Showing posts with label Adolphe Schloss. Show all posts
Showing posts with label Adolphe Schloss. Show all posts

16 April 2023

Cornelius "Kor" Postma (Part One)

by Claudia Hofstee

Note: This is a two-part essay by Claudia Hofstee. Part One addresses Postma’s life story and Part Two is a detailed look at his involvement with looted art, especially with the Adolphe Schloss Collection.

Cornelis "Kor" Johannes Postma (1903-1977) was a Dutch surrealist painter who participated in the valuation and sale of Nazi-looted art during the German occupation in Paris. During WWII, he served as an expert for the German and French authorities. His involvement is well known with the valuation of the Adolphe Schloss Collection that he performed for the German and French authorities. The full extent of his wartime role in acquiring and selling looted artworks from French collections to German clients is still not clear.

Cornelis Postma was the son of Gerardhus Postma and Joanna van Doorn. He grew up in Hilversum (Netherlands). In 1923, Postma taught himself how to paint close to his hometown, in Laren. Later on, he received art lessons from the Flemish expressionist painters from Joseph Coutré and Gustaaf De Smet (1877-1943). The latter lived in the Netherlands from 1914-1922, He was also a pupil of Dutch artist Willy Schoonhoven van Beurden (1883-1963).

On 21 April 1926, Postma married a Jewish theater actress, Betsy Booleman (1901-1997). The wedding was held in Amsterdam.  A daughter, Heddy Ly Postma (1929-2017), was born three years later. While in Amsterdam, Postma worked for art dealer Pieter de Boer. In the 1930s, he collaborated in group shows with artists like Carel Willink (1900-1983) and Pycke Koch (1901-1991). However, due to disappointments in his career, Postma moved to Paris in 1939 where he worked as an artist until the onset of the German occupation in June 1940.

During WWII, Postma lived in a small family guesthouse at the Hôtel de Nice at 4bis, rue des Beaux-Arts (Paris). The street was known for its many galleries, bookstores, publishers and artists' homes. Postma changed gears and participated in the booming wartime Parisian art market. He befriended some notorious individuals such as art dealer Jean-François Lefranc, responsible for aryanizing Jewish-owned galleries and businesses in and around Paris. Lefranc was a close advisor to Louis Darquier de Pellepoix (1897-1980), Commissioner General for Jewish Affairs under the Vichy regime (1942-1944). Lefranc introduced him to Dr. Bruno Lohse (1911-2007), a Nazi art historian who served as deputy director of the Einsatzstab Reichsleiter Rosenberg (ERR) in France and coordinated anti-Jewish plunder for the ERR. He also met Kurt von Behr (1890-1945), Lohse’s superior at the ERR who supervised the ransacking of Jewish residences from 1942 to 1944 (M-Aktion). Postma’s knowledge of Dutch art and the Dutch art market made him an asset in Lohse’s network of French, German and other informants who persecuted Jewish collectors and dealers.  

Postma’s clients included art dealers like Munich-based Maria Almas-Dietrich (1892-1971) and Berlin-based Hans W. Lange (1904-1945)  to whom he sold a number of looted works. Lange used Postma to facilitate the export of paintings from France to Germany.  In July 1944, Postma exported three paintings; a landscape by the 17th century Dutch artist Jan van Kessel and two pictures by French artist Jean-Étienne Liotard (1702-789), Still life with pitcher and glasses (whose attribution was questioned) and Still life: Tea Set, which is part of the J. Paul Getty Museum in Los Angeles. 
Still Life: Tea Set, by Jean-Etienne Liotard

Still life: Tea Set was consigned to multiple French galleries for which Postma acted as a go-between with the actual seller. Michel Martin (1905-2003) curator at the Musée du Louvre, denied Postma his application for an export license for the Liotard painting mostly because the Louvre was keen on acquiring an important Liotard painting. This rejection of the export license illustrates one way by which French museums exercised their pre-emption right in the 1940s – a right granted to them by the Export Law of 1941. Despite Martin’s opposition, the painting left France in July 1944. Furthermore, Postma dealt occasionally with German art dealer Hildebrand Gurlitt (1895-1956), well-known art expert who had acquired thousands of works of art in occupied territories of Western Europe, mostly in France. 

After the war, Postma remained in Paris where he married his second wife, the Dutch artist Pieternella Wilhelmina (Lili) Bosman van Leer (1905-1966). Her first husband (1941-1949) was Oscar van Leer (1914-1996), a successful entrepreneur. Postma may have met Bosman through Oscar van Leer since Postma was acquainted with van Leer since the 1930s. This connection proved beneficial to Postma's postwar career especially since Van Leer had developed social ties with Princess Beatrix (1938-), crown princess of the Netherlands, and her husband Prince Claus (1926-2002), while organizing gatherings for artist and writers at their estate of Castle Drakensteyn. In the 1970s, Postma gave drawing lessons to Princess Beatrix's children: Willem-Alexander (1967-), Friso (1968-2013) and Constantijn (1969-).

Postma and Lili Bosman regularly had opportunities to hold joint exhibits in Paris as with Galerie Kleinberger in 1951. Postma also enjoyed solo shows at Galerie Vendôme in 1957 and 1958.

Sources

Fold3:

NARA RG 239 M1782 roll M1782_10F1
NARA RG 239 M1944 rolls 22, 44, 47, 52, 95
NARA RG 260 M1941 roll 19
NARA RG 260 M1949 roll 6

Archives Nationales (AN), Pierrefitte, France
AN, 20144657/6, 06 July 1944, n. fol.
Z/NL 381, 8841 (C), 379, Postma

Archives du Ministère de l’Europe et des affaires étrangères (AMAE), La Courneuve, France
Séries 370-555 Série P: archives de provenance diverse
209SUP/406: Cornelius Postma
209SUP406p48: Cornelius Postma
209SUP/482 P166 : Cornelius Postma
209SUP/482 P167: Interrogatoire Hermann Voss

Stadsarchief Amsterdam, 30561: Archief van Oscar van Leer 1920 – 2003

Noord-Hollands Archief, 358.6 burgerlijke stand van de gemeente Amsterdam, inv. nr. 2858, aktenr. Reg. 2A fol. 50v; inv. nr. 3105, aktenr. Reg. 1B fol. 46v

Published sources:

Elisabeth Furtwängler and Mattes Lammert, Kunst und Profit: Museen und der französische Kunstmarkt im Zweiten Weltkrieg, 2022

Vanessa von Kolpinski, ‘Art Transfers from France During and After the Occupation: On Export Regulation as a Protective Measure and Resulting Source Material’, Arts et politiques, 2022: 138-155]
-self-taught Postma

P.M. J. E. Jacobs, Beeldend Benelux: Biografisch handboek, vol. 4, Tilburg 2000, p. 668.

Jean-Étienne Liotard, Still-life: Tea Set, c. 1781-83, Los Angeles, J. Paul Getty Museum, inv. no 84.PA57. 

Links:

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20 November 2022

Anthony van Dyck and The Music Man

Portrait of Paulus Pontius,  Anthony van Dyck

by Marc Masurovsky

Adolphe Schloss spent the last thirty years of his life painstakingly assembling a collection of Old Master paintings—Dutch, Flemish, German, Italian, Spanish and French. When he died on New Year’s Eve of 1910-1911, Adolphe Schloss had collected more than 330 paintings. His widow and children took care of the collection until it was time to send it to safety at the approach of war in August 1939. Four years later, a commando of French and German agents stormed the site where the paintings were hidden at the Château de Chambon in Laguenne, Corrèze. They seized all the paintings and brought them to Paris for “processing.”

After they reached their destination on 10 August 1943, representatives of the Vichy government, senior officials from the Louvre, and German officials proceeded with the dismemberment of the confiscated collection. The Louvre snatched 49 paintings for its permanent collection while 262 paintings were sold manu militari to Hitler’s Linz Museum project, and 22 paintings served as a “finder’s fee” for the person who denounced the collection’s whereabouts, Jean-François Lefranc. The 262 paintings were shipped to Munich for storage at the Führerbau from which they were stolen between 29 April and 2 May 1945, under the very noses of American troops. One of those paintings was the Portrait of a gentleman-Paulus Pontius by Anthony van Dyck.

Before Adolphe Schloss acquired the work by 1896, Paulus Pontius had changed hands numerous times and travelled throughout Western Europe and the United Kingdom. Its earliest recorded owner was Cardinal Silvio Valenti Gonzaga (1690-1756), who held the painting until his death in 1756. Then it conveyed to Cardinal Luigi Valenti Gonzaga (1725-1808), Rome, until 1763 when an art dealer, Hendrick de Leth (1703-1766) acquired it. From there, the painting crossed the Channel and ended up at Peper Harow in Surrey, England with the Midleton Family (we think). It remained in Surrey until 1851 after which time it migrated to London into the hands of Wynn Ellis (1790-1875). By 1896, London-based P. & D. Colnaghi sold Paulus Pontius to Charles Sedelmeyer in Paris (cat. 1896, no. 11, ill.). Sedelmeyer was one of Adolphe Schloss’ main art advisors. Naturally, Schloss snapped up the van Dyck portrait that same year and it remained with him and the Schloss family until its confiscation in 1943.

Munich 1945

MCCP card #46622

The massive unprecedented and largely unsolved art theft at the Führerbau (29 April-2 May 1945) netted over 1100 paintings. While American troops were completing the liberation of Munich and ridding the embattled city of its most fanatical armed Nazi resisters, Munich citizens were busily robbing Hitler’s administrative office building in search of food, alcohol, and anything fungible with which to survive in war-torn Munich.

Like most of the plundered paintings removed from the Führerbau, Paulus Pontius went quickly underground. It took three years for Americans to catch wind of its possible location. Until then, its whereabouts had remained unknown to American and French investigators connected with the Munich Central Collecting Point (MCCP), a central processing station for all objects recovered by Allied troops in Bavaria and processed for repatriation to their countries of origin.

Wolfgang von Dallwitz

The efforts to locate the missing painting took an unusual turn in February 1948 when Wolfgang von Dallwitz, of Biedersteinstrasse 21 (Munich) told Edgar Breitenbach that he had seen the painting in mid-November 1947 at “the apartment of a friend in Munich” together with two other paintings from the Schloss collection (a painting by Ludolf Backhuyzen /Schloss 3, a painting by Abraham van Beijeren /Schloss 8). A Dr. Irwin Sieger had allegedly shipped them from a railroad depot in Göttingen. [Breitenbach to Leonard, “Information concerning stolen Schloss paintings,” 25 February 1948, www.fold3.com], a fact he denied vigorously when questioned by Breitenbach.

Irwin (or Erwin) Sieger

Allied investigators were unsure of Sieger’s identity since they had received conflicting reports about the activities of a man bearing that name actively engaged in concealing and dispersing art looted during WWII and stolen from the Führerbau. Under questioning, Dr. Erwin Sieger lived at Olgastrasse 98 in Munich who was known as an “unscrupulous businessman” and a self-described “art amateur”, pledged to assist US authorities with their investigations into the whereabouts of the Schloss paintings and others. [Breitenbach to Leonard, “Information concerning stolen Schloss paintings,” 25 February 1948, www.fold3.com].
Lt. Hugoboom

The music man

In early 1947, while serving as a MFAA officer in Munich, Lt. Ray W. [Wayne] Hugoboom received Portrait of Paulus Pontius as “turned-in loot from the Führerbau” which Hugoboom characterized as a “gift” from the Oberbürgermeister (Lord Mayor) of Munich. However, instead of returning it to the MCCP as he should have, Hugoboom asked Franz Söker in Neu-Gilching if he could restore the damaged painting. It took him about two weeks. 

Once ready, Hugoboom hung the painting in his office. He even mentioned to his former secretary, Miss Koslowski, that he had bought it on the black market in Munich and not to tell his superior officer, Captain Rae of the MFAA. Lt. Hugoboom had a black crate made with metal sidings in which to house the painting, ostensibly for shipment. When confronted by Edgar Breitenbach, Lt. Hugoboom contradicted Koslowski’s assertion in a letter dated 3 June 1948. He delivered a contrite apology about his errant ways in the handling of the van Dyck. [Ray W. Hugoboom, School of Music, Indiana Unversity, Bloomington, IN, to Edgar Breitenbach, MFAA, OMGBavaria, 3 June 1948; Breitenbach to Hugoboom, 26 May 1948, www.fold3.com].

The recovery

On 6 April 1948, Edgar Breitenbach recovered Anthony van Dyck’s Portrait of Paulus Pontius at the studio of Alfred Koch on Holbeinstrasse 5 (or 43), Munich. According to Breitenbach, the van Dyck painting was the third most important painting from the Schloss collection. As part of his investigation into the circumstances surrounding the van Dyck painting, Breitenbach summoned for questioning Franz Söker to the MCCP on 14 April 1948. [Herbert Leonard, OMGB, to Franz Söker, 14 April 1948, RG 260 M 1946 Reel 137 NARA. www.fold3.com].

Ray Wayne Hugoboom’s defense

After Lt. Hugoboom left Munich in mid-1947 and returned to the United States, he received a promotion to become Assistant Professor of Choral Practice at the School of Music at Indiana University, Bloomington, IN. Hugoboom retold his saga with the van Dyck and declared that “the painting was located in an alley rapped [sic] up in old papers, thoroughly soaked and quite badly damaged.” He largely corroborated his official story—restoration, hanging in his room “for a short time before leaving” and leaving the painting with Alfred Koch “momentarily.” He was so busy with plans for his departure that he forgot to “arrange for [the] return” of the painting to the MCCP. [Wayne Hugoboom to Edgar Breitenbach, 10 May 1948, RG 260 M 1946 Reel 137 NARA].

Breitenbach sets the record straight

In his reply to “dear Hugoboom,” Breitenbach informed him that his letter of 10 May 1948 had caused “considerable embarrassment” at the MFAA. His recounting of the facts did not tally with the MFAA’s investigation.

Firstly, the mayor of Munich did not show him the van Dyck painting and three other paintings. It is Alfred Koch who advised him on the selection. Koch remembered the other paintings very well: two Breughel-like landscapes and a Dutch interior with woman and child. Koch did recall your hesitancy in accepting the gift but that you decided to take it, nevertheless, hoping to donate it “at a later date to some museum.”

Secondly, the story of the gift from the Mayor’s office may have been a hoax. Did Hugoboom partake in it? Unsure. But Alfred Koch and an accomplice by the name of Gillman were certainly in on it. Breitenbach noted that an apology to the Oberbürgermeister was in order. Gillman was also involved as a bit player in the mishandling of another painting from the Schloss collection, Portrait of a Lady, by Bartholomeus van der Helst.

The MFAA ultimately laid the responsibility for the van Dyck affair at Hugoboom’s feet and suggested that the only way to fix it was for him to “make a clean breast” to the MFAA staff. [Edgar Breitenbach to Hugoboom, 26 May 1948, RG 260 M 1946 Reel 137 NARA].  On 3 June 1948, Hugoboom formally apologized to “Mr. Breitenbach.” [Wayne Hugoboom to Mr. Breitenbach, 3 June 1948, RG 260 M 1946 Reel 137 NARA].

Final destination

Portrait of Paulus Pontius, Israel Museum, Jerusalem
The van Dyck painting was repatriated to Paris on 3 June 1948 and restituted to the family of Adolphe Schloss on 6 July 1948. It was sold at Galerie Charpentier on 25 May 1949 (lot no. 17). Madeleine and Joseph R. Nash, an Australian couple living in Paris, acquired the painting. They died on 15 August 1977. Two years later, in keeping with their history of donations to the Israel Museum in Jerusalem, the painting was bequeathed anonymously to the Israel Museum.

Sources

RG 260 M 1947 Reel 137 NARA through www.fold3.com

ERR database
www.errproject.org

The Jewish Digital Cultural Recovery Project (JDCRP) Pilot Project
https://pilot-demo.jdcrp.org/

The Monuments Men and Women Foundation
https://www.monumentsmenandwomenfnd.org/hugoboom-lt-r-wayne

Reviewed and edited by Saida S. Hasanagic
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19 November 2022

Two Schloss paintings

Portrait of Adrianus Tegularius, by Frans Hals

by Saida S. Hasanagic

The recovery of unrestituted paintings looted during the Holocaust that appear at international auctions with dubious provenances are examined in examples of Portrait of Adrianus Tegularius by Frans Hals (1582-1666) and Le Duo (Merry Company Making Music) by Joost Van Geel (1631-1698) which is featured in the upcoming Lempertz sale on 19 November 2022.

It is therefore important to begin with the Portrait of Adrianus Tegularius, previously part of the Adolphe Schloss Collection. Its provenance reads like a classic thriller and had led to a landmark criminal case in France involving Adam Williams, over the course of eleven years. Williams, a British-born New York-based Old Master dealer, learnt his trade at the Richard Green Gallery in London in the 1970s before relocating to the USA and eventually taking over the directorship of the Newhouse Galleries in New York City before setting up his eponymous dealership in 1998. However, to tell this story we have to start from the beginning.

The earliest recorded date in the provenance chain starts in Amsterdam in 1812 with the collector Jeronimo de Bosch IV when it was sold by Philippus van der Schley. In 1818, the painting was sold by Cornelis Sebille Roos as the property of J. Kerkhoven. In 1848, it was auctioned anonymously and acquired by the Amsterdam dealer / auctioneer Jeronimo de Vries. The Portrait of Tegularius then relocated to Germany and was recorded (undated) as the property of M. Unger in Berlin, then Richard Freiherr von Friesen in Dresden, until 1884, followed by Werner Dahl of Düsseldorf until 1901, when it was sold to Adolphe Schloss. The painting remained with the Schloss family after Adolphe’s death in 1910. It passed on to his wife Lucy Haas Schloss until her death in 1938 when it was inherited by their children.

On 16 April 1943, the Schloss collection, including the Hals, which comprised 333 paintings, was confiscated by Vichy officials and German security agents at the Château de Chambon in Laguenne (Corrèze). It was subsequently sold on 1 November 1943 as part of a group of 262 paintings from the confiscated Schloss collection to Hitler’s Führermuseum (or Linz Museum) Project. These 262 paintings were then transferred to the Führerbau, Hitler’s ad
Château de Chambon, Laguenne
ministrative office in Munich, on 24 November 1943 where they remained until unknown individuals broke into it on 29-30 April 1945 and emptied it of its contents, including the paintings, one of which was Hals’ Portrait of Tegularius.

It resurfaced in a private collection in Frankfurt am Main in 1952. The trail went cold until 1967 when it was offered in New York at the Parke-Bernet auction as lot no. 32, part of a deceased princess’ estate. It sold for US$ 32,500. The painting was offered for sale at Christie's in London on 24 March 1972 (lot no. 83) as part of the Ludvig G. Braathen Collection, where it was ‘bought in’ following French official efforts to halt the sale. On 28 March 1979, it sold at Sotheby's, London as lot no. 15 for £21,000. In 1982, it was reported to have been in a Dutch private collection located in West Germany. On 21 April 1989, the Hals changed hands again without an indication of its theft in the Christie’s catalogue  (lot no. 26) when it was bought for £110,000 by Adam Williams for the Newhouse Galleries in New York.

In September 1990, the painting was displayed at the Newhouse Galleries stand during the Biennale des Antiquaires at Grand Palais in Paris. It was recognised by Jean Demartini, one of the Schloss heirs, who immediately informed the Paris prosecutor’s office. The prosecutor started a criminal inquiry which led to Williams’ indictment and the painting’s seizure by French authorities. The investigating magistrate (Juge d’Instruction) closed the criminal case based on the lack of bad faith on the part of Williams. The Schloss heirs appealed the decision and the Court (Chambre d’Accusation) confirmed the decision of the investigating magistrate that: a) a settlement of 3,812,000 francs had been reached between some of the Schloss heirs and the German government in 1961, as confirmed in the letter to the French government on 24 April 1961; and b) Williams bought the painting in good faith at fair market price at Christie’s in London.

A protracted legal battle continued whereby the prosecutor’s office appealed the decision to the French Supreme Court (Cour de Cassation) on 4 June 1998, which in turn reversed the decision of the lower court and returned the case to the Versailles “Chambre d’Accusation” to be re-examined. Effectively, the French Supreme Court established principles that were to be used as future guidelines: 1) the settlement between some Schloss heirs and the German government did not bar any subsequent criminal proceedings, as the settlement did not stop the public prosecutor from pursuing a criminal case based on the same facts, unless a specific law prevented it and the Supreme Court did not find any such law; 2) the settlement is only binding for the Schloss heirs who signed it, and not for the ones who were not a party to it; 3) the settlement with the German Government does not affect any criminal claims that the Schloss family might wish to raise against the Nazis who committed the crime; and finally an important point 4) the absence of bad faith on the part of Williams was not established.

The “Tribunal Correctionnel” at Nanterre indicated that the painting and its provenance were outlined in Collections World Directory published in 1979, stating that the painting was stolen and belonged to the Schloss Collection. It was pointed out that the painting was listed in the French “Répertoire des biens spoliés” (1947) and in the Frans Hals catalogue raisonné published by Seymour Slive (no. 207, 1974), where it was again documented as stolen. The Court adjudicated that a professional dealer, and a reputable Old Master specialist such as Williams, could not claim ignorance and should had done his due diligence by independently researching the painting and not relying on the incomplete provenance from the auction catalogue. As any committed art market professional, he would have found out that the painting was subject to a claim. To further hamper his defence, Williams initially claimed that he had never heard of the Schloss Collection, but had previously confided to another dealer that the painting had been sold several times at auction although it was stolen during the Second World War. This case strongly reiterates that the burden of proof is on the art professionals to prove their bona fide purchase. In addition, this means that indemnification of the Jewish families for their material losses due to looting does not constitute a limitation to subsequent criminal action based on the same facts. 

On 6 July 2001, the Court sentenced Williams to an eight-month suspended prison sentence for possession of artwork looted during the Second World War, and the painting was restituted to the family. Pierre-François Veil, the family’s lawyer, was certain that this landmark ruling would set a precedent that would not only apply to private dealers but to museums and galleries as well. As such, the decision sent a clear message to dealers and auction houses to improve the transparency of their activities, rendering it irrelevant whether they are just mere agents.

Twenty-two years later, Joost van Geel’s Le Duo (Merry Company Making Music), is featured at a Lempertz auction in Cologne on 19 November 2022 (Auction 1209 - Paintings, Drawings Sculpture 14th -19th Centuries) as lot no. 1569, with an estimate of €20,000-30,000. Dr. Walther Bernt had authenticated the work in 1976. The painting remains unrestituted. We have a limited knowledge about the history of this particular painting. The earliest date in its provenance starts with 23 June 1820 at the auction of the estate of Benjamin West, of Royal Academy fame. It was then acquired by a private collection (Perkins), probably in Paris, then by Adolphe Schloss at an unknown date. The van Geel painting shares the same post-confiscation fate as that of the Hals. However, it is alarming that Lempertz does not offer any provenance to the painting, apart from the Walther Bernt certificate.
van Geel painting, 19 November 2022 Lempertz sale


The link to the Lempertz online bid has been removed but the artwork’s details are still available in the auction catalogue, a sign that the German auction house has been made aware of the painting’s troubled past. Since 2001, the artworld has become more sensitive to the Second World War claims. As for the auction houses, hiding behind art-historical certificates and not producing any relevant history of well-documented objects should send clear red flags to any agent, buyer and collector.

More about the author

Saida S. Hasanagic, MA, is an art historian based in London, England. She is an independent scholar specialising in provenance research, art crime and its prevention from perspectives of art history, art business and international relations. Saida worked as a provenance researcher for the JDCRP Foundation: The Pilot Project – The Fate of the Adolphe Schloss Collection. Her main areas of interest are the Second World War plunder and cultural crimes committed in conflicts since then, notably in the former Yugoslavia with focus on spoliation and restitution in Bosnia-Herzegovina. 


Sources

Anglade, Leila. “Art Law and the Holocaust: The French Situation.” Art Antiquity and Law, Volume IV, Issue 4, December 1999, pp. 302-311.

Anglade, Leila. "The Portrait of Pastor Adrianus Tegularius by Franz Hals: The Schloss Case before the French Criminal Courts.” Art Antiquity and Law, Volume VIII, Issue 1, March 2003, pp. 77-87.

Campfens, Evelien (ed.). Fair and Just Solutions. Eleven International Publishing. 2015. The case is mentioned briefly as the footnote 3 on page 153, by Norman Palmer in Chapter 7: The Best We Can Do? pp. 153-185.

Demartini v Williams, 18th Chamber, Tribunal Correctionnel, Nanterre, 6 July 2001. (unpublished)

“Dealer guilty of handling Nazi art.” BBC News. Friday, 6 July 2001.
http://news.bbc.co.uk/1/hi/entertainment/1426508.stm

Giovannini, Teresa. “The Holocaust and the looted art.” Art Antiquity and Law, Volume 7, Issue 3, September 2002, pp. 263-280.
https://www.lalive.law/wp-content/uploads/2019/10/tgi_holocaust_and_looted_art.pdf

Melikian, Souren, “Buyer Beware: An Art World Nightmare Worthy of Kafka: The Mystery of a Looted Portrait.” The New York Times. 1 September 2001.
https://www.nytimes.com/2001/09/01/news/buyer-bewarean-art-world-nightmare-worthy-of-kafka-the-mystery-of-a.html

Slive, Seymour. Frans Hals, Catalogue Raisonné. London: Phaidon Press, 1974.


Other sources

Adam Williams Fine Art
https://www.adam-williams.com/about

ERR database
https://www.errproject.org

HALS (Frans) Anvers, 1581/85 - Haarlem, 1666. Portrait du Pasteur Adrianus Tegularius
https://www.diplomatie.gouv.fr/sites/archives_diplo/schloss/tableauxH/tableaux76.html

https://pilot-demo.jdcrp.org/artwork/hals_portrait_52560/

Joost van Geel as Merry Company Making Music, Lempertz, 19 November 2022, Auction 1209 - Paintings, Drawings Sculpture 14th -19th Centuries, Cologne, lot no.1569, estimate € 20,000-30,000

https://www.lempertz.com/lempertz_api/images/Kat_1209_AK_Nov_2022_DS.pdf

GEEL. (Joost Van) Rotterdam, 1631 - id., 1698. Le Duo.
https://www.diplomatie.gouv.fr/sites/archives_diplo/schloss/tableauxG/tableaux53.html

https://pilot-demo.jdcrp.org/artwork/geel_duo_51658/

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