Chernigov Guide

8/14/2019 Chernigov Guide

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It was the General Technology Department of the Kiev Polytechnical Institutethat gave rise to the Chernigiv State Technological University in 1960 (Order 84 ofthe Ministry of Higher, Secondary and Specialized Education of the Ukrainian SSRfrom March 11, 1960).

The Department began its first academic year on September 1, 1960. There

were 175 students admitted. The number of the pedagogical staff didn't exceed 20teachers.Kalita Yevgeniy Grigorovich was appointed Dean of the Department.

Supported by the industrial enterprises of the Chernihiv region and appropriatesub-faculties of the Kiev Polytechnical Institute, the laboratories and class-roomsnecessary for the educational process, were created.

A building - the historical monument the Governor's House with the effectivefloor-space of more than 1500 sq. m was allotted to the Department. They alsobegan constructing a new study block and students' hostel.

The first enrolment in the full time training was carried out in the academic year1962-1963 and amounted to 150 persons on three specialities.
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On September 1, 1965 the Chernihiv Branch of the Kiev Polytechnical Institutewas organized according to the order of the Ministry of Higher, Secondary andSpecialized Education of the Ukrainian SSR. It was made up of three faculties:Mechanical Faculty, Technological Faculty and Faculty of the General Technology.

Kalita Yevgeniy Grigorovich was appointed Rector of the Chernihiv Branch of theKiev Polytechnical Institute.

The enrolment in the in the academic year 1966-1967 amounted to 1100students.

On the Decree 193 of the Cabinet of the Ministers of Higher, Secondary andSpecialized Education of the Ukraine from September 10, 1991 the ChernihivTechnological Institute was created on the basis of the Chernihiv Branch of the KievPolytechnical.

Dennisov Alexandr Ivanovich, Dr Sc, Professor was appointed the Rector ofInstitute.

The enrolment plan amounted to 490 persons and the students body in theacademic year 1991-1992 included 1919 people.

Proceeding from the real opportunities and prospects of survival underconditions of transition of the Ukraine to market economy, the Engineering-economic Faculty was created in 1994 .

In 1994 the institute passed the licensing and complete accreditation. As aresult, it obtained level IV of accreditation.

In 1999 the Chernihiv Technological Institute was entered on the list of priorityhigher educational institutions, recognized by the Canadian Engineers Association.

In July, 1999 by the Decree of the Cabinet of the Ministers of Higher, Secondaryand Specialized Education of the Ukraine ( 1372 from 29.07.1999) the ChernihivState Technological University was created on the basis of the the Chernihiv

Technological Institute.

On November 15, 2000 the Chernihiv State Technological University wasrewarded with the diploma of the International open rating of popularity and qualityof goods and services "Gold Fortune" within the framework of the regional program.The title of "The Prize-winner of the Rating "was awarded..

University structure

The structure of University embraces the following basic divisions:

The faculty of economics

The faculty of management and business
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The faculty of mechanics and technology

The faculty of electronic and information technologiesThe correspondence faculty

The faculty of post diploma training and improvement of professional skillPost graduate studyThe system of under-higher training

Publishing departmentLibrary

University campus

The University has at its disposal 11,5 ha of land. The premises accommodatefive study-laboratory buildings, workshops, student hostel, garage and refectory.The University also has three sports halls (600 sq. of space), sports andrehabilitation complex for 135 people and weekend guesthouse for 20 people. Thetotal space makes 38304 sq. , including 26507 sq.m of laboratories andclassrooms.

The University classrooms are equipped with modern technical training aids.They are convenient and spacious. Laboratories have all the necessary equipment.

There are 301 personal computers at the University, including 111 with Pentiumprocessors. The computer classes are connected to the Internet being widely usedby the teachers and students in the training process and research work.

Chernigov Ukraine history

There are several versions about the origin of the Chernigov citysname. Some people think that the name came from forests thatsurrounded the city and were so dense that from far away seemed tobe black. (Chornyy in English means black.) There is also an opinionthat the city derived its name from the ancient people Chorni Klobuki,that is those who wore black hats.
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The most romantic version is connected with the legend about Prince Chornyy, whoruled here in the 10 th century, and his daughter Chorna (or Tsorna). As the legendhas it, the Princess was unusually beautiful; she liked horse-riding, hunting and was agood archer. The rumors about the girls beauty reached the ears of the KhazarsKagan (the prince of normadic tribes who lived south-east from the Eastern Slavs),whom Prince Chornyy paid tribute. The Kagan sent to Chernigov his matchmakers

with rich presents. But the girl refused to marry her peoples enemy. The Kagan triedto capture the city and take the girl away by force. Thetownspeople beat off numerous attacks and there was nothingleft to the Khazars as to lay siege. At that time Prince Chornyywas at odds with the Grand Duke Oleg of Kiev and he couldnot expect any help. He decided to break the siege while therewas still enough manpower. As soon as the Prince with hisarmed force left the city walls, a gang of traitors rushed into the

Princesss room on the upper floor

of the mansion, which was as highas old oak trees. The Princessmanaged to hit some of the enemies from her bow andthrew herself out of the window when she ran out ofarrows.

No matter how beautiful this legend is, it is in no way connected with the citysname, since the first written record of Chernigov dates back to 860, much earlier thatthe traditional legend. Most historians believe that the city got its name from thename of a chief of a local tribe or the first settler Cherniga or Chernega.

Chernigov is rich in ancient and historical sights. Here is the fact that speaks foritself: the city has preserved one quarter of all architectural monuments of Ukraine ofthe pre-Mongol period. Most of them are situated in the Old City that lies on the bankof the Desna and is called Val.

THE CATHEDRAL OF THE TRANSFIGURATION

OF OUR SAVIOUR

is the oldest Christian Church which has remained in Ukraine . Its construction wasbegun in 1033-1034 by Prince Mstislav. The cathedral is a majestic eightpieredstructure in Byzantine style surmounted by five domes. The cathedral was a religiouscenter of Chernigov principality.

THE CATHEDRAL OF SAINTS BORIS AND GLEB

was built in 1123. It is a classical example of architectural style of the Kiev-Rusperiod. This comparatively small one-domed church is decorated with architectural


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details made of carved stones. The most interesting thing in the interior of the churchare the Holy Doors which were cast of a pagan silver idol.

THE CHERNIGOV COLLEGE

was built in 1700-1702 in the Ukrainian baroque style and it is decorated withnumerous architectural details. It was one of the first secular higher educationalestablishments in the left-Dnepr-bank Ukraine.

ST.CATHERINE CHURCH

was built in the late 17 th early 18 th centuries incommemoration ofChernigov Cossacks heroism in the

war against the Turks

Ukraine banks services BanksBanks in Ukraine usually work from 9:00 a.m. till 3:00p.m., Monday through Friday. Most banks are closedon Saturday and Sunday. A standard lunch hour isfrom 1:00 p.m. till 2:00 p.m. There are a lot of bank

branches in the city center, so it will be easy to gainaccess to ATMs, cash travel checks or use other bankservices. Among the first-rate banks of Ukraine arePravex-Bank, PromInvestBank, Privat Bank, Aval Bankand UkrSocBank.The addresses and phones of Chernigov banks arehere.

Cash dispensers

Today all major cities of Ukraine have a huge network of cash dispensers, orsimply ATMs. In Ukraine an ATM will give you money in local currency, that isin hryvnias. In order to withdraw money from ATMs one should know hispersonal identification number (PIN), which must contain numbers only, asUkrainian keypads have no letters. One will pay a fee for using ATMs but thisfee is considerably lower than that for traveler's checks. When in Kiev, youwill find ATMs quite easily. You can withdraw money in any bank of Ukraine

as well. Although most ATMs give money in hryvnias, there are a fewlocations where you can get money both in hryvnias and dollars. TheKreschatik Hotel, located in the very center of Kiev, has a cash dispenseroffering money in both currencies.
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The Aval Bank of Ukraine has one of thewidest networks of ATMs throughout the city.The central part of Kiev is crowded withAutomatic Teller Machines, so you should notworry about finding one.If you want to avoid any risk of becoming a

victim of credit card scam, you can go to anybank and withdraw money right there. In this

case you will need to pay 6 per cent for the operation.

Credit cards

There are three main credit cards accepted in major restaurants, stores,hotels and other venues. These are Visa, MasterCard and Eurocard.However, note that credit cards are not widely in use in Ukraine andsometimes they will not be accepted (particularly if the matter concernssmaller shops, cafes and remote areas). We recommend that you alwayshave some cash at hand in case your credit card won't be accepted. If youhave some local store credit cards, it's better to leave them at home. In caseyour credit card was stolen, you may immediately call the issuing bank (thebank's number is on the back of your card, so it's better to write this down

somewhere else in order you can find the number fast). An emergency creditcard can be delivered to you within one or two days, depending upon thebank policy. Finally, it's a good idea to have a different credit card as abackup. With a different card you will have access to more machines. And ifyou have, for example, AMEX card, take Visa or MasterCard as analternative, as American Express and Diner are less popular in Ukraine thanthose ones. In conclusion we must say that Ukraine operates primarily on acash economy. You should be very careful using your credit card, and it ismuch recommended not to use it in any shady places.

Traveler's Checks

Traveler's checks are not widely accepted in Ukraine. It's recommended notto bring them (or bring only as a backup), as a high commission rate andmuch paperwork are always expected. If you still want to take some traveler'schecks on your trip, take Thomas Cook or Visa, which are the most commonin Ukraine. To cash traveler's checks you will need a passport and receipt ofpurchase. We recommend to cash checks in VABank or Oschadbank ofUkraine


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Money transfer

If you for some reason need to receive or send money while in Ukraine, you can do itquickly with the help of such internationally known companies as Western Union orMoneyGram. These companies have a network of authorized agents throughout thecountry. Agents' offices are mainly located in the bank buildings. Other options forsending or receiving money while in Ukraine include a wire bank transfer and apostal money order, which are less expensive but take more time.

Local currencyUkrainian currency is Hryvnia and its one hundredth part is kopiika. You can see

specimens of all banknotes in circulationhere.The Hryvnia is the official currencyand all banks, restaurants, disco, etc. and all other normal purchases are conducted init. If you are paying for something privately, U.S. dollars are the top currencyfollowed by the Euro.

Travelers checks, American Express and

Barclays can be cashed in local banks intodollars for 3%. American Express does nothave an office in Ukraine to replace lostchecks. ATM cards are widely used and bankmachines are frequent, at least in the center.ATM machines dispense the Hryvnia and

some even dispense dollars for an additional 3%. Instructions are in Russian,Ukrainian and English.

ATM and Currency Exchange

ATM machines are located near/inside big supermarkets and nearevery bank office. You can also exchange foreign currency at banksoffices. Currency exchange can be done during regular businesshours

Chernigov Ukraine hotelHotels in Chernigov are still Soviet Era Hotels and we highly do not recommendwesterners staying in this level of accommodations. We do have a very nice
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apartment that is dramatically better than the Soviet Era hotels in Chernigov.Pleaseclick here to see it.

Chernigov Ukraine hotels
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"Gradetsky" 2 stars

The HotelGradetskywas built in

1981 andwas lastrenovated in1997. The

Hotel islocated in 2km to thecity centreand 4 km

from railwaystation.Airport inKyiv - 130

km. There issecured

parking notfar from the

hotel.

Pridesnyanskiy 3 starsThe hotel is located in a quiet place, 150 meters from the Desnariver. The best hotel in Chernigov. The Hotel is located in 4 km tothe city centre and 8 km from railway station. There is securedparking not far from the hotel.

Slavanskiy 2 starsThis Chernigov hotel located in the center of the city, 200 meters

away from the central square, opposite the central post office andnear from several large banks. The hotel is 4 km from railwaystation. The hotel has secured parking.
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Chernigov Ukraine maps

Chernigov on the map of Ukraine

Chernigov city mapClick on any district


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Marriage Agency Kiev Connections

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speak on the phone, most letters do not need tobe translated.

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SeeksPartner:

30 - 45 years old

Herlocation:

Kiev, Ukraine


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Marriage Agency Kiev Connections isdifferent because we really want to getyou married!

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you are from any western country. We have gotten men married wholive in America, Canada, The UK, Australia, France, German andmany more Western countries. Hundreds of educated and down-to-earth Ukrainian Women in Kiev Ukraine selected from manyapplicants are waiting to meet you! These Ukrainian women areseeking romance and marriage with Western men of all ages in ourmarriage agency. They are REAL and they REALLY are looking for

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in Kiev Ukraine. Why would you like to correspond withUkrainian and Russian Women from all over the former SovietUnion? You will have to correspondence with Ukrainian andRussian Women spread over thousands of miles! It will beimpossible to coordinate a trip to see more than one or two. You cancome to our Ukraine marriage agency in Kiev and easily see asmany Ukrainian women as you want in one marriage agency.All of

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Marriage Agency Kiev Connections specializes with theseUkrainian women. We suggest you correspond with our KievUkrainian ladies and get to know each other. After you becomefriends with several Ukrainian women the next step is for you to

travel here and meet them! We will be happy to help with all of yourtravel needs here in Kiev. We can arrange an apartment here foryou, as well as, help with any meeting. We also have pick up serviceat the airport, translation, interpreter, and other services. If you writeto the women of Kiev they will all be here in one city. Click here tosee the Women of Kiev.If you are SERIOUSLY interested in gettingmarried I would highly suggest you take advantage of ourMatchMaker Service. You can read about ourMatchMaker service inKiev here.Our marriage agency is based in Kiev Ukraine and

specialize in the Ukrainian women living here. You can come toone city and meet many marriage minded Ukrainian women.They will conveniently be in one place. You will not have to travel allover Europe to meet several women. You may also visit our office inKiev Ukraine and be directly introduced to the women of your choice

in our marriage agency.Almost all Russian and UkrainianWomen marriage agencies are of two types. There are National orInternational marriage agencies. National agencies are generally

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Chernigov photos
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Chernigov Restaurants

The culinary geography of Chernigov embraces many countries of the world.Wonderful restaurants of Italian, Russian, Caucasian and even the so-called Sovietcuisine are at your disposal. Do not miss an opportunity to taste traditional Ukrainiancuisine with such hits as varenik (small dough pies with different stuffing), famous

Ukrainian borsch (beet soup) with pampushki (soft rolls soaked in fresh crushedgarlic and oil) and other dishes. Tipping is not mandatory but usually expected inrestaurants. If you believe that the service was good, you can leave some money forthe waiter. Some restaurants put "Service not included" in their menu, and you willhave to pay for the service as much as you consider necessary. Tipping can be 5 to 10% of your total bill. Check your bill before paying. Tipping is not required in fastfood restaurants, cafes, and other places where you order your food at a counter.

Restaurant Druzhba ul. Pyatnitskaya 50 +3804622-35219, 35739


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Restaurant Gradetskij Pr. Mira 68 +3804622-4-91-85, 4-20-25

Restaurant Starij Chernigov Pr. Pobedi 137 +3804622-3-10-56, 3-91-29

Restaurant Hutorok Ul. Rodimtseva 5 +3804622-7-27-74

Restaurant Mayak Ul. Podvalnaya 23

Hotel-restaurant Tureckij Highway E95, 1067 km +3804622-6-98-93

Fast Food Restaurants

With reasonable prices, quick service and versatile menus, offering dishes ofAmerican, Russian and traditional Ukrainian cuisines, the numerous fast foods ofChernigov welcome everybody, who is short of time and wants to have a snack.Citizens and guests to Chernigov can also visit Quick and Casual restaurants, whichcombine quick service with food quality and more comfortable seating usually found

only in casual dining restaurants. This restaurant category appeared in Chernigovseveral years ago.

Mc Donalds Central Market Open: 8:00-23:00

Master Cook Prospekt Mira, 51 Open: 8:00-23:00

Chernigov sightseeing


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Youll also want to see the Cathedral of Sts. Boris and Hleb. Built in 1123, its agreat example of the famous Chernigov architecture of the period, and now a

museum.

The Collegium,meanwhile, builtaround 1700, was oneof the first secular

learning establishments in the region. It resembles avertically elongated wedding-cake. The beautiful 18th-century St. CatherinesChurch is also in the Val area, as are someelegant examples of secular architecture suchas the Archbishops House and the Governors

House. But individual buildings aside, theattraction of the Val is more general. Walkingthere is like wandering around a peaceful rusticcollege campus, with the classroom buildings

replaced by precious churches and thesophomores by pious babushkas and monks.Bring a book and sit under a tree for a while,surrounded by the breeze and the ancientsilences. Then stroll over to check out theactually kind of interesting Shevchenkomonument and gaze at the Desna . Then wander back and sit under another tree.Chernigov , indeed, is a good place to visit.

Red Square and Beyond

Chernigovs main street is wide, elegant and dramatic; moreover, tucked away in apark over there behind the theaters, youll find the wee Church of St. Parascene, a12th-13th century jewel built according to both Slavic and Byzantine traditions.


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One more crucial part of Chernigov to visit before you geton the bus back to Kyiv is the Boldiny Mountains , whichare lousy with lovely religious sites. Check out the gravebarrows of the old necropolis: morbid, maybe a little, butpeaceful.

One of Chernigovs best sights is the St. Anthony monasticcave complex. Theres even a whole underground churchdown there. AndTrinity Monasteryis a great exampleof UkrainianBaroque

architecture, and one of the most picturesquereligious spots in the ancient city. Its all

green domes, stretching the churchs purewhite walls heavenward.

Chernigov bars

Tipping is not mandatory but usually expected in restaurants. If you believe that theservice was good, you can leave some money for the waiter. Some restaurants put"Service not included" in their menu, and you will have to pay for the service asmuch as you consider necessary. Tipping can be 5 to 10 % of your total bill. Checkyour bill before paying. Tipping is not required in fast food restaurants, cafes, andother places where you order your food at a counter.

Cafe-bar Inter

Ul. Odincova 9+3804622-3-01-11

Bisness-club FortunaUl. Kievskaya 12+380462-185-767

Bar Valentina

Ul. Getmana Polubotka 68+3804622-3-02-00

Bar Ditinec Ul. Preobragenskaya 18 +3804622-7-35-39

Bar Prohlada Ul. Gorkogo 47 +3804622-7-35-40

Bar Spartak Ul. Gorkogo 5 +3804622-7-48-21


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Chernigov billiards

Bowling-club SvetoforvvUl. Pyatnickaya 50 185-739

Billiards club Drughba Ul. Pyatnickaya 50 185-739

Billiards Mayak Ul. Podvalnaya 237-71-03

Billiards Paradise Pr. Mira 30a 165-508

Billiards Flamingo Pr. Mira 68

Billiards Strelec-53 Ul. Belova 7 95-20-92

Chernigov cafesTipping is not mandatory but usuallyexpected in restaurants. If you believethat the service was good, you canleave some money for the waiter.Some restaurants put "Service notincluded" in their menu, and you will

have to pay for the service as much asyou consider necessary. Tipping canbe 5 to 10 % of your total bill. Checkyour bill before paying. Tipping isnot required in fast food restaurants,cafes, and other places where youorder your food at a counter.Cafe Etualul. Pyatnitskaya 50+380462- 185759

Cafe Nektar Prospekt Pobedy, 83 +3804622-45213

Cafe Mamma Mia Prospekt Mira, 47 Open: 11:00-1:00

Cafe Gusar Ul. Shevchenko 55 +3804622-3-60-50

Cafe Desna Pr. Mira 20 +3804622-7-33-50


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Cafe U pani Irini Ul. Shevchenko 246a +380462-170-148

Cafe Bluz Stroitelnaya 6 +3804622-3-11-23

Cafe Noev Kovcheg Pr. Mira 12 3804622-7-70-68

Cafe Afrodita Ul. Olega Koshevogo 29 +380462-179-331

Cafe Start Ul. Ushinskogo 4 +380462-196-615

Cafe Natali Ul. Shorsa 62d +3804622-7-24-21

Cafe European Pr. Pobedi 21 +380462-165-491

Cafe Kashatn Pr. Mira 38a

Cafe Cosmos Ul. Krasnoarmejskaya 17a +3804622-5-60-33

Cafe Kronverk Ul. Krasnoarmejskaya 8a

Cafe Lakomka Ul. Rokossovskogo 16a +380462-95-27-27

Cafe Margo Pr. Mira 95 +3804622-7-32-65

Cafe Gazel Pr. Mira 257 +3804622-7-32-65

Cafe Getman Pr. Mira 139 +3804622-5-62-85

Cafe Strelec-53 Ul. Belova 7 +380462-95-20-92

Cafe Piceria Ul. Shevchenko 22 +3804622-2-53-15Pr. Mira 42 +3804622-7-39-62

Cafe Primera Crasnaya Ploshad +3804622-7-99-36


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Cafe Randevu Pr. Mira 17 +3804622-7-32-58

Cafe Tamerlan Pr. Mira 139 +3804622-5-31-18

Cafe Skazka Ul. Preobragenskaya 10 +3804622-7-50-21

Cafe Ajgun Ul. Gagarina 21 +3804622-2-00-40

Cafe Merkurij Ul. Dneprovskaya 31 +3804622-2-13-90

Cafe Stil Ul. Gagarina 11 +3804622-2-13-90

Cafe Argo Ul. Kirponosa 40 +3804622-7-47-88

Cafe Grot Ul. Gagarina 2a +380462-163-404

Cafe Ohota Ul. Shevchenko 33a +3804622-4-25-48

Cafe Dionis Ul. Shevchenko 52 +3804622-3-38-91

Cafe King-Do Ul. Getmana Polubotka 68 +3804622-3-22-34

Cafe Svyatoslav Pr. Mira 172 +3804622-5-25-47

Cafe Express-Lux Ul. Getmana Polubotka 68 +3804622-3-22-34

Cafe Cascad Pr. Mira 26\2 +3804622-4-49-69

Chernigov Ukraine internet cafes

Following Europe, Internet cafes are becoming very popular in Ukraine. Chernigovhas a large number of Internet cafes, many of which are open around the clock. Onthe whole, there are about one dozens Internet cafes and clubs in the city. And thisnetwork has been constantly increasing.

The most convenient location is head post office,Prospekt Mira, 28 Open hours: 8:00-23:00. Phone: +380462-135262.

You can also go to several other cafes in the center:


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Internet ul. Kirponosa, 40 +380462-178509

Meridian ul. Kotsyubinskogo, 49a

Discovery Pr. Pobedi 95a k. 503 [email protected]

Sirius Ul. Odincova 17 +3804622-3-16-82

Ukrtelecom Pr. Mira 28 +380462-135-262Ul. Rokossovskogo 33 +380462-135-188

Matrix Pr. Mira 32

Chernigov museums.There are several good museums worth visiting. They are conveniently located in thehistorical center of the city, the Val. Historical Museumul. Gorkogo, 4+3804622-72650, 42336, 39040

The collection of antiques will give you a better understanding of Slavonic cultureand the history of Ukraine in general and Chernigov in particular.

Art Museum ul. Gorkogo, 6 +3804622-72715, 70006, 74616

Some very good paintings of European and Ukrainian artists are offered for display.

Gallery Plast-Art ul. Gorkogo 6

Museum of folk decorative art

Ekaterinenskaya church

Literary-memorial museum ul. Kocubinsky 3 4-04-59

Military-historical museum ul. Shevchenko 55a 3-90-40

UKRANIAN PAINTINGS STOLEN During WW IIWORLD WAR II RESTITUTION CASES


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This list is based on publicly available information and is not intendedto be exhaustive.

I. United States Museums World War II ClaimsResolved

1.Institution: Wadsworth Athenaeum, Hartford, ConnecticutWork of Art: The Bath of Bathsheba, Jacopo Zucchi Date: 1998

Settlement: The painting was taken from an Italian Embassy during orimmediatelyafter the Second World War. The Wadsworth Athenaeum bought it in1965 from a Parisian art dealerwho had a license from the Louvre toexport the work. The Italian government claimed the painting soonafterthe acquisition, but was unable to provide definitive proof ofownershipuntil 1983. Due to changes in the Italian government and museumleadership, it took approximately twelve years to work out a finalagreement. Italy and the museum agreed that the painting would bereturned to the Italian government in exchange for an extensiveexhibition

from the Galleria Nazionale to the Athenaeum. The exhibition, whichincluded works never before seen in the US, took place in 1998. The

painting is now in Italy.

2.Institution: Art Institute of ChicagoWork of Art: Bust of a Youth, ca. 1630, by Francesco Mochi Date:June 2000Settlement: The Art Institute of Chicago paid the heirs of Mr. Gentilidi Giuseppe for a partial interest of the marble bust and accepted theremaining partial interest as a donation from the heirs. Mr. diGiuseppe, who died of natural causes in 1940, was a Jewish resident ofFrance whose art collection was sold at public auction under order ofthe French Court after his death. See I.5, infra.

3. Institution: North Carolina Museum of Art, Raleigh

Work of Art: Madonna and Child in a Landscape, 16th century,Lucas Cranach the Elder Date:June 2000Settlement: The North Carolina Museum of Art paid Cornelia andMarianne Hainisch


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of Austria $600,000 for the painting. The claimants are the great-nieces of Viennese industrialist Philipp von Gromperz, from whom the

Nazis looted the painting on October 29, 1940.

4. Institution: Seattle Art Museum Work of Art: Odalisque, 1928,

Henri MatisseDate: October 12, 2000Settlement: The Seattle Art Museum (SAM) returned the painting tothe heirs of PaulRosenberg. The museum determined that in 1941 the painting wasstolen from a vault where Rosenberg had stored 162 paintings.Knoedler 2 & Co. acquired the work in 1954 from Galerie Drouant-

David, Paris, and sold it to Prentice and Virginia Bloedel. TheBloedels donated it to SAM in 1991. The museum later sued Knoedler& Co., contending that the gallery did not have clear title to the

painting and fraudulently ornegligently misrepresented the painting's provenance. The action wasdismissed, but later reinstated --with Knoedler's costs assessed againstSAM --when SAM acquired assignments of rights from the Bloedelfamily. Knoedler & Co. and SAM announced a settlement in October

2000 under the terms of which Knoedler agreed to transfer to SAMone or more works of art to be selected by the museum fromKnoedler's holdings, or the equivalent value in cash.

5. Institution: Museum of Fine Arts, BostonWork of Art: Adoration of the Magi, ca. 1725, Corrado GiaquintoDate:

October 19, 2000Settlement: The Museum of Fine Arts, Boston paid the heirs of Mr.Gentili diGiuseppe for a partial interest of the painting and accepted theremaining

partial interest as a donation from the heirs. Mr. di Giuseppe, who diedofnatural causes in 1940, was a Jewish resident of France whose art

collection was sold at public auction under order of the French Courtafterhis death. See I.2, supra.


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6. Institution: DenverMuseum of Art Work of Art: The Letter, 17thcentury, School of Gerard TerborchDate: November 8, 2000Settlement: The Denver Museum of Art returned the painting toMarianne Rosson, the

sell the painting in 1934 and subsequently died in a concentrationcamp.The museum acquired the painting by donation in 1961.

7. Institution: National Gallery of Art, Washington, D.C.Work of Art: Still Life with Fruit and Game, ca. 1615-20, FransSnydersDate: November 20, 2000Settlement: The National Gallery returned the painting to anauthorized representativethrough the NGA's web site. The painting was confiscated from theSterncollection in Paris by the Nazis and traded by Goering to Haberstock.

8. Institution: The Art Institute of ChicagoWork of Art: Rock at Hautepierre, 1869, Gustave CourbetDate: May 14, 2001

Settlement: The claim was pursued by Gerta Silberberg of England,the daughter-in-law and last remaining heir of Max Silberberg of Breslau, who sold thepainting in Berlin at Galerie Paul Graupe on March 23, 1935. Ms.Silberberg alleged that the picture was included in a forced sale of herfather-in-law's collection. After extensive research --which the ArtInstitute has made available to the public-- Ms. Silberberg and the ArtInstitute reached an undisclosed settlement pursuant to which the

museum will retain title to and possession of the picture.

9. Institution: Princeton University Art MuseumWork of Art: St. Bartholomew, Bernardino PinturicchioDate: June 2001Settlement: The Princeton museum, along with the dealer who soldthe painting to themuseum, agreed to pay the fair market value of the painting to the

heirsof Gentili di Giuseppe. Princeton University Art Museum retains thepicture. Mr. di Giuseppe, who died of natural causes in 1940, was aJewish resident of France whose art collection was sold at public


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auctionunder order of the French Court after his death.

10. Institution: Springfield Library and Museum AssociationWork of Art: Spring Sowing, Jacopo da Ponte

Date: June 2001Settlement: The Springfield, Massachusetts museum returned thepainting, which hadFlorence to the Italian Embassy in Warsaw. In 2003, the museumsuedKnoedler Gallery, from which it had acquired the picture in 1955,seekingmoney damages for various claims, including breach of contract andbreach of implied warranty. Knoedler has moved for judgment on thepleadings, based on the applicable statute of limitations.

11. Museum:Metropolitan Museum of ArtWork: The Garden of Monet's House in Argenteuil, Claude MonetDate: August 22, 2001Settlement: Henry H. Newman, a resident of France, made a claim in1997 for thepainting, which had been purchased in 1916 by his grandfather, Henry

Percy Newman of Hamburg, Germany, and placed in a Berlin bankvaultfor safekeeping in 1940. The claimant's father, who was then servinginthe German Army, inherited the work during the Second World War.Howand when the picture was removed from the bank vault remainsuncertain, but the claimant alleged that it was taken during the Soviet

occupation of Berlin in 1945.The painting was purchased in good faithfrom a New York dealer in 1952 and given to the museum in 1994.Pursuant to the settlement, the museum will pay an undisclosedamountto the claimant, who gave up all claims to the painting.

12. Institution: Yale University Art GalleryWork of Art: Le Grand Pont, Gustave Courbet

Date:October 23, 2001Settlement: Eric Weinmann, of Washington, D.C., and his sister andnephew asserteda claim in October 2000 stating that Mr. Weinmann's mother, a Czech


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Jew who lived in Berlin, purchased the painting in 1935 withoutknowingthat its prior owner was Max Silberberg, a German Jew who wasforced tosell his collection. The Weinmann family fled Berlin for Britain in 1938,

leaving behind most of their possessions, including this painting. Itwasacquired in 1938 by Herbert Schaefer, a German who had joined theNazi Party in 1937. Dr. Schaefer loaned the painting to the YaleUniversity ArtGallery in 1980. Dr. Schaefer has 47 other works of art on loan toYale.Under the terms of the settlement, Dr. Schaefer donated his entireownership interest in Le Grand Pont to Yale, which will loan thepicture toMr. Weinmann for a maximum of ten years. After the end of the loanperiod, the picture will return to Yale for good.

13. Institution: Vizcaya Museum and Gardens, FloridaWork of Art: The Holy Trinity Seat of Mercy, 16thcentury, Georg PenczDate: December 13, 2001

Settlement: Mr. Claire Mendel, the Honorary German Consul in Miami,purchased theof Miami in 1976. The picture was transferred to Vizcaya Museum andGardens in 1981. In early 2001, the curator of the National Museum inWarsaw studied the painting Miami and presented documentationindicating that it had disappeared from the National Museum duringWorldWar II. In July 2001, the National Museum submitted a formal

restitutionclaim for the painting. On December 13, the Miami-Dade CountyCommission authorized the Vizcaya Museum to return The HolyTrinity-Seat of Mercy to the National Museum.

14. Institution: The Menil Collection, Houston, TexasWork of Art: Brook with Aloes, 1907, by Henri Matisse

Date: January 23, 2002Status:The claim was being pursued by Francis Warin of Paris on behalf ofThe


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Association in Memory of Alphonse Kann, which asserted that thepicturehad been taken from the Kann collection when the Nazis occupiedFrance. The Menil Collection conducted extensive provenanceresearch,

which was inconclusive about the picture's whereabouts between1940-1946. The terms of the settlement are confidential, but the pictureremains in Houston at the Menil Collection. The Menil has madeavailable to the public the information gathered in their provenanceresearch.

15. Institution: Los Angeles County Museum of ArtWork of Art: Persian or Mughal textile canopy, Late MedievalDate: March 6, 2002Settlement: LACMA purchased the work from a Los Angeles textiledealer in 1971. InJanuary 2001, a trustee of the Czartorysky Foundation inquired aboutatextile looted from the Foundation during World War II. Research inLosAngeles and Poland determined that the textile at LAMCA was the

sameas the one looted from the Polish foundation and LACMA's board oftrustees approved the return of the tapestry to the Prince CzartoryskiFoundation Museum in Krakow, Poland in March 2002.

16. Institution: Detroit Institute of ArtsWork of Art: A Man o' War and Other Ships off the Dutch Coast, 1692,by Ludolf

BackhuysenDate: September 2002Settlement: DIA brought the picture to Detroit to consider foracquisition. The paintingwas not registered with the Art Loss Register (ALR), but subsequentresearch determined that it had been left in an Amsterdam bank vaultbya Jewish collector when he left the Netherlands in 1942. The bank's

Jewish-owned assets were later turned over to a Nazi-controlledentity.In October 1942, the picture was sold to Kajetan Mahlmann, aprominent


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figure in Nazi looting of Poland and the Netherlands. The DIA, theEnglish gallery from whom it was buying the picture, and ALRnegotiatedthe sale of the picture from heirs of the pre-war owner. (In announcingthe settlement, the DIA noted that it had previously settled a World

War IIlooted art case: upon discovering that a painting in its possession, TheSeine at Asnieres, by Claude Monet, had been stolen during the war,theDIA located the rightful owners and returned the picture to them in1950.)

17. Institution: Metropolitan Museum of Art (loan)

Work of Art: Mt. Sinai, by El GrecoDate: January 2004Settlement: Shortly before the museum planned to ship the pictureafter the end of itsEl Greco exhibition, it learned that a Swiss man had filed in state court(but not served on the Museum) a request for a temporary restrainingorder action barring the museum from moving the painting out of NewYork State. The court denied the motion and the picture was returned

tothe lender, the Heraklion Foundation in Crete.

18. Institution: Utah Museum of Fine ArtsWork of Art: Les Amoureaux Jeunes, 18th century, by FrancoisBoucherDate: March 2004

Settlement: While compiling information for a book on HermannGoering's collection,Nancy Yeide of the National Gallery of Art discovered at a Salt LakeCitymuseum a Boucher painting that had been looted from the collection ofthe French art dealer Andre Jean Seligmann. The painting, listed asstolen in 1946, was acquired at a New York gallery in 1972 by acollector

who donated it to the Utah museum in 1993. After extensiveprovenanceresearch with the assistance of the Art Loss Register, the museum


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agreed to restitute the picture to Claude Delibes and Suzanne GeissRobbins, Seligmann's heirs.

19. Institution: Virginia Museum of Fine ArtsWork of Art: Portrait of Jean d'Albon, 16th century, by Corneille de

LyonDate: August 2004Settlement: The trustees of the Virginia Museum of Fine Arts inRichmondunanimously voted to deaccession this small oil on panel and return ittoKurt Schindler, a resident of the United Kingdom. Mr. Schindler is the

sole heir of an Austrian collector named Julius Priester, who emigratedtoMexico in 1938. The Gestapo seized Mr. Priester's collection duringthewar. An American collector purchased the picture from NewhouseGallery in New York in 1949 and donated it to the museum in 1950.TheHolocaust Claims Processing Office of the New York State Banking

Department assisted Mr. Schindler in presenting his claim.

20. Institution: San Diego Museum of ArtWork of Art: Allegory of Eternity, ca. 1625-1630, by Peter PaulRubensDate: May 2004

Settlement: After several years of research and discussions, the SanDiego Museumof Art reached an agreement that will allow a Rubens oil painting toremain in its collection. The work had been in the Galerie Van DiemeninBerlin when that gallery's inventory was liquidated by order of the

NaziGovernment in 1935. Galerie Van Diemen was owned by Jakob and

Rosa Oppenheimer, who left Germany for France in 1933. JakobOppenheimer died in France in 1941; Rosa was deported and died atAuschwitz in 1943. The picture passed in commerce to various


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owners,before appearing in the United States, where it was exhibited at the1940

New York World's Fair. The picture was given to the San DiegoMuseum

in 1947.

21. Institution: Virginia Museum of Fine ArtsWork of Art: Portrait of a Courtier, 16th century, by Jan MostaertDate: September 22, 2005Settlement: The Czartoryski family collection in Poland transferredthis small oil on

panel from the Goluch Castle Museum to safekeeping in Warsaw in1939. The Nazis located and seized it in 1941, and moved it to thecastleof Fischhorn in Austria after the 1944 Warsaw uprising. NewhouseGalleries in New York sold the portrait in 1948 to a collector who gaveitto the Virginia Museum of Fine Arts the following year. The museumdiscovered these facts while conducting provenance research on its

collection and turned the picture over to the Polish Embassy on behalfofAdam Count Zamoyski, the representative of the rightful owners'descendants. The family later deposited the painting in the PrincesCzartoryski Museum in Krakow, Poland.

22. Institution: Kimbell Art Museum

Work of Art: Glaucus and Scylla, 1841, by J.M.W. TurnerDate: June 6, 2006Settlement: The Kimbell Art Museum in Fort Worth returned thissignificant oil paintingJaff, a Jewish collector in Nice, France, owned the picture from 1902until his death in 1933. He bequeathed it to his wife, who remained inFrance until her death in March 1942. Anna Jaff's will left her

property,

including Glaucus and Scylla, to three nephews and a niece. The VichyGovernment, however, seized the contents of Mrs. Jaff's home,including the painting and other works of art, and sold it at an auction


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ofJewish property in July 1943. Although its whereabouts between1943and 1956 are uncertain, the painting was in various hands in France,Britain, and the United States from 1956 to 1966, when Newhouse

Galleries in New York sold it to the Kimbell. Mr. Monteagle presentedhisevidence of ownership to the Kimbell, which agreed that the Jaff'sheirshad good title, and returned the painting to Mr. Monteagle on their

behalf.

II. United States Museums World War II Claims Pending1. Institution: Museum of Fine Arts, BostonWork of Art: Landscape with Burning City, ca. 1500, Henri met de BlesStatus:The painting was once in the collection of Franz Koenigs, a Christianbanker who died in May 1941 in Cologne, Germany. Franz Koenigsusedthe pictures as collateral in 1931 and 1935 loan agreements with theJewish-owned Dutch bank Lisser & Rosenkranz. Koenigs was unabletorepay the loans when the bank went into liquidation in April 1940. Thebank appears to have owned Koenig's drawings and paintings byearlyMay 1940, just before the Nazi occupation of the Netherlands. Mr.Koenigs's granddaughter, Christine Koenigs, claims that hergrandfatherwas forced by the Nazi rise to power and the imminence of war to sell

thisand many other works he owned at far less than fair value. InDecember2003, the Dutch Government issued an extensive report concludingthatKoenigs voluntarily sold the collection in order to satisfy his loanobligation. The Museum of Fine Arts remains in possession of thepicture, though it does not assert title. See IV.21, infra.

2. Institutions: Metropolitan Museum of Art; Art Institute of Chicago;Cleveland Museumof Art; Museum of Fine Arts, Boston; National Gallery of Art,


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Washington,D.C.; Nelson-Atkins Museum, Kansas City; Pierpont Morgan Library;Barber Institute of Fine Arts of the University of Birmingham,England;Boijmans van Beuningen Museum, Rotterdam; the British Museum;

Courthauld Institute of Art, London; and the National Gallery ofCanada.Works of Art: Drawings by Albrecht and his schoolStatus:In an unusually complex matter, a dozen European, American, andCanadian museums face claims to drawings by Albrecht and hisschool from The Lviv Stefanyk Scientific Library in Lviv, Ukraine and

theOssolinski Institute in Wroclaw, Poland.In 1823, a Polish aristocrat named Prince Henryk Lubomirskiannouncedhis intention to create the Lubomirski Museum as part of theOssolinski

National Institute, a Polish cultural center in what is now Lviv,Ukraine.

The museum was created in 1866 and the drawings were placed therepursuant to agreements signed by Prince Henryk and his son. Theagreements were intended to maintain hereditary ownership of thedrawings.When the Lubomirski Museum was founded in 1866, Lviv (thenknown by its German name, Lemberg) was part of the Austro-Hungarian Empire.

The city (then called Lwow) became part of Poland after World War I.When Soviet troops invaded eastern Poland in 1939, Lviv became partofthe Ukranian Soviet Socialist Republic. The Nazis invaded the area in1941, occupied Lviv, and removed the drawings from the LubomirskiMuseum. The drawings were sent to Hitler's headquarters in EastPrussia and later were stored in a salt mine at Alt Aussee, Austria. TheAllies recovered the drawings from the mine in 1945 and transferred

themto the Munich Collecting Point. In 1947, Prince George Lubomirski, arefugee in Switzerland and heir tothe hereditary estate of Prince Henryk, claimed the drawings. Neither


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Poland nor the Soviet Union made a claim at that time. After extensivestudy by the State Department and the Office of Military Governmentforthe United States, the drawings were returned to Prince Lubomirski in1950, who later sold the drawings through dealers in New York and

London.Representatives of the twelve institutions now holding the drawingsmet in

New York in December 2001 to discuss claims asserted by UkraineandPoland. The museums have offered to meet with Polishrepresentatives.

Without addressing the validity of the claims, the U.S. StateDepartmenthas reviewed its 1950 decision to restitute the drawings to PrinceLubomirski as the rightful owner, and has concluded that its "prudent"decision was processed "with due diligence, deliberation, and care."

3. Institution: The Museum of Modern Art (loan)Work of Art: Dead City III, 1911, and Portrait of Wally, 1912, Egon

SchieleDate:New York State action: commenced January 7, 1998, resolvedSeptember 21, 1999; federal action: commenced September 21, 1999Status:Not yet resolved. While on loan to MoMA with approximately 150otherworks by Egon Schiele from the Leopold Foundation in Vienna, twoseparate families asserted claims for the paintings, claiming that Nazis

had wrongfully taken them before or during the Second World War.Citing obligations to the lender and concern for the future of art loansifinstitutions arrogate authority to resolve claims to borrowed art, themuseum declined to turn over the paintings to the claimants. The NewYork District Attorney issued a subpoena duces tecum for thepictures. InSeptember 1999, the New York State Court of Appeals quashed the

subpoena based upon state law protecting out-of-state art loaned fornon-profit exhibition, permitting the works to be returned to the lender.Dead


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City III was returned to Austria. U.S. Customs then seized Portrait ofWally, and the U.S. Attorney for theSouthern District of New York commenced a forfeiture action. TheDistrict Court dismissed the action in July 2000, on the ground that thepicture had ceased to be "stolen" property when the U.S. military

recovered it after World War II. At the end of 2000, however, the Courtgranted the government leave to file a Third Amended Complaint. InApril2002, the Court reversed its previous dismissal and denied motions todismiss the renewed action, allowing the forfeiture action to proceed.Notrial date has been set. In June 2005, the Leopold Museum moved forsummary judgment. See II.6, infra.

4. Institution: Detroit Institute of ArtsWork of Art: The Diggers, 1889, by Vincent van GoghStatus:Martha Nathan, a member of the Dreyfus banking family, inherited thework from her husband, who died in 1922. In 1930, Mrs. Nathantransferred the painting from her home in Frankfurt am Main to Basel,Switzerland and emigrated to Paris in 1937. While living in Paris, Mrs.

Nathan invited the dealer Georges Wildenstein to view a number ofworksin her collection. Wildenstein and two other Paris art dealers, JustinThannhauser and Alex Ball, purchased the work from her in 1938,alongwith a painting by Gauguin. The price for The Diggers wasapproximately

$9364. Several years later, in 1941, these dealers sold the work to aMichigan collector named Robert Tannahill for $34,000. Mr. Tannahilldonated the painting to the DIA in 1970. Starting in 2004 and insubsequent correspondence and discussions, a group of people

purporting to be Mrs. Nathan's heirs asserted that Mrs. Nathans saleofthe picture was a coerced transaction. After several years of researchand discussion, DIA declined the demand that it either surrender the

painting to them or compensate the heirs for their loss. In January2006,DIA brought an action in U.S. District Court for the Eastern District ofMichigan to quiet title and for declaratory judgment that the heirs have


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novalid claim to the work. See II.5, infra.

5.Institution: Toledo Museum of ArtWork of Art: Street Scene in Tahiti, 1891, by Paul Gauguin

Status:Martha Nathan, a member of the Dreyfus banking family, inherited thework from her husband, who died in 1922. In 1930, Mrs. Nathantransferred the painting from her home in Frankfurt am Main to Basel,Switzerland. Mrs. Nathan emigrated to Paris in 1937. While living inParis, Mrs. Nathan invited Georges Wildenstein to view a number ofworks in her collection. Wildenstein and two other Paris art dealers,Justin Thannhauser and Alex Ball, ultimately purchased the work from

herin 1938, along with a painting by Gauguin. The price for Street SceneinTahiti was approximately $6865. A few months later, in 1939, thesedealers sold the work to the Toledo Museum of Art for $25,000.Startingin 2004 and in subsequent correspondence and discussions, a groupof

people purporting to be Mrs. Nathan's heirs asserted that Mrs.Nathan'ssale of the picture was a coerced transaction. After several years ofresearch and discussion, TMA declined the demand that it eithersurrender the painting to them or compensate the heirs for their loss.InJanuary 2006, TMA brought an action in U.S. District Court for theEastern District of Michigan to quiet title and for declaratory judgmentthatthe heirs have no valid claim to the work. See II.4, supra.

6. Institution: Allen Memorial Art Museum, Art Institute of Chicago,Carnegie Museumof Art, Indiana University, Museum of Modern Art, Neue Galerie,PierpontMorgan Library

Work of Art: Drawings by Egon SchieleStatus:Begun in 2005 as an action by David Bakalar, a Massachusetts ownerof


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a Schiele drawing, asking a federal court in Manhattan to declare thathehas good title after his proposed sale through Sotheby's London waschallenged by two men purporting to be Grunbaum heirs. Claimants,defendants in the original action, seek to certify a defendant class of

institutions, individuals and other entities. The action involves worksbyEgon Schiele alleged to have been in the collection of Fritz Grunbaum,anAustrian cabaret performer who was killed by the Nazis during theSecond World War. Bakalar's picture has a provenance similar toLeopold

Museum's Dead City III, which was the subject of considerablelitigation in1998-99, in that it was sold by Mathilde Lukacs, Grunbaum's sister-in-law,in Bern in 1956. Claimants assert that Mathilde Lukacs did not sell orconsign the pictures to the Bern dealer. They propose that the pictureswere placed in storage after Grunbaum's property was aryanized, andthat Lukacs could never have taken possession of them. They reject as

forgeries copies of contemporaneous correspondence between Lukacsand the Swiss dealer. Further, they allege that, even if Lukacssomehowmanaged to get possession of the Grunbaum pictures, she had no righttosell them, and doing so made her a thief. Bakalar has asked the court todismiss the action on the equitable doctrine of laches: all of the

relevantfacts have been public knowledge for many years, yet the claimantsdidnothing to assert their rights, and their delay in doing so has worked tohisdetriment because people with knowledge of the facts have died, andevidence is no longer available. Bakalar's motion is pending, as is theclaimants' motion for class certification.

III. United States Non-Museum


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1. Individual:Daniel C. SearleWork of Art: Landscape with Smokestacks, by Edgar DegasDate: August 1998Settlement: The picture was owned by Mr. Searle, who transferred half

of hisownership interest to the Art Institute of Chicago and half to claimantsLiliVera Collas Gutmann and her nephews, Nick and Simon Goodman,thedaughter and grandsons, respectively, of Holocaust victims namedFriedrich and Louise Gutmann. Claimants alleged that the Nazis had

taken the picture from their relatives. The Art Institute agreed to payhalfthe fair market value of the pastel to the claimants in order to obtaincomplete ownership. The value of the pastel was established by usingthe average of two independent appraisals.

2. Individual: MarilynnAlsdorf

Work of Art: Femme en blanc, 1922, by Pablo PicassoDate: August 2005Settlement: The pre-war owner, Carlota Landsberg, sent this 1922Picasso oil painting1939. The painting was apparently stolen from Thannhauser after theGermans occupied Paris and was listed in the 1947 list of wartime artlosses in France, the Repertoire des Biens Spolies En France Durant La

Guerre 1939-1945. By 1941, Mrs. Landsberg and her daughter werelocated in New York. In 1969, with her recovery efforts unavailing,Mrs.Landsberg received restitution from the German government for the

painting in the amount of 100,000 Deutsch marks. The provenanceproblem surfaced when Marilynn Alsdorf, a major art collector andpatron ofthe Art Institute of Chicago who bought the picture from a New York

dealerin 1975, sent it to a Los Angeles gallery in 2001. (Mrs. Alsdorf'shusband,the late Mr. James Alsdorf, was a board member of IFAR, whose


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stolen artdatabase is now included in the Art Loss Register.) A prospective

buyer inFrance checked with the Art Loss Register, which discovered first theinvolvement of Thannhauser and then Mrs. Landsberg's ownership.

TheArt Loss Register located Mrs. Landsberg's grandson, ThomasBennigson,in California and notified him of his potential claim. Mr. Bennigson

broughtan action in state court in California to recover the picture afterdiscussions

between Mrs. Alsdorf and the Art Loss Register failed to resolve thematter.The painting was returned to Chicago just before Mr. Bennigsonobtained acourt order barring its removal from California, and Mrs. Alsdorfmoved todismiss the action for lack of personal jurisdiction. The jurisdictionalquestion, as well as Mrs. Alsdorf's action for declaratory judgment and

toquiet title in the U.S. District Court for the Northern District of Illinois,andthe forfeiture proceeding brought by the United States Attorney for theCentral District of California against Femme en blanc (on the theorythat byreturning the picture to her home in Illinois, Mrs. Alsdorf knowingly

transported stolen property across state lines and in so doing hadviolatedthe National Stolen Property Act, subjecting the property to forfeiture)havenow been resolved by Mrs. Alsdorf's agreement in August 2005 to payMr.Bennigson $6.5 million to settle the matter. See III.3, infra.

3. Individual: StephenHahnWorks of Art: Femme en blanc, 1922, by Pablo Picasso and Rue St.-Honor


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Midi, Effet de Pluie, 1897, by Camille PissarroStatus:Alleging that defendant's art gallery sold Nazi-looted paintings byPicassoand Pissarro in the 1970s, plaintiffs asked a California court to

impose aconstructive trust in order to avoid unjust enrichment from thewrongfulsale of property belonging to another. In a decision on certain

proceduralmatters, the court found that the facts as alleged permit the plaintiffs to

plead a constructive trust. The court also held that while California's

statute of limitations for some Holocaust-related claims does not allowimposition of a constructive trust, the claim accrued in California andthenormal limitation period of three years from discovery of the locationofstolen property applies, so the claim is not time-barred. Defendantmoved for reconsideration in February 2004, in part on the basis thatthe

Pissarro claim is time-barred because Cassirer discovered the locationofthe work by 2000, more than three years before bringing this suit; andin

part on the theory that the court applied the wrong California limitationstatute. This action is related to two separate lawsuits involving thecurrent owners of these works See III.2, supra, and IV.16, infra.

4. Individual: AnonymousWork of Art: The Liberation of Saint Peter from Prison, attributed toRembrandt van Rijn Date: November 30, 2004Resolution: The drawing was looted from the home of Dr. and Mrs.Arthur Feldmanwhen Nazi Germany annexed Czechoslovakia on March 15, 1939.

Neither Dr. Feldman nor Mrs. Feldman survived the war; he died of

abuseat the hands of the Nazis and she died at Auschwitz. The drawing wasreturned to the Feldman's heirs by an American family who had

purchased the work in good faith and later contacted the International


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Foundation for Art Research in New York in 2002 when they learnedthatit might have belonged to the Feldmans. After extensive research, andwith the cooperation of the Commission for Looted Art in London, theAmerican owners, who wish to remain anonymous, returned the

drawingto the Feldman heirs. See IV.10 and IV.15, infra.

5. Individual: ElizabethTaylorWork of Art: View of the Asylum and Chapel at Saint-Remy, 1889,Vincent van Gogh

Date: February 2, 2005Resolution: A German woman named Magarette Mauthner bought thepicture in1914. She and her family left Germany for South Africa in1939. The

picture's whereabouts during the war years is not certain: there areindications that Mauthner sold it in 1925 and that the purchaser himselffled Germany to Switzerland in or around 1933. The actress ElizabethTaylor bought the painting at auction in 1963 for $257,000. The U.S.

District Court for the Central District of California dismissed theMauthnerheirs attempt to recover the work, ruling that their claim was time-

barred.The court found that California's statute of limitations for recovery ofartlost during the Holocaust era art did not apply because the claim was

against an individual, not a gallery or museum, as the statute requires.The court also found that no discovery rule applied, so the three-yearlimitation period began when Ms. Taylor acquired the picture in 1963.Even if a discovery rule applied, the court said, plaintiffs failed toexerciseany diligence in attempting to locate the painting, and Ms. Taylor'sownership was common knowledge and easily discovered. The courtdeclined to recognize a new cause of action under either federal or

statelaw for the recovery of art alleged to have been misappropriated duringthe Nazi period.


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6. Individual: AnonymousWork of Art: Three 19th century outdoor scenes by Heinrich BuerkelDate: February 10, 2006Resolution: Three paintings, collectively worth an estimated $125,000,were part of a group of fifty pictures owned by a municipal museum in

Pirmasens,Germany that disappeared from an air raid shelter as the U.S. Armyarrived in 1945. Though it is unclear how the works arrived in theUnitedStates, they were acquired by a New Jersey man in the 1960's and later

bequeathed to his daughter. Museum officials identified the paintingswhen they were offered for auction in Pennsylvania in the fall of 2005.

The U.S. Ambassador to Germany returned the paintings to thePirmasens Museum in February 2006.

IV. Foreign Museums/GovernmentsWorld War II Claims

1. Institution: Republic of AustriaWork of Art: 250 objects, including paintings, drawings, furniture,carpets, weapons

and coinsDate: February, 1999Settlement: The government of Austria returned 250 works of art to theViennese

branch of the Rothschild family, which had been held by Austrianmuseums. In March 1938, Nazis took possession of art, furniture anddecorative objects belonging to Barons Alphonse and Louis

Rothschild.In 1947, Alphonse Rothschild's widow - who was then living in NewYork -located and tried to export a portion of the collection, but was forced todonate some of the objects to Austrian museums in order to obtain thenecessary export approvals. An Austrian panel charged with restitutingwrongfully retained art from national museums to their rightful ownersdetermined that the art was wrongly held by Austria, and returned a

substantial collection of material to the family in 1998. On July 8,1999


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the Rothschild family sold most of the recovered objects throughChristie's in London for $88.2 million.

2. Institution: Berlin National GalleryWork of Art: Olivette, 1889, Vincent Van Gogh

Date: June 1999Settlement: The drawing was returned to Gerta Silberberg, whosefather-in-law, Maxsold the painting at auction between 1933-1938. After recovering thedrawing, Mrs. Silberberg sold it at auction at Sotheby's. See I.8, supra,and IV.3, infra.

3. Institution: Israel Museum

Work of Art: Boulevard Montmartre: Spring, 1897, Camille PissarroDate: February 2000Settlement: The painting was returned to Gerta Silberberg, whosefather-in-law, Maxsold the painting at auction in 1935. Mrs. Silberberg has agreed to along-term loan of the painting to the museum, where it will hang withwalltext explaining the painting's provenance and history. See I.8 and IV.2,supra.

4. Institution: Sprengel Museum, Hanover Germany/City of Hanover,GermanyWork of Art: Oil painting, Lovis CorinthDate: September 2000Settlement: The painting was returned to the heirs of Gustave and

Clare Kirstein. Mr.suicide in 1939 after the Nazis confiscated her passport a day beforeshewas to emigrate to the United States. This painting, along with the restofher collection, was seized and auctioned by the Nazis. It was recovered

by the Commission for Art Recovery. The heirs of Mr. and Mrs.Kirsteinauctioned the painting and split the proceeds. See IV.5, infra.


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5. Institution: Museum of Plastic Arts, Leipzig/City of Leipzig,GermanyWork of Art: More than 80 works of art (mostly drawings and prints

by Max Klinger)Date: September 2000

Settlement: The collection was returned to the heirs of Gustav andClare Kirstein.Mr. Kirstein died in 1934 and left his collection to his wife, whocommittedsuicide in 1939 after the Nazis confiscated her passport a day beforeshewas to emigrate to the United States. This collection was seized and

auctioned off by the Nazis. It was recovered by the Commission forArtRecovery. Mr. and Mrs. Kirstein's heirs auctioned the painting andsplitthe proceeds. See IV.4, supra.

6. Institution: National Gallery, BerlinWork of Art: Olevano, 1927, Alexander Kanoldt

Date: January 2001Settlement: The National Gallery, Berlin returned the painting to theheirs of Dr. Ismar Littmann, an attorney and art collector who lived inPoland before WorldWar II. Dr. Littmann committed suicide in 1934. Part of his collectionwassold at auction and some was confiscated by the Nazis. An art dealer

bought Olevano at Max Pearl Auction House in Berlin in 1935. TheMunicipality of Berlin bought Olevano in 1950 and donated it to theNational Gallery, Berlin in 1951. The painting was recovered as part ofasettlement arranged by the Holocaust Claims Processing Office of the

New York State Banking Department. See IV.18, infra.

7. Institution: Museum of Modern and Contemporary Art, Strasbourg

Work of Art: Die Erfuellung (Fulfillment), 1909, by Gustav KlimtDate: January 2001Settlement: The government of France ordered the Museum of Modern


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andContemporary Art in Strasbourg to return the painting to the childrenofKarl Grunwald. Mr. Grunwald's collection was confiscated andauctioned

by the Nazis in 1942 and 1943. An association representing themuseum

purchased the painting in 1959 from a local painter.

8. Institution: Tate Gallery, EnglandWork of Art: View of Hampton Court Palace, 1710, by Jan Griffier theElder

Date: January 18, 2001Settlement: Based upon a determination by the Spoliation AdvisoryBoard, the Britishin order to retain the painting. The Tate also agreed to acknowledge thework's wartime provenance on its wall label. While residing inBelgium,the family was forced to sell the painting to flee the Nazis. The TateGallery purchased the painting in Cologne in 1961.

9. Institution: Kiyomizu Sannenzka Museum, KyotoWork of Art: Deserted Square of an Exotic Town, 1921, by Paul Klee15Date: February 2001Settlement: In exchange for a symbolic payment the museum returnedthis

watercolor to Jen Lissitzky, the son of Russian avant-garde artist ElLissitzky. Sophie Lissitzky had loaned the picture, amongothers, to the Provinzial museum in Hanover in 1926, just before sheleftfor Russia to marry El Lissitzky. The Nazis seized the Lissitzkycollection as degenerate art in 1937, and later sold it. See IV.12, infra.

10. Institution: MoravianGallery,Brno


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Work of Art: 135 Old Master drawingsDate: April 2002Settlement: A museum in the Czech Republic returned 135 drawings tothe heirs ofArthur Feldman, a Czech lawyer who was arrested soon after the Nazi

invasion of what was then Czechoslovakia. Mr. Feldman died in prisonand his wife died at Auschwitz. His collection was placed in theMoravianMuseum. Family claims for restitution were declined by the formerCommunist regime and later by the successor government, butlegislationenacted in 2000 permitted claims for property stolen by the Nazis. See

III.4, supra, and IV.15, infra.

11. Institution: National Gallery, PragueWork of Art: Le juif au bonnet de fourrure, after RembrandtDate: June 2002Settlement: The Czech Minister of Culture returned to Frenchauthorities a paintinglooted by the Nazis from the collection of Adolphe Schloss in Paris in

1943.

12. Institution: Ernst Beyeler Foundation, BaselWork of Art: Improvisation Number 10, 1910, by Wassily KandinskyDate: July 2002Settlement: The Beyeler Foundation reached a settlement with JenLissitzky, the sonof Russian avant-garde artist El Lissitzky and Sophie Lissitzky,which allowed the museum to retain possession of the painting. Thepicture was one of a collection of thirteen works Sophie loanedto the Provinzial museum in Hannover in 1926, just before she left fortheUSSR to marry El Lissitzky. The Nazi government confiscated thepicturein 1937 in its efforts to eradicate degenerate art. In 1951, Beyelerbought the painting from a German dealer who had acquired it duringthe

war. In 1978, Ms. Lissitsky died in Siberia, where the Sovietgovernment had exiled her. See IV.9, supra.


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13. Institution: Kunsthalle,Emden, GermanyWork of Art: Bauernhof, 1924, by Emil NoldeDate: December 2002Settlement: The Holocaust Claims Processing Office of the New York

State BankingDepartment assisted in the settlement of a claim by heirs of HeinrichandElizabeth Bamberger, the pre-war owners of a painting by GermanExpressionist Emil Nolde. Mrs. Bamberger, a widow, left the painting

behind when she left Germany on 1940, en route to Ecuador via theUSSR, Manchuria, and Korea. The picture ended up in the possession

ofWilhelm Schumann, a Nazi art dealer, and changed hands severaltimesafter the war before being bequeathed to the Emden Kunsthalle in1984.Under the confidential terms of the settlement, the picture will remaininthe Kunsthalle, where it will be exhibited with provenance information

reflecting the ownership of the Bamberger family.

14. Institution: New Gallery, Linz, AustriaWork of Art: View of Krumau, 1916, by Egon SchieleDate: December 2002Settlement: The Austrian city of Linz agreed to return a landscape byEgon Schiele to

picture after Ms. Hellman left Austria following the Anschluss. AGermancollector named Wolfgang Gurlitt bought the picture at auction in 1942and sold it, along with the rest of his collection, to the city of Linz in1953.

15. Institution: British Museum, LondonWorks of Art: St. Dorothy with the Christ Child, by a follower of Martin

Schongauer;Holy Family, by Niccolo dell'Abbate; Allegory on poetic inspiration withMercury and Apollo, by Nicholas Blakey; and Virgin and Child adoredby


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St. Elizabeth and the infant St. John, by Martin Johann SchmidtDate: April 27, 2006Settlement: The British Museum resolved a 2002 claim to four oldMaster drawingsfrom the collection of Arthur Feldman, a lawyer whose home and

substantial collection of drawings were confiscated by the Nazis afterthe1939 occupation of Czechoslovakia. Neither Feldman nor his wifesurvived the war; he died in prison and she died at Auschwitz. Themuseum bought three of the drawings at auction in 1946 and receivedthefourth by bequest in 1949. The British Museum acknowledged thatevidence provided in support of the claim was detailed and compellingbut a British court ruled in May 2005 that the claim's ethical merit didnotoverride the Museums and Galleries Act, a 1992 statute that prohibitsdeaccessioning, except in narrowly defined categories. The BritishMuseum agreed to make an ex gratia payment of 175,000($312,000) tothe claimant, Uri Peled of Israel, a descendant of Dr. Feldman. Thedrawings will remain at the museum. See III.4 and IV.10, supra.

16. Institution: Thyssen-Bornemisza Museum, MadridWork of Art: Rue St.-Honor Effet de Pluie, 1897, by Camille PissarroStatus:An 84-year-old San Diego man alleged in U.S. District Court in LosAngeles that his grandmother, Lily Neubauer, was forced to surrenderthe

picture to Nazis before leaving Germany for Great Britain in 1939. The

claimant's great-grandfather, Julius Cassirer, apparently bought thepicture from Durand-Ruel, Pissarro's dealer in Paris, soon after it waspainted in 1897. Ms. Neubauer tried to recover the work after the war,and in 1958 accepted 120,000 Deutsche marks from the West Germangovernment in compensation for her loss. The Spanish government,which bought Baron Hans Heinrich Thyssen's collection in 1993 andcreated the Thyssen-Bornemisza Museum, disputes the claim andasserts that it has good title. The museum moved in February 2006 todismiss Mr. Cassirer's complaint on the basis of sovereign immunityandfor lack of personal jurisdiction. See III.3, supra.


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17. Institution: Belvedere Gallery, ViennaWorks of Art: Several oil paintings by Gustav KlimtDate: January 2006Resolution: Maria Altman brought suit in federal court in Los Angelesin 2000, alleging Gallery (part of the Austrian National Gallery). Ms.

Altman alleged that thepictures were taken by the Nazis and coercively obtained by Austria in1948 in an exchange for export permits for other family-owned art.Austria maintained that the pictures are part of the nation's culturalheritage, that Ms. Altman's aunt, Adele Bloch-Bauer, bequeathed the

pictures to Austria when she died in 1925, and that the family'sattorney

acknowledged Austria's ownership of the pictures, in writing, with thefamily's express permission. In 1999, Ms. Altman's claims wererejected

by an Austrian panel charged with restituting wrongfully retained artfromnational museums to their rightful owners. The panel concluded thatcertain valuable artwork should be returned to Ms. Altman, but foundthat

ownership of the Klimt paintings had passed to Austria through thewilland the family's subsequent actions. Ms. Altman abandoned litigationchallenging the outcome in Austrian courts, apparently because of feesimposed by Austrian law upon all civil litigants. In December 2002,the

Ninth Circuit Court of Appeals upheld the district court's denial of

Austria'smotion to dismiss the complaint for lack of jurisdiction. Austriaappealedto the U.S. Supreme Court on the issue whether certain actions before1976 are immune from review by U.S. courts as the acts of a sovereignnation, and whether an exception to that immunity adopted in 1976 intheForeign Sovereign Immunities Act can be applied retroactively. The

courtheld that the usual presumption against retroactive application did notapply to the Foreign Sovereign Immunities Act because, among otherthings, foreign nations were not entitled to rely on the existence of


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immunity for their acts, and concluded that the Act could apply toevents

predating its enactment. The court remanded to the district court forfurther proceedings, including the question whether Ms. Altmanncould

maintain her claim under the expropriation exception of the FSIA. Theparties agreed in May to submit the matter to binding arbitration inAustria, under Austrian law. In January 2006, the three-personarbitration

panel validated Mrs. Altman's claim and directed Austria to return allofthe works to Mrs. Altman. Mrs. Altman and the other heirs later sold

oneof the paintings, Portrait of Adele for $135 million for the NeueGaleriein New York.

18 Institution: Ernst Strassman FoundationWork of Art: La Procession, 1929, Lucien AdrionDate: June 17, 2003

Settlement: The Ernst Strassman Foundation, a German entity,returned the paintingto the heirs of Dr. Ismar Littmann, an attorney and art collector wholivedin Silesia, in what is now Poland. La Procession was sold at auction atMax Pearl Auction House, Berlin, in 1935, though it is not clear how orwhen it came to the collection of Ernst Strassman, a German judgeand

art collector who was active in the resistance to the Nazis. Thepainting'srecovery was arranged by the Holocaust Claims Processing Office oftheNew York State Banking Department, the fourth picture to berestituted tothe Littman heirs. See IV.6 supra.

19. Institution: National Gallery, Ottawa, Ontario, CanadaWork of Art: Le Salon de Madame Aron, by Edouard VuillardDate: Late 2003Settlement: The National Gallery of Canada plans to return a Vuillard


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painting to theLindon family in Paris, subject to proof that the claimants are the

properheirs under French law. The National Gallery had included the picturein

its website identifying works with provenance gaps during the Naziperiod,and had repeatedly contacted the Lindon family about a possible claimtothe painting. Previously, family members had maintained that they hadno claim to the picture, apparently believing that they had sold it in oraround 1940. Additional research, however, turned up German

documents demonstrating that the Nazis had removed the picture fromabank vault while the Lindon family owned it.

20. Institution: Hunt Museum, Limerick, IrelandWork of Art: UnspecifiedStatus: In January 2004, the Simon Wiesenthal Center raised questionsabout

the provenance of works in the collection of the Hunt Museum,allegingthat an Irish couple, the late John and Gertrude Hunt, whose collectionisnow owned by the Hunt Museum, had intimate business relationshipswith notorious dealers in art looted by the Nazis. In response to theassertion, which named neither the allegedly tainted works of art nor

thedealers who provided it, the Hunt Museum appointed a three-memberpanel led by a retired Supreme Court judge to conduct an investigation.All three members resigned in February 2005 over a funding dispute:theIrish government had declined to finance the inquiry, and the panel

believed that accepting funding from the Hunt Museum couldcompromise

their independence. A subsequent investigation produced no evidenceofHunt Museum works having been taken during the Nazi period. The


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museum has placed on its website images and information about all ofthe works in its collection.

21. Institution: Dutch National MuseumsWorks of Art: (a) 19th Century Dutch Landscapes by Koekkoek,

Schelfout and Van Os (b) Fisherman on Horseback, 19th century, byJozef IsralsDate: July 15, 2004Resolution: The Advisory Committee of the Assessment of RestitutionApplicationsrecommended that the Dutch Secretary of State for Culture honor twoclaims

for restitution from the Dutch national collections. These pictures havebeenheld in the custody of the Dutch Government since the late 1940's. See,II.1supra.(a) These landscape paintings, along with others that werenot part of the Advisory Committee's recommendation, disappearedfrom the Amsterdamhome of their pre-war owner, a Jewish art collector and resistancefighter in

1942 who had been imprisoned in the Westerbork concentration campnearthe German border. While interned, the owner sent a postcardexpressing hiswish to bequeath several works of art to his illegitimate son. TheCommitteenoted that the son has no rights as an heir because he was never

formallyrecognized by the father, but found that there was a valid gift. TheAdvisoryCommittee further noted the Dutch Government's intention not toresolverestitution questions from a purely legal perspective, but also to takeintoaccount policy considerati

Documents

Chernigov Guide