June 15, 2018

A “Goering bible” with a provenance full of holes

by Marc Masurovsky In April 2018, a Bible (Tanach) printed in the 1630s in Amsterdam by Menasseh ben Israel, including Torah, Nevi’im and Ketuvim, and containing […]
June 15, 2018

“Premier jour de printemps à Moret” by Alfred Sisley–Part One

by Marc Masurovsky Premier jour de printemps à Moret, by Alfed Sisleycourtesy of Le Monde On May 25, 2018, a story broke in “L’Alsace”, a regional […]
June 16, 2018

“Le premier jour de printemps à Moret”, by Alfred Sisley–Part Two

by Marc Masurovsky “Frühlingslandschaft” The Impressionist painter, Alfred Sisley, produced “Le premier jour de printemps à Moret” in 1889, an oil on canvas measuring 46,2 x […]
August 3, 2018

New and enhanced version of the Washington Principles, starting in December 2018 (wishful thinking)

by Marc Masurovsky Proposal for a modified and enhanced version of the Washington Principles to be enacted in commemoration of their 20th anniversary in December 2018 […]
August 8, 2018

A 1902 painting by Paul Signac

by Marc Masurovsky Auxerre, le Canal, Juin 1902, by Paul Signacreproduced by Artcurial On December 2, 2013, a painting by Paul Signac, “Auxerre, le Canal, Juin […]
August 8, 2018

MoMA’s dalliances with the two portraits of Max Hermann Neisse by Georg Grosz

by Marc Masurovsky  “Portrait of Max Hermann Neisse”, by Georg Grosz, 1925 In April 2009, the heirs of the German expressionist artist, Georg Grosz, filed an […]
October 8, 2018

It is not heirless unless we say it is

by Marc Masurovsky In late January 2015, HASHAVA sponsored a visit to the kibbutz of Ein Harod and its museum of Jewish artists near Mount Gilboa. […]
October 8, 2018

Cleopatra, by Artemisia Gentileschi

by Marc Masurovsky A painting recently attributed to Artemisia Gentileschi was placed on prominent display at Frieze Masters, courtesy of Paris-based Galerie G. Sarti. The provenance […]
October 8, 2018

An “heirless” journey

by Marc Masurovsky How has the discussion on “heirless” cultural assets evolved between 2011 and 2018, as reflected in various entries in the “plundered art” blog? […]