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Gurlitt: Status Report

An Art Dealer in Nazi Germany

14 September 2018 to 7 January 2019, Gropius Bau, Berlin

News of the discovery of the so-called ‘Gurlitt cache’ caused an international sensation in November 2013. The 1500 works of art, which the reclusive Cornelius Gurlitt (1932–2014), son of the art dealer Hildebrand Gurlitt (1895–1956), had inherited from his father raised suspicions: had they been looted by the Nazis before and during the Second World War? 

To investigate these suspicions, the German government provided the funding necessary to conduct further research, while Cornelius Gurlitt agreed to restitute any work identified as looted. Thus far, four such works have been returned to the heirs of their rightful owners. Cornelius Gurlitt, who died in May 2014, bequeathed his collection to the Kunstmuseum Bern.

From 14 September 2018 the large scale exhibition Gurlitt: Status Report will be presented at the Gropius Bau. Embedded in a wider historical context, the exhibition is based on the current state of research into the ‘Gurlitt cache’. The exhibition presents a selection of some 250 works, covering a broad spectrum of the history of art, that have been hidden from public view for decades and thematises the provenance of each of the works. Thus, the exhibition sheds light on the complex history of the individual objects and on the fate of the collectors, art dealers and artists – most of them Jewish – who fell victim to the systematic persecution of the Nazi regime.

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Show bibliography
Illustrations
  1. Auguste Rodin (1840–1917), Crouching Woman, ca. 1882, marble, 33.5 x x 27,5 x 18 cm, www.lostart.de/EN/Fund/521802,Kunstmuseum Bern, Bequest of Cornelius Gurlitt 2014, Provenance undergoingbclarification / Currently no indications of beinglooted art ProvenanceAuguste Rodin (1840–1917), Crouching Woman, ca. 1882, marble, 33.5 x x 27,5 x 18 cm , www.lostart.de/EN/Fund/521802, Kunstmuseum Bern, Bequest of Cornelius Gurlitt 2014, Provenance undergoingbclarification / Currently no indications of beinglooted art Provenance
  2. Claude Monet (1840–1926) Waterloo Bridge, 1903Bequest of Cornelius Gurlitt 2014Claude Monet (1840–1926) Waterloo Bridge, 1903, Bequest of Cornelius Gurlitt 2014
  3. Otto Griebel (1895–1972), Hippodrome in St. Pauli, 1923, Watercolour on preliminary sketch with graphite on vellum paper,Kunstmuseum Bern,, Bequest of Cornelius Gurlitt 2014, Provenance undergoing clarification / Currently no indications of being looted artOtto Griebel (1895–1972), Hippodrome in St. Pauli, 1923, Watercolour on preliminary sketch with graphite on vellum paper, Kunstmuseum Bern,, Bequest of Cornelius Gurlitt 2014, Provenance undergoing clarification / Currently no indications of being looted art
  4. Paul Signac (1863–1935), Quai de Clichy, 1887, oil on canvas, www.lostart.de/EN/Fund/532975, Kunstmuseum Bern, Bequest of Cornelius, Gurlitt 2014, Provenance undergoing clarification / Currently no indications of being looted artPaul Signac (1863–1935), Quai de Clichy, 1887, Öl auf Leinwand, www.lostart.de/DE/Fund/532975, Kunstmuseum Bern, Legat Cornelius Gurlitt 2014, Provenienz in Abklärung / aktuell kein Raubkunstverdacht
  5. [Translate to english:] Bernhard Kretzschmar (1889–1972), Streetcar, n. d., Watercolour and China ink on vellum paper, www.lostart.de/EN/Fund/477900,Kunstmuseum Bern, Bequest of Cornelius Gurlitt 2014, Provenance undergoing clarificationBernhard Kretzschmar (1889–1972), Streetcar, n. d., Watercolour and China ink on vellum paper, www.lostart.de/EN/Fund/477900, Kunstmuseum Bern, Bequest of Cornelius Gurlitt 2014, Provenance undergoing clarification
  6. Emil Nolde (1867–1956), The Fisherman's Children, 1926, coloured Lithograph and mezzotint on Japan paper, Kunstmuseum Bern, Bequest of Cornelius Gurlitt 2014, Provenance undergoing clarification / Currently no indications of being looted art© Nolde Stiftung SeebüllEmil Nolde (1867–1956), The Fisherman's Children, 1926, coloured Lithograph and mezzotint on Japan paper, Kunstmuseum Bern, Bequest of Cornelius Gurlitt 2014, Provenance undergoing clarification /Currently no indications of being looted art © Nolde Stiftung Seebüll
  7. Édouard Manet (1832–1883), Sea in Stormy Weather, 1873, Oil on canvas, www.lostart.de/EN/Fund/532966,Bequest of Cornelius Gurlitt 2014, Provenance undergoing clarificationÉdouard Manet (1832–1883), Sea in Stormy Weather, 1873, Oil on canvas, www.lostart.de/EN/Fund/532966, Bequest of Cornelius Gurlitt 2014, Provenance undergoing clarification
  8. Max Liebermann (1847–1935), Figures at the Seaside, n. d., Pastel on vellum paper, www.lostart.de/EN/Fund/532955,Bequest of Cornelius Gurlitt 2014, Provenance undergoing clarificationMax Liebermann (1847–1935), Figures at the Seaside, n. d., Pastel on vellum paper, www.lostart.de/EN/Fund/532955, Bequest of Cornelius Gurlitt 2014, Provenance undergoing clarification
  9. Cornelia Gurlitt (1890–1918), Untitled (Two Women), Brown ink and watercolour on paper© Kunstmuseum Bern, Bequest of Cornelius Gurlitt 2014, Provenance undergoing clarification / Currently no indications of being looted artCornelia Gurlitt (1890–1918), Untitled (Two Women), Brown ink and watercolour on paper, Kunstmuseum Bern, Bequest of Cornelius Gurlitt 2014, Provenance undergoing clarification / Currently no indications of being looted art
  10. Ernst Ludwig Kirchner, (1880–1938), Two Nudes on a Bed (Two Models), c. 1907/08, Black chalk and coloured chalk on laid paper© Kunstmuseum Bern, Bequest of Cornelius Gurlitt, inv.no. A 2017.041Ernst Ludwig Kirchner, (1880–1938), Two Nudes on a Bed (Two Models), c. 1907/08, Black chalk and coloured chalk on laid paper, Kunstmuseum Bern, Bequest of Cornelius Gurlitt, inv.no. A 2017.041
  11. Franz Marc (1880–1916), Pferde in Landschaft, 1911, Kunstmuseum Bern, Legat Cornelius Gurlitt 2014, Provenienz in Abklärung / aktuell kein Raubkunstverdacht© Kunstmuseum BernFranz Marc (1880–1916), Pferde in Landschaft, 1911, Kunstmuseum Bern, Legat Cornelius Gurlitt 2014, Provenienz in Abklärung / aktuell kein Raubkunstverdacht © Kunstmuseum Bern

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