Podcasts about provenance research

The interview with Irina Tarsis took place before the Russian invasion of Ukraine. Irina is a Russian-speaking American, with Ukrainian and Jewish roots. The events we are witnessing now in connection with the war in Ukraine are heartbreaking. Glory and Peace to Ukraine and Forgiveness and Awakening to Russia.Cover art: photograph taken in Kyiv art gallery/store circa 2020 by Irina Tarsis.To support the Center for Art Law's mission and to learn more about its offerings, please visit the Center for Art Law's website. SHOW NOTES:0:00  Irina Tarsis' decision to attend law school to study art law1:42  Tarsis' reasons for pursuing art law3:05 her work with Soviet nationalizations in the context of law libraries4:15 Tarsis began studing art history 4:34  Founding Center for Art Law 5:17  Center's growth 7:20  Center's Judith Bresler Fellowship 9:24  Center's legacy and estate planning clinic 12:51  clinic's artists feature series. 13:42  Artist Molly Dougenis 14:16  Dougenis' estate planning15:00  next clinic about artists dealer relationships with a focus on New York law and will include resale royalty.16:44  recent NFT case filed in Southern District of New York that involves the Guernica of India 17:30  many contracts include reference to all future media now known or to be to be invented down the line 18:00 suit involving Quentin Tarantin's attempt to mint NFTs 18:48 future cases in art law 20:33 teaching at Sotheby's and FIT23:09  Tarsis' work with the European Shoah Legacy Institute24:15  provenance research 26:50 Portrait of Wally 28:00  Center's future mission30:16 Knoedler Gallery story 31:45  idea for a Knoedler award 33:03  creation of a community of artists, art fans, art aficionados, and collectors and attorneys34:30 fundraising efforts36:13  career positions in art lawTo view rewards for supporting the podcast, please visit Warfare's Patreon page.To leave questions or comments about this or other episodes of the podcast, please call 1.929.260.4942 or email Stephanie@warfareofartandlaw.com. © Stephanie Drawdy [2022]For more details about joining the monthly discussion on art, culture and justice, please message me at stephanie@warfareofartandlaw.com. Hope to see you there!

For more information about the Paintings, Politics and the Monuments Men exhibition, please visit the Cincinnati Art Museum's website.Show Notes:04:00 Inspiration for Paintings, Politics and the Monuments Men: The Berlin Masterpieces in America05:15 How issues surrounding post-WWII exhibition of Berlin 202 are addressed07:50 Prizes of war or protection mission for German patrimony per Truman Administration11:30 Reasoning for Weisbaden Manifesto12:00 “Art & Injustice”15:30 Design process of the exhibition 18:00 Legacy of Weisbaden Collecting Point Director Captain Walter Farmer18:30 Red background inspired by Army tour's exhibition catalog19:30 Oskar Kokoshka painting in 1937 Degenerate Art Exhibition and sent to Lucerne auction20:30 Botticelli's Ideal Portrait of a Woman21:45 Self-Portrait by Moravian painter Martin Quadal22:15 Madonna and Child from Jacques Goudstikker's collection24:20 Reactions of visitors26:15 Message of the exhibition 28:50 why does it matter who takes care of artwork, where they travel and how they are used?29:30 archival material in exhibition 31:10 The Berlin Masterpieces catalog33:00 the fundamental importance of provenance research 35:25 Advice to those interested in a career as a provenance researcher and/or curator37:20 ‘web of connections' in art history37:45 Book recommendation: Rape of Europa39:15 Worcester Museum's current exhibition as a case study on Nazi looted art40:00 Symposium will include keynote speaker Dr. Richard Kurin, Under Secretary for History, Art, and Culture and Ambassador at large for the Smithsonian Institution To view rewards for supporting the podcast, please visit Warfare's Patreon page.To leave questions or comments about this or other episodes of the podcast, please call 1.929.260.4942 or email Stephanie@warfareofartandlaw.com. © Stephanie Drawdy [2021]

To learn more, please visit MARI's website.Show Notes4:00 German culture of memory5:00 MARI-first collaboration between German public institutions and Holocaust victims7:00 Historical question addressed about Rudolph Mosse as art lover8:50 location of objects related to politicians and individuals in culture scene of Mosse's day 11:00 Hanns Fechner's portrait of German writer Theodor Fontane held by daughter of Nazi finance Minister Hjalmar Schacht16:00 Venus Chasing Cupid-sculpture localized during first phase of MARI17:00 sculpture not included in Nazi arranged auction of Mosse collection19:00 MARI contact with those believed to hold works from Mosse Collection20:30 Tel Aviv Museum – tapastries and Jozef Israels' From Darkness to Light25:00 Historical justice achieved by making history visible  26:00 MARI's impact-to prompt scrutiny of provenance of collections27:30 size of Mosse's collection28:30 MARI's first phase began in early 201731:00 MARI's staff assignment34:00 Hoffmann's work on Gurlitt project as researcher and task force member35:00 portal database for MARI – starts with resources not objects40:00 Hoffmann began first academic training program for provenance research in 201141:30 Adolph Menzel painting – no trace since 1934 auction43:15 expertize outside of MARI for Eyptian antiquities and Benin Bronzes46:30 Gurlitt work50:00 Frie University's degenerate art program52:30 Hoffman's work as Brücke Museum curator54:40 International Circle of Provenance Research member59:50 exhibitions that show provenance research1:02:00 Artist Maria Eichhorn 1:03:00 Hoffmann curated 2019 exhibition Escape Into Art? 1:06:00 future of degenerate artists To view rewards for supporting the podcast, please visit Warfare's Patreon page.To leave questions or comments about this or other episodes of the podcast, please call 1.929.260.4942 or email Stephanie@warfareofartandlaw.com. © Stephanie Drawdy [2021]

Bryn Schockmel is a Curator at the Oklahoma City Museum of Art. Originally from upstate New York, Bryn earned her B.A. from Skidmore College, her M.A. from the Courtauld Institute of Art in London, and her Ph.D. in Italian Renaissance art history from Boston University. After graduating in 2019, Bryn moved to Oklahoma City to begin her Fellowship for Provenance Research at the Oklahoma City Museum of Art.  After her fellowship, She began her new position as Curator at OKCMOA in November 2020 and is currently working on the Museum's major summer exhibition The Painters of Pompeii:  Roman Frescoes from the National Archaeological Museum in Naples. Prior to moving to OKC, Bryn worked at a number of different museums in the Northeast, including the Clark Art Institute and the Museum of Fine Arts, Boston. Please welcome Bryn to Action City!       

The following is a link to the Nelson-Atkins Museum's Discriminating Thieves Exhibition.4:15 How Discriminating Thieves exhibition came about6:20 Title of Discriminating Thieves exhibition came from correspondence by Nelson-Atkins' first director Paul Gardner7:30 One of the four works in the exhibition: painting by German Expressionist Emil Nolde titled Masks 8:50 Karl Buchholz held Masks for a decade until 1948 when he sent it to dealer Curt Valentin 11:30 Nolde was a member of Nazi party but still targeted by Nazis15:00 Pitfalls of researching women18:00 Marguerite Stern's ownership of Jean – Francois Ducis' 1779 Bust of Augustin Pajou 19:50 Pierre Bonnard's Still life with Guelder Roses21:30 Nicolas de Largillière's Augustus the Strong – erroneously listed on property card as portrait of King Frederick of Denmark 25:00 2019 Collecting and Provenance: A Multidisciplinary Approach by Jane Milosch, Nick Pearce25:50 German-American Provenance Research Exchange with the Smithsonian Provenance Research Initiative and Prussian Cultural Heritage Foundation was a “game changer”35:35 Guest speaker for Discriminating Thieves Exhibition was Corine Wegener, Director of the Smithsonian Cultural Rescue Initiative42:00 The process of provenance research is never finished as new resources become available 44:30 Importance of research in museum setting by individuals with specialized knowledge46:30 Cincinnati Art Museum's exhibition Paintings, Politics and the Monuments Men: The Berlin Masterpieces in America47:30 Nelson-Atkins' first curator of European Art Patrick Kelleher was one of the signatories of the Weisbaden ManifestoTo view rewards for supporting the podcast, please visit Warfare's Patreon page.To leave questions or comments about this or other episodes of the podcast, please call 1.929.260.4942 or email Stephanie@warfareofartandlaw.com. © Stephanie Drawdy [2021]

Below is the email for Dr. Jacques Schuhmacher: j.schuhmacher@vam.ac.ukThe following is a link for more information on the Victoria & Albert Museum's Concealed Histories Exhibit.SHOW NOTES 3:30 importance of provenance research regarding potential for Nazi-looted art in collections outside of countries that had been occupied by the Nazis 7:35 provenance gaps in Gilbert Collection didn't raise concerns when the Gilberts were acquiring the collection;  9:40 Nazi-looted art found in U.S. collections in the 1990s, making this an issue for the international art market  10:55 Unclear provenance of snuffbox from Gutmann Collection  15:50 massive red flags raised by some objects like the Louis XVI enameled gold snuffbox looted from Maximilian von Goldschmidt-Rothschild18:30 Decisions about restitution of looted art are not made by UK museums but by a panel of experts19:45 The only restitution to date by the V&A has been of Meissen pieces.22:05 even after Monuments Men joined the museum, an unbroken chain in provenance was not necessary; acquisition protocol in the U.K. didn't change until 199823:40 Deaccession laws in the UK under the Heritage Act were changed with the U.K.'s Holocaust Act 2009 35:30 no claims for works in the Gilbert Collection37:35 Victoria & Albert Musuem's Concealed Histories. 38:38 Magdala1868 exhibition of Ethiopian cultural objects inspired V&A'sConcealed Histories.41:35 MacKenzie Mallon with the Nelson-Atkins Museum had put on the Discriminating Thieves exhibition, which was a huge inspiration for V&A's Concealed Histories.  42:50 Provenance research into Nazi-looted art detached from other types of provenance research 44:45 Ethiopian Embassy negotiations for return of objects looted during Colonial era 45:00 Long-term loans used to return work that is subject to deaccession laws; example being long term loan of silver item stolen during church festival in Spain46:45 In 1999, discovered that V&A had bought in 1950s a silver item without realizing it was stolen in the 1890s in Spain; object has been on long-term loan since 200548:25 Gilbert collection is on 100+ years long term loan50:00 Museum Association guidelines for restitution claims being updated 51:15 Virtual loans52:49 Notion of digital restitution 54:30 upcoming provenance research handbook for researchers in English-speaking countries 57:30  idea of a mega-website arose from the 1998 Washington Conference to allow cross-referencing to identify objects58:35 no replacement for archival research1:01:50 His provenance research at the V&A outside of the Gilbert Collection includes newly acquired objects, loaned objects and objects for which questions are raised1:05:15 He studied history and did PhD in German/Allied war crimes then worked at London's Commission for Looted Art1:07:50 Student inquiries about provenance research welcome To view rewards for supporting the podcast, please visit Warfare's Patreon page.To leave questions or comments about this or other episodes of the podcast, please call 1.929.260.4942 or email Stephanie@warfareofartandlaw.com. © Stephanie Drawdy [2021]

Recently named the leader of the Department of Drawings and Prints at the Morgan Library and Museum (themorgan.org), a major center for art literature and music in New York City, John Marciari received his Ph.D. from Yale University in Art History.  In 2008 when he became the curator of Italian and Spanish Painting and the head of Provenance Research at the San Diego Museum of Art, he also discovered ultramarathons.  Since then he has run more than 18 ultramarathons including, 2012 Chimera 100M, 2013 San Diego 100M, and 2014 Massanutten 100M.He is a father of twins and his amazing wife, Julia Marciari-Alexander is the Executive Director of the Walters Art Museum in Baltimore, Maryland.  Learn how John has balanced the art of running ultramarathons with a thriving career and family.If you or someone you know would like to be featured on ULTRA University's podcast, send an email to trasiephan@icloud.com Subject line: athlete nomination

Recently named the leader of the Department of Drawings and Prints at the Morgan Library and Museum (themorgan.org), a major center for art literature and music in New York City, John Marciari received his Ph.D. from Yale University in Art History.  In 2008 when he became the curator of Italian and Spanish Painting and the head of Provenance Research at the San Diego Museum of Art, he also discovered ultramarathons.  Since then he has run more than 18 ultramarathons including, 2012 Chimera 100M, 2013 San Diego 100M, and 2014 Massanutten 100M.He is a father of twins and his amazing wife, Julia Marciari-Alexander is the Executive Director of the Walters Art Museum in Baltimore, Maryland.  Learn how John has balanced the art of running ultramarathons with a thriving career and family.If you or someone you know would like to be featured on ULTRA University's podcast, send an email to trasiephan@icloud.com Subject line: athlete nomination

Distinguished panelists from across the country will contextualize the Museum's exhibition on 14th century tapestries. Dr. John Marciari is the Curator of European Art and the Head of Provenance Research at The San Diego Museum of Art. He is responsible for the planning and implementation of the iteration of The Invention of Glory at the Museum. Dr. Barbara von Barghahn is Professor of Art History at George Washington University in Washington D.C. Since receiving her Ph.D at New York University, Dr. von Barghahn has been a prolific writer, contributing texts to many important art historical publications and authoring multiple books, including Age of Gold, Age of Iron: Renaissance Spain and Symbols of Monarchy. Her talk is titled "Defining the Perfect Prince in an Age of Chivalry: Portugal's Moroccan Campaign and the Pastrana Tapestries." From Jan van Eyck's Ghent Altarpiece commemorating the 1415 conquest of Ceuta to Flemish tapestries that documented the 1471 taking of Tangier, this lecture will consider: "portraits of power" in the context of chivalric ideals; the imaging of triumph in the clash of arms; the palatine display of tapestries as a visual chronicle of a contemporary epic; and the fame accrued from Portuguese expeditions to North Africa which initiated an age of navigation and a transformation of the medieval world picture. Will Chandler is an Independent Curator and the owner of Chandler Art Consulting Services. A former Curator of Decorative Arts at SDMA, in the 1980s he directed the conservation of the Museum's early 18th Century "Pillage" tapestry from the "Second Art of War Series." His presentation will illustrate the circumstances and techniques that led to this tapestry's creation, its expressions of continuity with the Pastrana Tapestries and of the artistic changes that followed them, and the variety of ways in which it has been interpreted since its arrival in San Diego in 1926.

Yo-Yo Ma investigates the relationship between music and visual art. In this film, the talented cellist plays the music of Bach in a virtual prison based on the Carceri, the imaginary prisons found in the etchings of Giovanni Battista Piranesi. Along the way, audiences hear from architect Moshe Safdie and others while learning of Piranesi's only built church project, the Santa Maria del Priorato. The exhibition, Piranesi, Rome, and the Arts of Design, includes a complete set of the prison etchings as well as an innovative 3-D video projection based on them. Before the film, Dr. John Marciari, Curator of European Art and Head of Provenance Research, will give a lecture about the haunting, nightmarish world of Piranesi's prisons, architectural fantasies that demonstrate the dark side of Piranesi's imagination. Prefiguring the dark imagining of the Romantic era, the Carceri are thought to have been the later model for everything from M.C. Escher's designs, to the city of Fritz Lang's Metropolis, to the moving staircases of Harry Potter's Hogwarts. www.TheSanDiegoMuseumofArt.org Video produced by Balboa Park Online Collaborative

John Marciari, Ph.D., Curator of European Art and Head of Provenance Research, discusses the possibility that a work in the Museum's permanent collection could have been painted by Caravaggio? ArtStops are 15 minute, staff-led tours of one to three works on view. Museum curators and educators present these brief yet always enlightening and informative talks every Thursday and third Tuesday at noon.

Dr. John Marciari, Curator of European Art and Head of Provenance Research, will discuss the making of The Human Beast. Topics will include the recent Kondon-Giesberger bequest of 48 works of art that form the foundation for this exhibition, the Grant and Walbridge collections from which pieces are also on view, and a behind the scenes discussion of how the exhibition was pulled together.

Distinguished panelists from across the country will contextualize the Museum's exhibition on 14th century tapestries. Dr. John Marciari is the Curator of European Art and the Head of Provenance Research at The San Diego Museum of Art. He is responsible for the planning and implementation of the iteration of The Invention of Glory at the Museum. Dr. Barbara von Barghahn is Professor of Art History at George Washington University in Washington D.C. Since receiving her Ph.D at New York University, Dr. von Barghahn has been a prolific writer, contributing texts to many important art historical publications and authoring multiple books, including Age of Gold, Age of Iron: Renaissance Spain and Symbols of Monarchy. Her talk is titled "Defining the Perfect Prince in an Age of Chivalry: Portugal's Moroccan Campaign and the Pastrana Tapestries." From Jan van Eyck's Ghent Altarpiece commemorating the 1415 conquest of Ceuta to Flemish tapestries that documented the 1471 taking of Tangier, this lecture will consider: "portraits of power" in the context of chivalric ideals; the imaging of triumph in the clash of arms; the palatine display of tapestries as a visual chronicle of a contemporary epic; and the fame accrued from Portuguese expeditions to North Africa which initiated an age of navigation and a transformation of the medieval world picture. Will Chandler is an Independent Curator and the owner of Chandler Art Consulting Services. A former Curator of Decorative Arts at SDMA, in the 1980s he directed the conservation of the Museum's early 18th Century "Pillage" tapestry from the "Second Art of War Series." His presentation will illustrate the circumstances and techniques that led to this tapestry's creation, its expressions of continuity with the Pastrana Tapestries and of the artistic changes that followed them, and the variety of ways in which it has been interpreted since its arrival in San Diego in 1926.

Distinguished panelists from across the country will contextualize the Museum's exhibition on 14th century tapestries. Dr. John Marciari is the Curator of European Art and the Head of Provenance Research at The San Diego Museum of Art. He is responsible for the planning and implementation of the iteration of The Invention of Glory at the Museum. Dr. Barbara von Barghahn is Professor of Art History at George Washington University in Washington D.C. Since receiving her Ph.D at New York University, Dr. von Barghahn has been a prolific writer, contributing texts to many important art historical publications and authoring multiple books, including Age of Gold, Age of Iron: Renaissance Spain and Symbols of Monarchy. Her talk is titled "Defining the Perfect Prince in an Age of Chivalry: Portugal's Moroccan Campaign and the Pastrana Tapestries." From Jan van Eyck's Ghent Altarpiece commemorating the 1415 conquest of Ceuta to Flemish tapestries that documented the 1471 taking of Tangier, this lecture will consider: "portraits of power" in the context of chivalric ideals; the imaging of triumph in the clash of arms; the palatine display of tapestries as a visual chronicle of a contemporary epic; and the fame accrued from Portuguese expeditions to North Africa which initiated an age of navigation and a transformation of the medieval world picture. Will Chandler is an Independent Curator and the owner of Chandler Art Consulting Services. A former Curator of Decorative Arts at SDMA, in the 1980s he directed the conservation of the Museum's early 18th Century "Pillage" tapestry from the "Second Art of War Series." His presentation will illustrate the circumstances and techniques that led to this tapestry's creation, its expressions of continuity with the Pastrana Tapestries and of the artistic changes that followed them, and the variety of ways in which it has been interpreted since its arrival in San Diego in 1926.

Dr. John Marciari, Curator of European Art and Head of Provenance Research for The San Diego Museum of Art gives a lecture on cataloging the Museum’s Permanent Collection. May 18, 2012 Cataloging the Collection: From Reginald Poland and the Putnam Sisters to Punchmarks and Provenance