Analysis of information sources in references of the Wikipedia article "Max Silberberg" in English language version.
PROVENANCE Adolf Rothermundt, Dresden-Blasewitz, before 1923 [according to Scheffler 1923 and 1935 Graupe sale cat. cited below]. Max Silberberg, Breslau, by 1923 to 1935 [according to 18 July 1967 letter from Fritz Nathan to Charles Cunningham in curatorial file, and Scheffler 1923]; sold Galerie Paul Graupe, Berlin, 23 March 1935, no. 20 [price given in Die Weltkunst 1935]. German private collection [according to Alexander, Graf Strasoldo of Lempertz, Cologne, letter of 21 September 1998 in curatorial file]; sold Lempertz, Cologne, 11–14 November 1964, no. 289, to Galerie Nathan, Zurich [Nathan letter cited above]; sold by Galerie Nathan to Paul Rosenberg Gallery and Co., New York, 4 June 1965 [copy of invoice in curatorial file]; sold by Paul Rosenberg Gallery to the Art Institute, 1967.
Art trade Paris & New York • by 1934/35 Exhibition of Important Paintings by Great French Masters of the Nineteenth Century, Paul Rosenberg & Durand-Ruel (Durand Ruel Galleries), New York 1934, no. 31; Tableaux du 19e siècle dans un décor ancien, Galerie Paul Rosenberg, Paris 1935, no cat. (but photographs of the installation surviving). 8Paul Rosenberg Paris & New York • 1937–1953 Acquired in 1937 for $ 17.800, AStEGB, Photocopy of Stock Book of Paul Rosenberg & Co., New York, entry no. 5106, identifying the painting with the name «Silberberg»; Letter from Paul Rosenberg, New York, to Emil Bührle, 22 September 1952, accompanying individual invoices for 10 pictures which Bührle has acquired from him, including Manet, La Sultane. 9Emil Bührle Zurich • 18 September 1953 until [d.] 28 November 1956 Acquired from the above for $ 65.000 minus a 10% discount ($ 6.500) = $ 58.500, AStEGB, Invoice from Paul Rosenberg, New York, made out to Emil Bührle, 22 September 1952, listing the name «Silberberg» in the column «Collections»;
When the most valuable paintings from Silberberg's collection were auctioned in Paris on 9 June 1932, Manet's Sultane was not among them, which might be understood as an indication that the painting was never really and completely owned by Silberberg, and that it therefore went back to the Durand-Ruel Gallery in Paris.
The documentation of works of art and culture destroyed and looted in German-occupied Poland (1939-1945), as well as the active search for these works abroad and the restitution of recovered objects have ranked among the key priorities of the Polish Ministry of Culture and National Heritage since the early 1990s. In regard to questions of restitution, the Ministry of Culture is in constant competition with the Ministry of Foreign Affairs: every recovered item is widely presented as a great victory for justice, while at the same time it is presented as a victory for the ministry involved. However, what is never mentioned is the fact that after the war, national institutions and private individuals often became the new owners of objects that had once belonged to private people or organizations persecuted by the Nazis. In the majority of cases, this affected Jewish individuals, Jewish communities and Jewish institutions. This attitude of silence contradicts the 1998 Washington Conference Principles, confirmed by the Terezín Declaration in 2009. It prevails despite the fact that Poland has signed both documents and benefits from them in cases of foreign restitutions.
{{citation}}: CS1 maint: work parameter with ISBN (link){{citation}}: CS1 maint: work parameter with ISBN (link){{cite book}}: |work= ignored (help){{citation}}: CS1 maint: work parameter with ISBN (link){{citation}}: CS1 maint: work parameter with ISBN (link)Returning the art to its rightful owners continues to be highly problematic. Many of the original owners had been murdered in concentration camps. Records were lost, incomplete or non-existent. Some of the art recovered ended up in various national galleries; some had already vanished into private collections. But, in recent years, there has been considerable progress in identifying and returning paintings to the heirs of the original owners in a process known as restitution.
Max Silberberg's collection of works, including pieces by Manet, Monet, Renoir, Sisley, Cezanne and van Gogh, was well published and exhibited around the world up through 1933. By 1935, Max Silberberg had become victim to the Third Reich's antiemetic laws. After his company was Aryanised and sold and his home was acquired by the SS, Silberberg was compelled to consign most of his collection at a series of auctions at Paul Graupe's auction house in Berlin in 1935 and 1936 (including Boulevard Montmartre). While Silberberg's son, Alfred, fled to England after brief internment at Buchenwald, Max Silberberg and his wife were eventually deported to Theresienstadt and then Auschwitz in 1942, where they both perished. (Sotheby's Press Office, 23 Dec. 2013; Bazyler, Holocaust Justice, 205.)
{{cite book}}: |work= ignored (help)His art collection and art library were put up for compulsory sale by auction five times, arranged by the Berlin auctioneer Paul Graupe in 1935/36. A smaller remnant of the collection remained in Silberberg's possession until 1940; it was then «Aryanised» by the Breslau Museum of Fine Arts (Museumder bildenden Künste) in collaboration with the financial authorities.
The information gathered in the database is intended to enable a theoretical reconstruction of former art collections in Silesia by presenting the objects which used to belong to them and the interiors in which they were exhibited. Initial assumptions are for the database to include the descriptions of at least 200 collectors and around 5.000 works of art. In the 20th century, many of the collectors were Jewish, living in Breslau, and many of their remarkable collections were seized by the Nazis. Among the Jewish collectors profiled on the associated website are Emil Kaim, Leo Lewin, Ismar Littmann, Theodor Loewe, Wilhelm Perlhöfter, Max Pringsheim, Adolf Rothenberg, Carl Sachs, Max Silberberg and Leo Smoschewer,
Das Schweigen des St. Galler Museums passt zu dessen Umgang mit der seit 15 Jahren im Raum stehenden Restitutionsforderung in Bezug auf Ferdinand Hodlers Bild «Thunersee mit Stockhornkette». Die NZZ berichtete erstmals 2003 darüber. Das Bild gehörte dem jüdischen Kunstsammler Max Silberberg und musste musste 1935 unter Druck der Nazis versteigert werden. Die Erben fordern das Bild zurück oder aber den halben Handelswert des Bildes. Dieses gehört zwar der Familienstiftung des einstigen sankt-gallischen Regierungsrats Simon Frick, der das Bild nach dem Krieg bei der Galerie Kornfeld in Bern gutgläubig erworben hatte, ist aber als Dauerleihgabe beim Kunstmuseum St. Gallen.
In 1942, Max Silberberg and his wife were sent to the transit camp at Kloster Grüssau, from where they were deported on 3 May 1942, probably to Terezín (Theresienstadt), and later murdered. According to auction reports, Swiss art dealers attended Paul Graupe's first auction in March 1935. It is likely that Fritz Nathan was also present. He was interested in the only work by a Swiss artist at the auction, the painting «Stockhorn Chain by Lake Thun» («Stockhornkette am Thuner See») by Ferdinand Hodler. This painting must have been deposited with Fritz Nathan for some time; a painting bearing the same title was listed by Nathan in 1946 as being in his storerooms. This purchase of «Stockhornkette am Thuner See» from the Silberberg collection illustrates how easy it is to be misled as to provenance by relying on apparently unobjectionable credentials. Although Hodler painted various views of Lake Thun, this version is fairly easy to identify, as it shows the lake with clouds painted with broad horizontal strokes. Painted between 1910 and 1912, the picture was sold by Hodler in 1913 to the Galerie Wolfsberg in Zurich. In 1921, it reappeared at the Galerie Wolfsberg and was sold in 1923 to the A. Sutter collection in Oberhofen. In 1985, the painting turned up again at an auction arranged by the Galerie Kornfeld in Bern.27 There, the most recent provenance was cited as being the Sutter collection, thus implying that the painting had been held in private ownership in Bern ever since. The Swiss Institute for Art (Schweizer Institut für Kunstwissenschaft, SIK) in Zurich, which constantly monitors the movements of Hodler's works, accepted the information supplied by the Galerie Kornfeld. In fact, the painting had been sold to Max Silberberg in Breslau in the 1920s and sentto auction when his collection was broken up in 1935. As there was a great demand for Swiss works of art in Switzerland, this painting returned toSwitzerland through art trade.
Sammlung Max Silberberg, Breslau; Schlesisches Museum der Bildenden Künste Breslau 1939;, nach 1945 Warschau Nationalmuseum
Provenienz Petit, Bernheim; Sammlung Max Silberberg, Breslau; Privatbesitz Frankreich; Privatbesitz; 2006 Restitution, Versteigerung nach Vergleich
Four Breslau Jews assembled particularly important, nationally recognized collections: Carl Sachs, Leo Lewin, Max Silberberg, and Ismar Littmann.
Ms. Ehringhaus's job was, in part, to determine just how much of the collection had a tainted provenance. But last year, she said, she began to ask herself why the city of Schweinfurt, which manages the museum, had bothered to hire her. After she had identified several plundered works, she said, no one seemed to have any plans to return them to the heirs of the original Jewish owners.
C'est le cas de Monika Tatskow, une historienne allemande qui représente la famille Silberberg à Berlin . Elle a récemment retrouvé au musée de l'Orangerie, à Paris, un tableau de l'impressionniste Cézanne qui avait appartenu à ses clients. Elle oeuvre pour que le tableau leur soit rendu mais en vain, comme elle l'explique à Cyril Sauvageot : Les héritiers Silverberg ont fourni toute la documentation requise. Nous refusons la réonse qui nous a été donnée.
Three years afterwards he was ordered, as a Jew, to leave his luxurious villa. Since then the building served to the security service of the NSDAP. The collectioner was allocated a small flat in the Kurfürstenstrasse 28 (currently ul. Racławicka) where there was enough place neither for large-scale artworks, nor for a big library. Silberberg parted with most artworks and arts and crafts' works, and with the library, in mediation of the Berliner Paul Graupe's Salon, on a few auctions that took place in 1935 and in 1936.
Since then the building served to the security service of the NSDAP. The collectioner was allocated a small flat in the Kurfürstenstrasse 28 (currently ul. Racławicka) where there was enough place neither for large-scale artworks, nor for a big library. Silberberg parted with most artworks and arts and crafts' works, and with the library, in mediation of the Berliner Paul Graupe's Salon, on a few auctions that took place in 1935 and in 1936. On those auctions were totally offered 160 artworks. Visible sing of the rapidly worsening situation of the Jewish population in the German Reich was the "crystal night", when the collector's only son was arrested and transported to the concentration camp operating for at least one year in Buchenwald.
In 1940 Silberberg's estate and property was subject to arization by Nazi authorities and a year later both he and his wife were sent to a concentration camp in Leubus. Both were later killed in Auschwitz.
The inner walls of the sumptuous Silberberg's villa was totally decorated with about two hundred and fifty artworks, among them numerous works by the leading impressionists. The visitors could admire at least five canvas paintings by Pierre-Auguste'a Renoir, at least by three paintings by Édouard Manet and Paul Cézanne, by two by Claude Monet and Camille Pissarro and a few pastels by Edgar Degas. The collection didn't lack works by Auguste Rodin, Vincent van Gogh or Pablo Picasso, and among artist of older generations - by Eugène Delacroix, Gustave Courbet and Jean-Baptiste Camille'a Corot. Today the pictures deriving from the Wroclaw's collection decorate the most prestigious museum institutions in the world: Musée d'Orsay and the Lovre in Paris, the Hermitage, National Gallery in Washington or Museum of Modern Art in New York. In the New York's museum we can currently admire a gorgeous drawing by van Gogh depicting an olive hurst by Saint-Rémy, which till 1999 was housed in Nationalgalerie of Berlin and was one of the first artworks returned to the apparent owners, basing on the Washington declaration referring to property forfeited within the World War II.
Provenance Galerie Georges Petit, Paris Georges Bernheim, Paris (1927) Max Silberberg, Breslau, by 1930 (acquired from the above) Knoedler, London
{{cite news}}: CS1 maint: multiple names: authors list (link)Gerta Silberberg used proceeds from the sale of a previously recovered work by Van Gogh to fund the hunt for a collection of about 250 works amassed by Max Silberberg, her father-in-law. The businessman, who bought 19th and early 20th-century artists such as Renoir and Van Gogh when their works were still relatively cheap, died in Auschwitz. After escaping to Britain in 1939, his son Alfred and Gerta worked as butler and cook to a doctor in Leicester. Following her husband's death in 1984, Gerta began her search...
In a unique campaign to raise money to pay the rightful owners of the painting, the museum decided to hang the piece, sold under duress by a Jewish industrialist in Nazi Germany, facing the wall. The museum needs to come up with $371,000 (NIS 1.4 million) to buy the painting from the heirs of Max Silberberg by November 5. Once they buy the painting properly, museum staff will flip the painting around for all to appreciate.
Three years afterwards he was ordered, as a Jew, to leave his luxurious villa. Since then the building served to the security service of the NSDAP. The collectioner was allocated a small flat in the Kurfürstenstrasse 28 (currently ul. Racławicka) where there was enough place neither for large-scale artworks, nor for a big library. Silberberg parted with most artworks and arts and crafts' works, and with the library, in mediation of the Berliner Paul Graupe's Salon, on a few auctions that took place in 1935 and in 1936.
Since then the building served to the security service of the NSDAP. The collectioner was allocated a small flat in the Kurfürstenstrasse 28 (currently ul. Racławicka) where there was enough place neither for large-scale artworks, nor for a big library. Silberberg parted with most artworks and arts and crafts' works, and with the library, in mediation of the Berliner Paul Graupe's Salon, on a few auctions that took place in 1935 and in 1936. On those auctions were totally offered 160 artworks. Visible sing of the rapidly worsening situation of the Jewish population in the German Reich was the "crystal night", when the collector's only son was arrested and transported to the concentration camp operating for at least one year in Buchenwald.
In 1940 Silberberg's estate and property was subject to arization by Nazi authorities and a year later both he and his wife were sent to a concentration camp in Leubus. Both were later killed in Auschwitz.
His art collection and art library were put up for compulsory sale by auction five times, arranged by the Berlin auctioneer Paul Graupe in 1935/36. A smaller remnant of the collection remained in Silberberg's possession until 1940; it was then «Aryanised» by the Breslau Museum of Fine Arts (Museumder bildenden Künste) in collaboration with the financial authorities.
The information gathered in the database is intended to enable a theoretical reconstruction of former art collections in Silesia by presenting the objects which used to belong to them and the interiors in which they were exhibited. Initial assumptions are for the database to include the descriptions of at least 200 collectors and around 5.000 works of art. In the 20th century, many of the collectors were Jewish, living in Breslau, and many of their remarkable collections were seized by the Nazis. Among the Jewish collectors profiled on the associated website are Emil Kaim, Leo Lewin, Ismar Littmann, Theodor Loewe, Wilhelm Perlhöfter, Max Pringsheim, Adolf Rothenberg, Carl Sachs, Max Silberberg and Leo Smoschewer,
The inner walls of the sumptuous Silberberg's villa was totally decorated with about two hundred and fifty artworks, among them numerous works by the leading impressionists. The visitors could admire at least five canvas paintings by Pierre-Auguste'a Renoir, at least by three paintings by Édouard Manet and Paul Cézanne, by two by Claude Monet and Camille Pissarro and a few pastels by Edgar Degas. The collection didn't lack works by Auguste Rodin, Vincent van Gogh or Pablo Picasso, and among artist of older generations - by Eugène Delacroix, Gustave Courbet and Jean-Baptiste Camille'a Corot. Today the pictures deriving from the Wroclaw's collection decorate the most prestigious museum institutions in the world: Musée d'Orsay and the Lovre in Paris, the Hermitage, National Gallery in Washington or Museum of Modern Art in New York. In the New York's museum we can currently admire a gorgeous drawing by van Gogh depicting an olive hurst by Saint-Rémy, which till 1999 was housed in Nationalgalerie of Berlin and was one of the first artworks returned to the apparent owners, basing on the Washington declaration referring to property forfeited within the World War II.
Gerta Silberberg used proceeds from the sale of a previously recovered work by Van Gogh to fund the hunt for a collection of about 250 works amassed by Max Silberberg, her father-in-law. The businessman, who bought 19th and early 20th-century artists such as Renoir and Van Gogh when their works were still relatively cheap, died in Auschwitz. After escaping to Britain in 1939, his son Alfred and Gerta worked as butler and cook to a doctor in Leicester. Following her husband's death in 1984, Gerta began her search...
Ms. Ehringhaus's job was, in part, to determine just how much of the collection had a tainted provenance. But last year, she said, she began to ask herself why the city of Schweinfurt, which manages the museum, had bothered to hire her. After she had identified several plundered works, she said, no one seemed to have any plans to return them to the heirs of the original Jewish owners.
In a unique campaign to raise money to pay the rightful owners of the painting, the museum decided to hang the piece, sold under duress by a Jewish industrialist in Nazi Germany, facing the wall. The museum needs to come up with $371,000 (NIS 1.4 million) to buy the painting from the heirs of Max Silberberg by November 5. Once they buy the painting properly, museum staff will flip the painting around for all to appreciate.
Das Schweigen des St. Galler Museums passt zu dessen Umgang mit der seit 15 Jahren im Raum stehenden Restitutionsforderung in Bezug auf Ferdinand Hodlers Bild «Thunersee mit Stockhornkette». Die NZZ berichtete erstmals 2003 darüber. Das Bild gehörte dem jüdischen Kunstsammler Max Silberberg und musste musste 1935 unter Druck der Nazis versteigert werden. Die Erben fordern das Bild zurück oder aber den halben Handelswert des Bildes. Dieses gehört zwar der Familienstiftung des einstigen sankt-gallischen Regierungsrats Simon Frick, der das Bild nach dem Krieg bei der Galerie Kornfeld in Bern gutgläubig erworben hatte, ist aber als Dauerleihgabe beim Kunstmuseum St. Gallen.
In 1942, Max Silberberg and his wife were sent to the transit camp at Kloster Grüssau, from where they were deported on 3 May 1942, probably to Terezín (Theresienstadt), and later murdered. According to auction reports, Swiss art dealers attended Paul Graupe's first auction in March 1935. It is likely that Fritz Nathan was also present. He was interested in the only work by a Swiss artist at the auction, the painting «Stockhorn Chain by Lake Thun» («Stockhornkette am Thuner See») by Ferdinand Hodler. This painting must have been deposited with Fritz Nathan for some time; a painting bearing the same title was listed by Nathan in 1946 as being in his storerooms. This purchase of «Stockhornkette am Thuner See» from the Silberberg collection illustrates how easy it is to be misled as to provenance by relying on apparently unobjectionable credentials. Although Hodler painted various views of Lake Thun, this version is fairly easy to identify, as it shows the lake with clouds painted with broad horizontal strokes. Painted between 1910 and 1912, the picture was sold by Hodler in 1913 to the Galerie Wolfsberg in Zurich. In 1921, it reappeared at the Galerie Wolfsberg and was sold in 1923 to the A. Sutter collection in Oberhofen. In 1985, the painting turned up again at an auction arranged by the Galerie Kornfeld in Bern.27 There, the most recent provenance was cited as being the Sutter collection, thus implying that the painting had been held in private ownership in Bern ever since. The Swiss Institute for Art (Schweizer Institut für Kunstwissenschaft, SIK) in Zurich, which constantly monitors the movements of Hodler's works, accepted the information supplied by the Galerie Kornfeld. In fact, the painting had been sold to Max Silberberg in Breslau in the 1920s and sentto auction when his collection was broken up in 1935. As there was a great demand for Swiss works of art in Switzerland, this painting returned toSwitzerland through art trade.
Art trade Paris & New York • by 1934/35 Exhibition of Important Paintings by Great French Masters of the Nineteenth Century, Paul Rosenberg & Durand-Ruel (Durand Ruel Galleries), New York 1934, no. 31; Tableaux du 19e siècle dans un décor ancien, Galerie Paul Rosenberg, Paris 1935, no cat. (but photographs of the installation surviving). 8Paul Rosenberg Paris & New York • 1937–1953 Acquired in 1937 for $ 17.800, AStEGB, Photocopy of Stock Book of Paul Rosenberg & Co., New York, entry no. 5106, identifying the painting with the name «Silberberg»; Letter from Paul Rosenberg, New York, to Emil Bührle, 22 September 1952, accompanying individual invoices for 10 pictures which Bührle has acquired from him, including Manet, La Sultane. 9Emil Bührle Zurich • 18 September 1953 until [d.] 28 November 1956 Acquired from the above for $ 65.000 minus a 10% discount ($ 6.500) = $ 58.500, AStEGB, Invoice from Paul Rosenberg, New York, made out to Emil Bührle, 22 September 1952, listing the name «Silberberg» in the column «Collections»;
When the most valuable paintings from Silberberg's collection were auctioned in Paris on 9 June 1932, Manet's Sultane was not among them, which might be understood as an indication that the painting was never really and completely owned by Silberberg, and that it therefore went back to the Durand-Ruel Gallery in Paris.
PROVENANCE Adolf Rothermundt, Dresden-Blasewitz, before 1923 [according to Scheffler 1923 and 1935 Graupe sale cat. cited below]. Max Silberberg, Breslau, by 1923 to 1935 [according to 18 July 1967 letter from Fritz Nathan to Charles Cunningham in curatorial file, and Scheffler 1923]; sold Galerie Paul Graupe, Berlin, 23 March 1935, no. 20 [price given in Die Weltkunst 1935]. German private collection [according to Alexander, Graf Strasoldo of Lempertz, Cologne, letter of 21 September 1998 in curatorial file]; sold Lempertz, Cologne, 11–14 November 1964, no. 289, to Galerie Nathan, Zurich [Nathan letter cited above]; sold by Galerie Nathan to Paul Rosenberg Gallery and Co., New York, 4 June 1965 [copy of invoice in curatorial file]; sold by Paul Rosenberg Gallery to the Art Institute, 1967.
Max Silberberg's collection of works, including pieces by Manet, Monet, Renoir, Sisley, Cezanne and van Gogh, was well published and exhibited around the world up through 1933. By 1935, Max Silberberg had become victim to the Third Reich's antiemetic laws. After his company was Aryanised and sold and his home was acquired by the SS, Silberberg was compelled to consign most of his collection at a series of auctions at Paul Graupe's auction house in Berlin in 1935 and 1936 (including Boulevard Montmartre). While Silberberg's son, Alfred, fled to England after brief internment at Buchenwald, Max Silberberg and his wife were eventually deported to Theresienstadt and then Auschwitz in 1942, where they both perished. (Sotheby's Press Office, 23 Dec. 2013; Bazyler, Holocaust Justice, 205.)
Gerta Silberberg used proceeds from the sale of a previously recovered work by Van Gogh to fund the hunt for a collection of about 250 works amassed by Max Silberberg, her father-in-law. The businessman, who bought 19th and early 20th-century artists such as Renoir and Van Gogh when their works were still relatively cheap, died in Auschwitz. After escaping to Britain in 1939, his son Alfred and Gerta worked as butler and cook to a doctor in Leicester. Following her husband's death in 1984, Gerta began her search...
In a unique campaign to raise money to pay the rightful owners of the painting, the museum decided to hang the piece, sold under duress by a Jewish industrialist in Nazi Germany, facing the wall. The museum needs to come up with $371,000 (NIS 1.4 million) to buy the painting from the heirs of Max Silberberg by November 5. Once they buy the painting properly, museum staff will flip the painting around for all to appreciate.
The confirmed history of Le Grand Pont is that it belonged to the Marczell de Nemes collection until 1913, but by the 1920s was held in Breslau, first in the collection of Leo Lewin and then Max Silberberg. It remained in the Silberberg collection until 1935, from which it was sold at auction by Paul Graupe of Berlin. There is no known record of the purchaser of the work from that sale. Dr. Schaefer and Silberberg's son settled an ownership claim for the painting out of court in Germany in the 1970s. The painting had been the subject of a recent ownership claim asserted by Mr. Eric Weinmann of Washington, D.C. After Yale University notified Dr. Schaefer of Mr. Weinmann's claim, Dr. Schaefer agreed that the painting would remain on loan to Yale while further historical research into the painting's provenance during and after World War II was completed.