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Otto Dix

Three Prostitutes on the Street. 1925. Tempera on plywood. Private Collection.

EXHIBITIONS (*INDICATES SOLO EXHIBITION)

IFPDA Print Fair 2016

November 3, 2016 - November 6, 2016


IFPDA Print Fair 2016

November 3, 2016 - November 6, 2016


IFPDA Print Fair 2015

November 4, 2015 - November 8, 2015


Recent Acquisitions

(And Some Thoughts on the Current Art Market)

July 21, 2015 - October 16, 2015


Recent Acquisitions

July 21, 2015 - October 16, 2015


Art Basel 2015

June 17, 2015 - June 21, 2015


ADAA Art Show 2015

March 3, 2015 - March 8, 2015


IFPDA Print Fair 2014

November 5, 2014 - November 9, 2014


Recent Acquisitions

(And Some Thoughts on the Current Art Market)

July 15, 2014 - September 26, 2014


Recent Acquisitions

(And Some Thoughts on the Current Art Market)

July 15, 2014 - September 26, 2014


Art Basel 2014

June 19, 2014 - June 22, 2014


Modern Furies

The Lessons and Legacy of World War I

January 21, 2014 - April 12, 2014


Modern Furies

The Lessons and Legacy of World War I

January 21, 2014 - April 12, 2014


IFPDA Print Fair 2013

November 6, 2013 - November 12, 2013


Art Basel 2013

Galerie St. Etienne, Hall 2.0, Booth D11

June 13, 2013 - June 16, 2013


Face Time

Self and Identity in Expressionist Portraiture

April 9, 2013 - June 28, 2013


Recent Acquisitions

(And Some Thoughts on the Current Art Market)

July 17, 2012 - October 13, 2012


The Lady and the Tramp

Images of Women in Austrian and German Art

October 11, 2011 - December 30, 2011


Recent Acquisitions

(And Some Thoughts on the Current Art Market)

July 5, 2011 - September 30, 2011


Decadence & Decay

Max Beckmann, Otto Dix, George Grosz

April 12, 2011 - June 24, 2011


Recent Acquisitions

(And Some Thoughts on the Current Art Market)

July 13, 2010 - October 1, 2010


From Brücke To Bauhaus

The Meanings of Modernity in Germany, 1905-1933

March 31, 2009 - June 26, 2009


Recent Acquisitions

(And Some Thoughts on the Current Art Market)

June 24, 2008 - September 26, 2008


Transforming Reality

Pattern and Design in Modern and Self-Taught Art

January 15, 2008 - March 8, 2008


Recent Acquisitions

(And Some Thoughts on the Current Art Market)

June 5, 2007 - September 28, 2007


More Than Coffee was Served

Café Culture in Fin-de-Siècle Vienna and Weimar Germany

September 19, 2006 - November 25, 2006


Recent Acquisitions

And Some Thoughts on the Current Art Market

June 7, 2005 - September 9, 2005


Body and Soul

Expressionism and the Human Figure

October 7, 2003 - January 3, 2004


The "Black-and-White" Show

Expressionist Graphics in Austria & Germany

September 20, 2001 - November 10, 2001


The Tragedy of War

November 16, 2000 - January 6, 2001


The Expressionist City

September 19, 2000 - November 4, 2000


Recent Acquisitions (And Some Thoughts on the Current Art Market)

June 20, 2000 - September 8, 2000


The Modern Child

(Images of Children in Twentieth-Century Art)

September 14, 1999 - November 6, 1999


Recent Acquisitions

(And Some Thoughts About Looted Art)

June 9, 1998 - September 11, 1998


Taboo

Repression and Revolt in Modern Art

March 26, 1998 - May 30, 1998


Sacred & Profane

Michel Nedjar and Expressionist Primitivism

January 13, 1998 - March 14, 1998


The New Objectivity

Realism in Weimar-Era Germany

September 16, 1997 - November 8, 1997


Recent Acquisitions

A Question of Quality

June 10, 1997 - September 5, 1997


The Fractured Form

Expressionism and the Human Body

November 15, 1995 - January 6, 1996


From Left to Right

Social Realism in Germany and Russia, Circa 1919-1933

September 19, 1995 - November 4, 1995


Art and Politics in Weimar Germany

September 14, 1993 - November 6, 1993


The Dance of Death

Images of Mortality in German Art

January 19, 1993 - March 13, 1993


Scandal, Outrage, Censorship

Controversy in Modern Art

January 21, 1992 - March 7, 1992


The Expressionist Figure

September 10, 1991 - November 9, 1991


The Narrative in Art

January 23, 1990 - March 17, 1990


Expressionists on Paper

October 8, 1985 - November 23, 1985


Expressionist Printmaking

Aspects of its Genesis and Development

April 1, 1985 - May 24, 1985


RECENT ACQUISITIONS

(And Some Thoughts About Looted Art)

June 9, 1998 - September 11, 1998

ARTISTS

Beckmann, Max

Crepin, Joseph

Dix, Otto

Felixmüller, Conrad

Fischer, Johann

Grosz, George

Grundig, Lea

Heckel, Erich

Kane, John

Kirchner, Ernst Ludwig

Klimt, Gustav

Kokoschka, Oskar

Kollwitz, Käthe

Lenk, Franz

Macke, August

Mammen, Jeanne

Moses, Anna Mary Robertson ("Grandma")

Mueller, Otto

Nedjar, Michel

Nolde, Emil

Overbeck-Schenk, Gerta

Pechstein, Hermann Max

Schiele, Egon

Schlichter, Rudolf

Schmidt-Rottluff, Karl

Sommer, Alice

Tappert, Georg

Tschirtner, Oswald

Voigt, Bruno

Voll, Christoph

Walla, August

Wegner, Erich

 

ESSAY

It has become customary for us, in mounting our annual Recent Acquisitions survey, to offer a review of the past season's exhibitions and a discussion of recent art-world trends. In 1997-98, the Galerie St. Etienne continued to explore and expand upon areas related to our core interests, Expressionism and self-taught art. The season began with a presentation of Neue Sachlichkeit (German realist art of the 1920s), a field which is still far too little known in the United States. Next came an Egon Schiele exhibition: a major loan effort timed to coincide with the showing of Rudolf Leopold's collection at the Museum of Modern Art. For the annual "Outsider Art Fair" in January, we featured the work of Michel Nedjar (a French avatar of Art Brut originally championed by Jean Dubuffet), in tandem with similarly primitivist works by German and Austrian Expressionists. Finally, we concluded the season with the exhibition Taboo, tracing artists' use of "shocking" subject matter from the turn of the century to the present. Behind-the-scenes activities also kept us busy, most notably the preparation of a new edition of our catalogue raisonné, Egon Schiele: The Complete Works. Containing a supplement with 205 additional entries, this book will be published by Harry N. Abrams toward the end of 1998.

 

Yet for us, as for many in the art world, the most galvanizing event of the season was undoubtedly the subpoena by the Manhattan District Attorney of two Schiele paintings, Portrait of Wally and Dead City III, at the conclusion of the MoMA exhibition in January. Looted art has recently become a hot topic, the subject by now of countless books, articles, television shows and symposia. However, the Galerie St. Etienne has been involved with the subject since the early years following World War II, when a number of Austrian refugees turned to the gallery's founder, Otto Kallir, for assistance in seeking restitution of artworks stolen or lost during the Nazi era. Kallir, himself a refugee from Hitler's Austria, offered his help out of a personal sense of moral imperative, and because his Viennese connections made it possible for him to do so. Both Kallir's Schiele catalogue raisonné and the expanded update compiled by the gallery's current co-director, Jane Kallir, were written with a special eye to collections that had been illicitly dispersed during the Holocaust. In the 1980s, the Galerie St. Etienne continued to aid individual claimants in pursuing lost art, and also contributed information to Andrew Decker's groundbreaking article, "A Legacy of Shame," which prompted the Austrian government to finally make proper disposition of hundreds of looted objects that had for years been stored in the Mauerbach monastery.

 

The Galerie St. Etienne's track record in recovering stolen art for its rightful owners has overall been mixed. The gallery's files (including an extensive dossier on Portrait of Wally) illustrate in poignant detail the obstacles confronting claimants. Forced to resettle abroad, often with scant financial means, and facing as well the emotional upheavals attendant to the entire experience, these people were frequently ill-equipped to fight for their interests. The Allies had mandated that each European government return plundered property after the War, but the Austrian system operated with a double agenda. Seeking to keep as many cultural treasures as possible on native soil, the Austrians sometimes embroiled claimants in lengthy, complex and costly lawsuits. Establishing ownership conclusively, given the circumstances of immigration, could be difficult, and the Austrians were not inclined to be generous in interpreting the burden of proof. Then, even when ownership was legally acknowledged, claimants might be coerced into ceding a portion of their collections to the State museums to get export permits for the remainder.

 

The current surge in claims for looted art must be seen against this background of prior recalcitrance and obfuscation. Had the system functioned better, more justly, there would quite simply be far less art left to claim. And of course the Austrians are not the only ones to blame. Other European countries, too, hoarded looted art in their museums, making little or no effort to trace its ownership. The art world as a whole tended to look the other way where provenance was concerned. Relatively few dealers, collectors and curators knowingly trafficked in Nazi-tainted art, but as the War faded into the past, many neglected to ask the right questions. It is, however, difficult to reproach specific individuals for what was in truth a failure in consciousness and conscience on the part of the entire art world. Moreover, very often the necessary information--only now emerging as a product of more detailed research and the declassification of wartime documents--was not to hand. As a number of collectors and museum directors have recently discovered, it is perfectly possible to get unwittingly caught up in claims issues.

 

On both sides of these issues, the emotional stakes are enormous: on the one side are the descendants of owners robbed and in some instances murdered by the Nazis, on the other are collectors and institutions that generally acquired the works in question, occasionally at substantial expense, in good faith. As a result, finger-pointing and hysteria abound. Claimants are accused of opportunism and greed--as though it were greedy to demand compensation for what is rightfully yours. And the present holders of looted or allegedly looted art, themselves in a sense also victims of the art world's systemic failure, are confronted with images of burning bodies, as though they were somehow personally complicit in the Holocaust. Where once claims were quietly stonewalled and ignored, now every claim is greeted with aggressive publicity; the current holders of suspect art works are in effect assumed guilty until proven innocent.

 

Ultimately, of course, each case must be examined on its merits, but the policies and legal precedents necessary to adjudicate such matters have yet to be fully established. A recent ruling in the MoMA case upheld the New York State law shielding foreign loans from seizure, but it remains to be seen how this ruling will play out on appeal and whether, finally, charges can be sustained with regard to either of the two Schieles. This case and others that have been brought against American collectors and museums raise a host of complicated legal and ethical questions. Can we really ignore the laws of European countries, which (unlike American laws) generally grant clear title to a good faith purchaser after a period of time, just because the work in question has now ended up in an American collection or happens (as with the Leopold Schieles) to be temporarily in the United States? Is there not a moral difference between American holders of plundered art and those European institutions--be they in Austria, France, Holland or elsewhere--which may on some level be seen as successors in interest to the Nazi regimes that once ruled those countries? To what extent does a claimant have a duty to diligently search for a lost work and give notice to the present holder once that work is located? How in such cases does one deal with the statute of limitations, which is intended to guard against stale claims? Are adversarial legal proceedings really an effective route for claimants, often the children or grandchildren of owners who even decades ago may have been hard-pressed to definitively prove ownership and loss?

 

Certainly the American legal system does provide recourse for claimants, while at the same time offering collectors and institutions protection against specious charges. However, in cases involving plundered art, adversarial legal proceedings are often not in the best interest of either plaintiffs or defendants. A lawyer who specializes in restitution issues recently said that he now advises claimants not to bother bringing action unless the art in question is worth at least $3,000,000. In one well-publicized lawsuit that has not yet gone to trial, the defendant's legal costs are already approaching $1,000,000. Certainly it would be preferable if the parties to such suits could work out an extra-legal settlement, in a spirit of mutual compromise. Better still would be the establishment of an independent fund (using public or private monies or a combination of both) to pay legitimate claimants, so that good-faith purchasers are not unjustly penalized. In this sort of forum, with good will on both sides, claims might be evaluated on their moral merits, employing a standard of proof less onerous than that required in a court of law.

 

Clearly the art world has undergone a sea change, and no one will ever again look at provenance the same way. Dealers, collectors and curators may in the past have been too cavalier about provenance, but no responsible person wants to buy or sell stolen art. Whether one ascribes this to the individual's moral integrity, or to a fear of the financial and legal ramifications of getting caught is of no matter. The important thing is that our consciousness as to what constitutes stolen art has now been raised to incorporate a heightened awareness of plundered material. Whatever was common practice in the past, hereafter this awareness must always be taken into account.

 

At the same time, however, one must be realistic about what is feasible and sensible. Many artworks do not have much traceable provenance and never will. Only pieces whose prewar ownership is established and was demonstrably breached can justifiably be subject to question, and the vast majority of works are unimpeachable. Witch-hunting, even in the name of Holocaust victims, is to be deplored, and is in fact detrimental to legitimate claimants, whose moral impunity is sullied by the admixture of spurious allegations. The Holocaust itself was surely an expression of pure evil, but the present situation is far more nuanced, and extremist, winner-take-all tactics will only result in losers on every front. On the other hand, with reason and compromise all around, perhaps the art world can at last be cleansed of the genuinely questionable items and justice finally served.