINING!

New York dealer Christophe van de Weghe went away disappointed, having bid on a Jean-Michel Basquiet painting, The Field Next to the Other Road, but failing to get it.

“Tonight I bid $33 million,When I moved to New York, in 1993, it came up for auction at Sotheby’s. It was estimated at $125,000 t0 $175,000 but failed to sell. They told me afterward that if I offered $75,000, I could get it. I thought about it over the weekend but on Monday I told them I didn’t have the money.”

“So,” he said, “I’ve failed twice.”

 

For all who want the details of this excess for IT’S THE ONLY REALITY SHOW THAT TELLS YOU HOW BAD YOU’RE LIFE IS GOING TO BECOME, READ ALL THE DETAILS HERE.

 

https://news.artnet.com/market/christies-658-million-sale-record-rothko-89-million-297476?utm_campaign=artnetnews&utm_source=051415daily&utm_medium=email

Why Ronald Lauder Is Right About Nazi-Looted Art in Museums

 

durer albrecht sex nazi looted art hitler holocaust jews
NAZI LOOTED ART

THIS ARTICLE WAS PUBLISHED IN 2014 BUT NOTHING HAS CHANGED, IN FACT THE SITUATION HAS GOTTEN WORSE,  IT’S AS PERTINENT TODAY, AS ANY LOOTING BY TERRORISTS AND ART THIEVES ANYWHERE IN THE WORLD

In his article titled “Lauder Editorial on Stolen Art and Museums Fails the Glass House Test,” Nicholas O’Donnell attempts to respond to Ronald S. Lauder’s editorial published in the Wall Street Journal on June 30, 2014, titled “Time to Evict Nazi-Looted Art From Museums.”

O’Donnell attempts to find legal shortcomings in Lauder’s editorial, which simply expresses the need for art museums to act responsibly by returning Nazi-looted artwork instead of raising technical defenses and mere pretexts to deny the rights of the claimants.

In his article, O’Donnell refers to the ongoing case brought by Léone Meyer against the University of Oklahoma, among other defendants, to obtain the restitution of La bergère rentrant des moutons (Shepherdess Bringing in Sheep) (Camille Pissarro, 1886), currently on permanent display at the Fred Jones Jr. Museum of Art in Norman, Oklahoma.

Although O’Donnell—counsel to David Findlay, Jr. Gallery, a defendant no longer involved in the case—recognizes that the recent court decision is limited to whether the Oklahoma defendants could be sued in New York, he repeatedly brings up a 1953 Swiss court decision involving Camille Pissarro’s La Bergère as grounds for why Léone Meyer’s claim should fail, and why Mr. Lauder’s argument is baseless.

O’Donnell’s argument fails the common sense test. First, no one disputes that the Nazis stole La Bergère from Léone Meyer’s family.

Second, the 1953 Swiss court decision was not decided based on a late claim, as O’Donnell argues, but was decided against Léone Meyer’s father because he could not prove the “bad faith” of the art dealer who acquired La Bergère after it crossed the Swiss border from France.

Third, prior Swiss decisions involving looted art have long been held as doubtful or baseless in several US jurisdictions. Even the Swiss government itself recognized in 1998 that the deck was stacked against claimants who wanted to file art restitution claims in Switzerland after World War II. New York courts have determined that “Swiss law places significant hurdles to the recovery of stolen art, and almost ‘insurmountable’ obstacles to the recovery of artwork stolen by the Nazis from Jews and others during World War II and the years preceding it.”

Finally, O’Donnell misses the point of Mr. Lauder’s editorial. As French government officials have recently stated in a public forum dedicated to France’s efforts to track and restitute looted art, the time for “clean museums” has come. Hiding behind technicalities and procedural loopholes to delay basic justice, i.e., restitution of looted property, is not morally appropriate, even less so when public institutions are involved.

Ronald Lauder is right. It is time for museums to do the responsible thing. It is time for museums to “clean” their collections of any tainted artwork by returning Nazi-looted artwork.

 

https://news.artnet.com/art-world/why-ronald-lauder-is-right-about-nazi-looted-art-in-museums

ARTNET LIES-ISABELLA STEWARD GARDINER HEIST NOT SOLVED

durer albrecht art theft sex boston fraud forgery art crime isabella steward gardiner
Isabella Stewart Gardiner Museum-the scene of one of the world’s biggest art heists

That was the word on the Internet as published by Artnet – that the FBI had cracked the infamous Isabella Stewart Gardner art heist, just days after the crime’s 25th anniversary. Oh, and U.S Secretary of State John Kerry was involved.

NO WONDER ARTNET TOOK DOWN THE ARTICLE!

Ultimately, the rumor proved false. The Boston branch of the FBI says two unsubstantiated reports that claim the bureau has released the names of the two men responsible for the March 18, 1990 museum robbery aren’t factual.

“The FBI has NOT publicly identified the suspects involved in the Gardner heist,” Boston FBI spokesperson Kristen Setera told BostInno in an email.

It was reported that the “two career criminals who committed the historic crime were Kerry’s client, George Reissfelder, and a local thug named Lenny DiMuzio.”

Boston FBI’s Pete Kowenhoven said earlier this month that the two men who stole 13 priceless works from the Gardner museum 25 years ago, disguised as Boston police officers, are dead.

Breitbart’s story is supported by the fact both Reissfelder and DiMuzio have reportedly been suspects in the case since 1992. Both men also died within a year of the heist. But no, they haven’t been publicly identified as the culprits.

The mystery remains unsolved, and $500 million worth of artwork is still M.I.A.

http://bostinno.streetwise.co/2015/03/31/boston-fbi-denies-isabella-stewart-gardner-museum-heist-has-been-solve

 

WHAT WOULD JESUS REALLY SAY? ENORMOUS WORLDWIDE ART FRAUD

 

duer albrecht sex sistie chapel art fraud, nazi looted art antisemetism france
THE LAST JUDGEMENT OF THE SISTINE CHAPEL

IN THIS TIME OF MIRACLES, WHAT WOULD JESUS SAY ABOUT THE TRAIL OF CORRUPTION OVER ART?  THIS IS FILTH OF ENORMITY?  INVOLVES ALL THE CHRISTIANITY, JUDAISM, AND ISLAM.

WHAT WOULD JESUS SAY ABOUT THIS FILTH? WASN’T IT ALWAYS ABOUT TAXES?

The tax man is coming for Guy Wildenstein, and may file charges against a wealth management company in the Bahamas in connection to the case against the billionaire art dealer. The French agency that investigates tax evasion has recommended that a judge charge RBC Trust Company with assisting Wildenstein in tax fraud and money laundering.

The Wildenstein art dynasty was founded in 1875 by Nathan Wildenstein. Guy Wildenstein (Nathan’s great-grandson), now age 70, took over the family business in 2001, after the death of his father. He is now accused of dodging hundreds of  EURO 600 millionS of dollars in French inheritance tax through the use of offshore accounts

This past October, Wildenstein was released on €20 million bail ($21.5 million), essentially a security deposit to be put toward the dealer’s back taxes if he is found guilty

WELL ISN’T THAT CUTE, THE BAHAMAS LAW IS SPECIALLY TAILORED TO TAX EVASION OF ENORMOUS PROPORTIONS-WHAT ELSE IS THE BAHAMAS GOOD FOR?

A spokesperson for RBC, sent out an e-mail Monday stating that those at RBC “strongly contest” the recommendation on the basis that the company “has a duty of confidentiality and cannot comment on clients even to confirm or deny they are clients.” OOH, DO THEY HAVE ANY CLIENTS?

The company also mentioned the recommendation in its quarterly report last month, assuring shareholders that “RBC Bahamas believes that its actions did not violate French law. If charges are brought, it intends to contest them in the French court.”

TAX HAVENS ANYWHERE, WONDER WHERE ALL THE MONEY THEY RIPPED YOU OFF FROM ON WALL STREET WENT?  BTW, THE GUERSNEYS ISLANDS I BELIEVE IS OFF SHORE  FROM BRITAIN?

The Guernsey Islands’ Northern Trust, another offshore tax haven, has also been named in the proceedings.

OOPS, ONCE AGAIN, A LITTLE FRENCH ANTI-SEMETISM WITH YOUR ART.

The tax business is hardly the only battle Wildenstein is fighting. In 2011, 30 paintings that Jewish families had reported as missing were discovered at the Wildenstein Institute in Paris, including an Edgar Degas and an Édouard Manet . Wildenstein has denied the allegations.

WOW, THE MUSLIMS GOT SCARED, QATAR BACKED OUT!

Last year’s sale of the Wildenstein gallery’s New York townhouse to the government of Qatar is also a source of a legal dispute, as the Middle Eastern country has since rescinded its offer to buy the building.

AND SO IN THIS ONE REPORT, ALL THE MAJOR JUDEO-CHRISTIAN RELIGIONS ARE FREAKING OUT OVER THEIR PRIZED POSSESSIONS, PAINT ON CANVAS!  WHY IS ANYONE INVESTING IN ANYTHING ELSE? 

Tax Evasion Case Against Billionaire Art Dealer Guy Wildenstein Exposes Dirty Money Trail

2015 BIGGEST ART SCANDAL! Is the Island CURSED?

durer albrecht sex art freeport russian yves bouvier
An example of a Swiss bunker turned into an art freeport

This could well be 2015’s biggest art scandal. Following his arrest in Monaco, Swiss businessman Yves Bouvier has been indicted for fraud and complicity in money laundering,  He has been placed under judicial supervision, and is free to leave the principality provided he posts €10 million bail ($11.2 million)

Bouvier is accused of having overcharged the Russian oligarch and owner of a Monaco football club, Dmitry Rybolovlev, when acting as middleman during the sales of high-value artworks. Bouvier’s official commission for the transactions was 2 percent. He worked for the Russian family for ten years. A meeting between Bouvier and Rybolovlev was due to take place on Friday.

The Swiss businessman and art dealer is among the art world’s most prominent figures. He is a majority shareholder and president of Natural Le Coultre S.A., a global storage business overseeing freeports in Geneva, Luxembourg, and Singapore.

Bouvier used offshore companies to cover up the sales of artworks stored in freeports. In such transactions, buyer and seller don’t have any contact. It’s allegedly only after meeting the seller of one of his acquisitions by chance and discussing the price with him, that Rybolovlev started suspecting that something wasn’t right.

A Swiss female accomplice has been indicted for money laundering alongside Bouvier. The Russian-speaking wife of Rybolovlev’s dentist was close to Elena Rybolovleva, the oligarch’s ex-wife, and she is suspected of having acted as a translator-cum-go-between for the family and Bouvier.

FOOTBALL ANYONE?

Rybolovlev’s art collection is worth an estimated $1 billion, and features the work of key modern masters including Picasso, Gauguin, and Van Gogh. The complaint has been filed by his family trust, which owns the paintings, but the collector was called in as a witness and art expert. HE’S THE OWNER OF MONACO’S BIGGEST FOOTBALL TEAM.

Speaking on behalf of Bouvier, lawyers Luc Brossollet and Charles Lecuyer have denied all allegations of wrongdoing.

Bouvier’s legal troubles could have direct implications for the Jean Nouvel-designed R4, an immense art hub set to open on the Île Seguin—an island on the Seine in the Parisian suburb of Boulogne-Billancourt  Building works are due to start next summer, and Bouvier is footing the €150 million ($167 million) bill.

IS THE ISLAND CURSED?

If R4 falls through, it’ll be the third time a major art project has failed to get off the ground at the Île Seguin. Both mega-collectors François Pinault, the owner of Christies,  and Cartier Foundation’s Dominique Perrin hoped to open their respective foundations on its industrial shores at some point, but nothing ever came of it. “Is the island cursed?”

http://news.artnet.com/art-world/yves-bouvier-indicted-for-defrauding-dmitry-rybolovlev-held-on-eur10-million-bail-272265?utm_campaign=artnetnews&utm_source=030215daily&utm

NAZI LOOTED ART! US SUPREME COURT DOES RIGHT THING FOR RESTITUTION

durer albrecht lucas cranach renaissance sex Norton museum nazi looted art
Lucas Cranach’s Adam and Eve paintings owned by the Norton Museum in Florida

THIS IS A WIN FOR THE GOOD GUYS!  US SUPREME COURT FORCING MUSEUMS IN USA TO ADHERE TO GIVING BACK THE NAZI LOOTED ART TO THE RIGHTFUL OWNERS!

HOORAY THAT AT LEAST ONE PART OF THE FEDERAL GOVERNMENT IS MORALLY, ETHICALLY, AND LEGALLY FORCING THAT GOOD PREVAILS

The US Supreme Court has rejected the appeal of Pasadena’s Norton Simon Museum in the case of the ownership of Lucas Cranach the Elder’s paintings Adam and Eve (both circa 1530). The artworks originally belonged to Jewish art dealer Jacques Goudstikker, who in 1940 was forced to flee the Netherlands following the Nazi invasion.

The case, which has been in federal court since 2007, was originally dismissed in the museum’s favor in 2012. Goudstikker’s daughter-in-law, Marei Von Saher, got a second chance last June, when a judge ruled that the pursuit of her claims did not conflict with US federal policy.

In response, the Norton Simon appealed in the hopes that a rehearing in the Ninth Circuit by an 11-judge panel would reverse the decision once again. The museum believes that Goudstikker’s widow, Desi, should have pressed her claim with the government of the Netherlands after World War II.

During the war, Goudstikker was forced to sell the paintings to Nazi leader Hermann Göring. The canvases were later recovered by Allied forces and returned to their countries of origin. Desi did not trust that the government would treat her fairly, and refused to negotiate for the paintings’ restitution.

Instead, the works were sold in 1966 to George Stroganoff-Scherbatoff, a descendant of their pre-Goudstikker owners, who had lost the paintings during Soviet rule. In 1971, the Norton Simon foundation purchased Adam and Eve for $4 million (adjusted for inflation, they were said to be worth $28.3 million in 2006). The institution now argues that Von Saher had her chance under US policy, and her claim conflicts with the country’s right to conduct its foreign affairs.

“Allowing her lawsuit to proceed would encourage the Museum . . . to follow the Washington Principles [which call for restitution],” countered the Ninth circuit in its opinion. “Perhaps most importantly, this litigation may provide Von Saher an opportunity to achieve a just and fair outcome to rectify the consequences of the forced transaction with Göring during the war.”

Though the latest ruling is good news for Von Saher, her lawyer, Herrick Feinstein’s Lawrence Kaye, warned the Art Newspaper that “not all the museum’s technical defenses have been decided.” A judge could still decline to hear the case as it was filed after the statute of limitations expired.

In a statement, the Norton Simon insisted it “remains confident that it holds complete and proper title to Adam and Eve, and will continue to pursue . . . all appropriate legal options.”

 

http://news.artnet.com/art-world/supreme-court-declines-to-hear-norton-simons-nazi-loot-appeal-227465?utm_campaign=artnetnews&utm_source=012115daily&utm_medium=email

INSANITY! George Grosz Work Forbidden from Leaving Germany

durer albrecht sex grosz germany drawings brilliantschiebe
George Grosz Brilliantenschiebe

LOOK AT THE NONSENSE THE GERMAN COURTS ARE DOING NOW!

An administrative court in Berlin ruled that a drawing by the painter and caricaturist George Grosz may not leave Germany.

An unnamed Berlin gallerist had asked the court to remove the artwork, Brilliantenschieber (1920), from the list of nationally significant cultural goods in order to show the artwork at an exhibition in London. The list of cultural administration is based on a law, which protects significant items of German heritage from being exported abroad.

Despite the fact that the court upheld the classification of the Grosz drawing, it agreed to declassify six other works—including two other Grosz pictures—as well as works by Hannah Höch, Otto Mueller, and Ernst Ludwig Kirchner.

The gallerist argued that Berlin had only placed the works on the list in order to prevent them from leaving the capital. He also argued that the state protection devalued the art. In September 2013, the work’s export was initially forbidden when the Berlin senate applied for an export ban in an emergency ruling.

The court announced that Brilliantenschieber comes from a very small series of works in which Grosz utilized the mediums of collage and watercolor for the first time, therefore significantly contributing to the new design principles of the avant-garde. On the other hand, the court decided that the six other works did not significantly contribute to the overall cultural development in Germany.

http://news.artnet.com/in-brief/george-grosz-work-forbidden-from-leaving-germany-230471?utm_campaign=artnetnews&utm_source=012415daily&utm_medium=email