Complex justice in a Nazi-looting case

Bloch-Bauer never saw his art again.

After the war, the paintings were moved to the Austrian museum, where they hung for 60 years and were seen by hundreds of thousands of visitors. The portrait "Adele Bloch Bauer I" was second only to Klimt's "The Kiss" as a tourist attraction.

It is the loss of this close identification of a group of paintings with a cultural milieu – that of Vienna – that saddens Cuno. "Museums live with the hope that pieces which come to us from private collections will remain in the public view," he says. At the same time, "the public trusts us not to hold on to objects for which we don't have clear title."

The Klimt paintings were exhibited in Los Angeles and New York after their return to Mrs. Altmann and in advance of the auction. "She wants it acknowledged in this very public setting that justice has been done," says lawyer Schoenberg. Altmann, who is in her 90s, has said publicly that she hopes the paintings will be made accessible to the public by whoever buys them.

Bidding is likely to be intense next week on the four remaining Klimts, which include a later portrait of Adele Bloch-Bauer and three landscapes. Excitement around the Klimt sale owes in part to "interest in the cultural circumstances of Klimt and the artists in Vienna during the Freudian era," Cuno says. "The paintings are glamorous in a decadent way. That makes them more modern."

US museums receive about three or four ownership claims a year against their collections, says Erik Ledbetter of the American Association of Museums. Mr. Ledbetter was project manager for the start-up of the AAM's Nazi-Era Provenance Internet Portal, one of a dozen such databases in the US and Europe.

But Hector Feliciano, a journalist who has researched Nazi-looting cases extensively and published a book on the topic, "The Lost Museum," says that museums are underreporting the number of claims they receive and failing to fully disclose the numbers of suspect art in their collections. American museums took the lead in setting guidelines in the late 1990s, but in the years since, momentum has stalled. European museums are slower still, with some former East Bloc countries lacking restitution laws that would aid in the return of looted property.

Ledbetter of the AAM says the amount of research involved is daunting and will take decades. "Our effort is to define the largest universe of work that could have passed through Nazi hands," he says. Of the 20,000 items listed on the Nazi-era provenance portal, for example, probably "99 percent will be found not to have had any Nazi connection," he says.

Mr. Feliciano and others say the number of Nazi-looted art objects, particularly in Europe, reaches into the hundreds of thousands, with countries steadily selling off assets for which no heirs have been found. Critics of the databases say it's not fair that the onus is on survivors' families to know what they are looking for. They also argue that museum guidelines are fuzzy and open to interpretation.

What is the public to make of these competing interests?

Experts say that until museums clarify their guidelines and governments quicken the pace of declassifying wartime documents and improve restitution laws, families will have a difficult battle proving their claims. In the meantime, the Klimt sale will be watched closely.

"Who can say if this is the last high- profile case?" asks Dr. Flesher of IFAR.

Page: 1 | 2