The disappearance of Raphael's Portrait of a Young Man

Portrait of a Young Man

by Marc Masurovsky

What happened to Raphael’s Portrait of a Young Man which belongs to the world-renown collection of the Krakow-based Czartoryski family? The now-iconic painting (the poster child for WWII plundered “treasures”) pulled off a world-class vanishing act in the early days of May 1945 as US troops closed in on the South Bavarian compound of Hans Frank, Governor-General of German-occupied Poland.

The Czartoryski family, one of the flowers of Polish nobility, owned palatial residences and estates in Krakow, Goluchów and Sieniawa (Poland). Since 1893, the Goluchów Castle served as a Museum of the Czartoryski collection. Many of the family’s artistic possessions were stored and displayed there. They included close to 5000 art objects and antiquities as well as several hundred Old Master paintings. The bulk of the collection was transferred to Sieniawa for protection. Soon after the Nazi invasion of Poland in September 1939, German troops reached the Czartoryski estates and seized their contents. To make matters worse, a local mason had betrayed the location of the hidden Czartoryski “treasury.”

 

Hans Frank

In October 1939, Kajetan Mühlmann, who had played a major role in the plunder of cultural treasures in German-occupied Poland, brought to Berlin choice pieces from the confiscated Czartoryski collection—works by Raphael, Leonardo da Vinci and Rembrandt. In late November, at Martin Bormann’s urging, Hans Posse, the director of Hitler’s Linz museum project, requested the transfer of the best pieces from the Czartoryski collection to the Linz museum. It fell on deaf ears. The paintings returned to Krakow only to be shipped back to Berlin in 1942, this time on orders from Field Marshal Hermann Goering. However, the Nazis, fearing for the safety of the works due to Allied bombardments, opted to send the works back to Krakow, where they were stored at the Wawel Castle. 

Wawel Castle, Krakow

From August 1944 to January 1945, in the face of an imminent offensive by the Soviet Red Army, a gradual evacuation began of Hans Frank’s Krakow HQ and the many plundered art objects and paintings under his control. The main evacuation point was the estate of Count Manfred von Richtofen in Seichau (Sichów), Silesia, which the Auswärtiges Amt [German Foreign Office] had requisitioned for use by Hans Frank, his staff and the German Army. At the outset, a small number of Frank’s aides had appeared at Seichau (Sichów). It was not until the surrender of Krakow that the largest contingents overtook von Richtofen’s castle. He confirmed that Frank and his top aides had remained in the main house for only a few days until their “sudden” departure on 23 January 1945. In other words, Frank did not reach Seichau (Sichów) until mid-January 1945. 

Seichau Castle, Silesia

A German official by the name of Gross indicated that in the months following the requisition of von Richtofen’s estate, there was a continual movement of “lorries” which carried ‘objets d’art’ as well as“foodstuffs and large quantities of alcohol.” He noted that, after the departure of the Frank party on 23 January 1945, the rooms that they had occupied at Seichau (Sichów) were in “complete chaos,” a statement confirmed by Fraulein Liselotte Freund of Seichau Castle. (Gross and Liselotte Freund supplied separate statements to an SS investigative officer on 2 February 1945).

Frau von Wietersheim’s Muhrau estate, 14 km from Seichau, served as a secondary evacuation point. Wilhelm Ernst von Palézieux, Hans Frank’s chief of the ‘Referat für Kunst’ (Art Section) and Eduard Kneisel, an Austrian-born restorer, were responsible for ensuring the safety of the plundered treasures from the Czartoryski and other noble Polish collections. They watched over the thousands of art works and objects in their custody at both estates.

It took the greater part of a month for the various convoys carrying Hans Frank and his many staff members to reach Neuhaus am Schliersee in southern Bavaria where Hans Frank had an estate. Neuhaus am Schliersee became the final destination for the Polish looted cultural treasures under Frank’s control, including those that belonged to the Czartoryskis. On 17 February 1945, Hans Frank informed Dr. Lammers, chief of the Reich Chancellery, that the last convoys had reached Neuhaus.

According to London-based Count Zamoyski, one of the heirs to the Czartoryski estate, the Portrait of a Young Man by Raphael was stored at a villa serving as a residence for Wilhelm Ernst von Palézieux in the immediate vicinity of Hans Frank’s compound. Eduard Kneisel confirmed this fact in subsequent years and testified that he had not conducted any restoration work on the painting but that it had been removed from its massive crate.

The “vanishing”

In the first week of May 1945, American military units converged on the Bavarian compound of Hans Frank at Neuhaus am Schliersee. They searched Frank’s office in the “Bergfrieden” chalet, which was near the “Schoberhof”, his main residence. According to an American miliary investigative report, the troops conducted only a superficial search of the “Schoberhof.” The MFAA took nearly a year to file a report on the circumstances surrounding Hans Frank’s capture and the disappearance of the Raphael. The report acknowledged that US troops had not conducted an extensive search of the “Schoberhof.”

On 4-5 May 1945, American troops located and arrested Hans Frank as he tried to escape with members of this retinue. Frank made a failed attempt at suicide on 6 May 1945. US troops recovered most of Hans Frank’s loot. However, the Portrait of a Young Man by Raphael vanished into thin air either right before the arrival of American troops or under their very noses while they were overtaking Neuhaus. It’s anyone’s guess where the painting is currently stashed. 

Primary sources:

Document 3614-PS, Evacuation of Cracow, UConn Archives and Special Collections
https://collections.ctdigitalarchive.org/islandora/object/20002%3A1503#page/8/mode/2up]

Frank to Lammers, Document 3614-PS, Office of US Chief Counsel, IMT

undated letter from Count von Richtofen to an Ortsgruppenleiter of the NSV [National Socialist Welfare Organization]

"The loot from Poland," unsigned summary. RG 59, Lot 62D-4, Ardelia Hall Collection, Box 9, NARA.

Ardelia Hall to Count Zamoyski, 15 December 1960, Lot 62D-4 Ardelia Hall Collection, Box 13, NARA.

Walther Bader interrogation by Edgar Breitenbach and Dr. Roethel, 24 June 1947, RG 260 Prop. Div., Ardelia Hall, MCCP, Box 479, NARA.

www.Fold3.com

RG 239 M1944 Reel 127 NARA. 

Photo credits

Hans Frank
https://cdn.britannica.com/44/133344-050-54791C79/Hans-Frank-1939.jpg

Kajetan Mühlmann
https://www.lexikon-provenienzforschung.org/en/muhlmann-kajetan

Wawel castle
https://www.dreamstime.com/stock-photos-old-style-photo-royal-wawel-castle-cracow-image14871673

Reviewed and edited by Saida S. Hasanagic

Krakow (May 2009), Prague (June 2009), and beyond (2009-2011): Anything new?

In mid-May 2009, a dozen individuals from the United States and Europe, mostly lawyers, one historian, and several representatives of the art market, met in a classroom in the former home of General Governor Hans Frank on the outskirts of Krakow, Poland. The purpose of the meeting was to come up with a statement that might offer an alternative to the impending, inevitable Holocaust Era Assets Conference of Prague, scheduled for June 26-30, 2009.

After a day and a half, compromise was in the air, rebellious spirits subsided, and in the interest of pragmatism, a declaration was hashed out to be presented in some form or another at the Prague Conference.

Six weeks later, delegates from more than 45 countries and representatives of international non-governmental organizations, cobbled together a lengthy declaration branded with the name of one of Nazi Germany’s most perverse concentration camp experiments, Terezin. The Terezin Declaration gave top priority to the salvage of the neediest of the neediest amongst the dwindling population of Jewish Holocaust survivors around the globe. Coming almost at the end was a statement about looted art which echoed in an even more diluted manner the Krakow Declaration of May 2009.

The international community pledged to meet its obligations towards survivors and put into place national and international mechanisms to settle property questions, including cultural assets. The Czech Ministry of Foreign Affairs established an European Shoah Legacy Institute (ESLI), of which the initial mission was and continues to be to monitor the implementation of the Terezin Declaration and make recommendations on how best to accomplish that mission, providing annual reports on developments in signatory nations with respect to restitution, reparations, compensation, and aid to needy survivors. The implementation of the Terezin Declaration involves five major areas of activity, including looted cultural assets and Judaica.

Let’s take a look at where we are with respect to our favorite issue—looted art. One way to assess the situation is by looking at the relevant statements of the Krakow Declaration and the Terezin Declaration and measure them against concrete accomplishments recorded since July 1, 2009.

Aid to research:

Krakow: Exclusive government control of research into provenance and title issues and the failure to permit, encourage and enable independent research is not acceptable. We therefore urge nations to provide adequate funds to facilitate independent research and to make such research available to the general public.

The Terezin Declaration is mum on this point. As of now, the only countries which are funding provenance research at any scale are Germany and Austria.

Claims resolution:

Krakow: Taking into consideration the Washington Principles on Nazi-Confiscated Art, we urge all parties to ensure that claims to recover looted art are resolved expeditiously and based on the facts and merits of the claims, having taken into account legal, moral and other considerations, in order to achieve just and fair solutions.

Here, the Terezin Declaration is explicitly silent, but implicitly whispers something to the effect that mechanisms must be put into place for claimants. Nevertheless, despite the rare rulings coming from national restitution commissions (Holland, Germany, Austria), claimants are still forced to seek redress before the courts of their respective nations in expensive litigations. To date, no measures have been taken to alleviate the legal burden that befalls those who seek the return of their cultural property.

Cultural property and exports:

Krakow: Export control, cultural heritage and citizenship laws should not be applied to prevent the return of property to Holocaust victims. It is unjust for a country that took or came into possession of Holocaust looted property to keep it.

The Terezin Declaration ignores this point. All nations have invoked their cultural patrimony laws to prevent restituted property from leaving their territory under the pretext that those items belong to the cultural heritage of their nations. A tactic that has been used for decades now, during and after the Second World War. It is a perverse attack on the rights of individuals to be reunited with their cultural possessions and a clear abuse of power by nations seeking to prevent cultural items from being returned to their rightful owners.

Restitution laws:

Krakow: We urge nations to enact or modify laws and regulations to authorize the restitution of looted Holocaust cultural property to the rightful owners in appropriate cases.

Terezin: Where it has not already been done, we also recommend the establishment of mechanisms to assist claimants and others in their efforts,

As can be seen, the Terezin Declaration is a meek version of the Krakow declaration. However, let us not fool ourselves. Short of someone wielding a supranational equivalent of a nuclear detonator to convince nations to amend their laws so as to facilitate restitution procedures, there will be no amendments or new laws passed until the international community acts with one voice. It may very well be that an absence of political will at the national level might compel political solutions at supranational levels.

Legal impediments to restitution:

Krakow: Where statutes of limitations or prescription laws prevent the restitution of looted Holocaust property, they should be waived or exceptions for Holocaust looted property should be made in appropriate cases.

Terezin passed over this very delicate topic which constitutes the biggest legal impediment for anyone seeking a measure of justice in any asset category that was plundered during the Second World War. In some nations, stolen items can be converted after the passage of time into legitimately owned objects.

Inventories:

Krakow: We urge nations to conduct systematic surveys of works of art and other cultural objects in their collections, produce inventories of this property and make them available to the general public.

As expected, no one at the Prague Conference sought to press for the creation of inventories, a demand that has been largely unmet since the first calls for such inventories in the months that followed the collapse of the Third Reich. To date, inventories are fragmentary, incomplete, difficult to use and not updated.

Provenance research:

Krakow: We urge nations to conduct systematic provenance research and make the results available to the public.

Terezin: In particular, recognizing that restitution cannot be accomplished without knowledge of potentially looted art and cultural property, we stress the importance for all stakeholders to continue and support intensified systematic provenance research, with due regard to legislation, in both public and private archives, and where relevant to make the results of this research, including ongoing updates, available via the internet, with due regard to privacy rules and regulations.

Provenance research is one area where one can say that there has been progress, albeit limited. Efforts in most nations are not inspired by their governments, but rather by museum professionals, as in the United States, for instance. Fragmentary as they may be, those limited efforts when combined are proving the point—that concerted, coordinated international action must be carried out to facilitate complex research on individual objects, their owners, the dealers and institutions that carried them over time.

Conflict resolution in claims disputes:

Krakow: We urge nations to provide alternative dispute resolution mechanisms using qualified and independent experts.

Terezin: Keeping in mind the Washington Conference Principles on Nazi-Confiscated Art, and considering the experience acquired since the Washington Conference, we urge all stakeholders to ensure that their legal systems or alternative processes, while taking into account the different legal traditions, facilitate just and fair solutions with regard to Naziconfiscated and looted art, and to make certain that claims to recover such art are resolved expeditiously and based on the facts and merits of the claims and all the relevant documents submitted by all parties. Governments should consider all relevant issues when applying various legal provisions that may impede the restitution of art and cultural property, in order to achieve just and fair solutions, as well as alternative dispute resolution, where appropriate under law.

Although there is an apparent overlap between the two declarations, lawyers and policymakers alike have warped the concept of a ‘just and fair solution”. Just and fair for whom? More likely than not, for the current possessor who is still viewed as an innocent party in the restitution process. Therefore, one needs to proceed with caution when promoting alternative dispute resolutions because fairness is in the eye of the beholder. By the way, there is nothing expeditious about the settlement of a cultural claim.

Access to archival records:

Krakow: Acknowledging that provenance research has priority over individual privacy protection, we urge nations to open all public records and archives pertaining to the looting of cultural property through various means including theft, coercion, abandonment, forced sales, and sales under duress; to make them accessible to researchers and the public, and to provide incentives for the accessibility of privately-owned archives.

The Terezin declaration might have implicitly supported access to archival records, both public and private. But, in order to achieve fair and just solutions, all relevant records must be made available and released so that all parties can equally benefit from the wisdom contained in those documents, be they letters, receipts, lists, telegrams, reports. Access to public records is going much faster than the facilitation of conflict resolution or provenance research. But private records remain locked behind closed doors, which is a detriment both to the art trade and to the general understanding of the history of ownership of cultural objects over time and space. Here too, political action and creative solutions might be needed to widen access to privately-held archives.

Monitoring:

Krakow: All nations should monitor restitution activity and make public annual reports on the making and resolution of claims and supply to the public accurate information about looted Holocaust property.

Although the Terezin Declaration omits this idea completely, it is contained in the generic recommendation for a post-Prague 2009 initiative—encapsulated by the creation of the European Shoah Legacy Institute (ESLI). However, there has yet to be any distinctive output from ESLI on this and related matters since its founding two years ago.

Documentation:

Krakow: We urge all nations to create facilities where information is available on restitution procedures in other countries.

ESLI is supposed to be one of the key facilities through which information can be found on the practice of restitution in countries that participated in Washington in 1998 and in Prague in 2009. Still, no word from ESLI. Everyone is anxiously waiting for product.

Where do we go from here?

That is an excellent question. So far, there are no good answers that translate into effective strategies.

It might very well be that, in order to move forward on all fronts, drastic measures and severe medication are needed to protect the rights of claimants, to ensure fair and equitable processes for deciding on the fate of claimed objects, and to raise the general level of awareness amongst specialists and laypersons alike as to the mechanisms of cultural plunder and its long-term impact on civil society.

Silesian threads

I made two trips to Silesia—one in May 2009, focused mainly on Krakow, the other in January 2010, between Katowice and Gliwice. During the course of those two trips, I took the opportunity to do the usual gallery-hopping, museum-browsing, antique store window-shopping that is ‘de rigueur’ for my type of low-cost culture-focused tourism.

Krakow, May 2009: Predictably, my eye scanned for unusual things, patterns, objects that are out of place or simply beckon for attention. And so it was, while waiting for a train at the main station of Krakow, across from the Andels Hotel, I had time to kill and needed some change. There was a bric-a-brac style antique store on the upper floor of the train station called “Galeris u adama antyki.” The room was huge—perhaps 60 feet long with 15 foot ceilings. On one side were tall windows—normal, we were in a pre-1940 train station!—and the other three walls were covered floor to ceiling with gaudy, garish, moody, dark, overdone or underdone landscapes, portraits and god-knows-what. From the corner of my eye, in the midst of this cacophony called ‘art’, a small beige abstraction in a simple tan frame caught my eye—a stand-out, a perfect anomaly hanging in the upper right corner, impossible to reach except by ladder.

I asked the owner who spoke bare English whom the artist was. He told me Maria Ender. How much? The equivalent of 400 dollars in cold cash, which I did not have to spend at that point. Too bad… Saddened by my unrequited find, I later did some research into Maria Ender. She was born in Leningrad and died there in 1942 during the Siege. All I could wonder is: how did one of her “avant-garde” pieces end up in a Krakow train station antique bric-a-brac? Who knows?

The Flower Girl, Mojzesz Kisling
Source: Silesian Museum

Katowice, late January 2010: On one of the coldest days that I could ever remember, frozen stiff, I ventured out of my hotel which was facing the historic train station of this industrial city, from which forced and slave laborers were carted off in January 1945 to destinations within the Reich and to the former Protectorate, escorted by SS guards and Vlassov soldiers. Like many cities in Silesia, the last days of German occupation left many parts of the city in ruins and the scars are obvious for all to see to remember day after day until the end of times. I headed to the “Muzeum Slaskie” on Korfantego 6, which appears not to have suffered greatly, if at all, from the late January 1945 artillery and tank pounding.

The permanent collection of 19th and 20th century paintings is housed on the 2nd floor of the Slaskie. Each room is guarded, if one can say that, by an aged female Cerberus. They look like they are sleeping but they actually follow you from the corner of their eyes. Very efficient and very intimidating…

Sulamitka (Dama z wachlarzem), Maurycy Gottlieb
Source: Weranda

I marveled at the quality of artists who plied their creative wares in pre-1940 Poland. And that’s when I saw a painting by Mojzesz Kisling, the “flower girl”, 1914-1921, and a painting by Maurycy Gottlieb, “Sulamitka,” executed in 1877. Two Jewish artists! Very impressive… I continued into a small room which turned out to be a shrine—no one would have known that except for obsessive compulsives like me who later spent hours researching dates of death of these artists… Two-thirds of the artists whose works were in this and an adjoining room had died between 1939 and 1945. Not a single mention of their fate. Embarrassment? Indifference? The same questions that gall me regarding other museums’ professed inability to share the rich and oftentimes tortured stories of works of art on display and their creators came back to haunt me on this visit.  Nevertheless, it was an opportune time to contemplate these works and absorb them for what they are—testimonials to the creative breadth and energy of artists of different faiths whose talent was snuffed out during the dismembering of Poland and the suppression of those living within its borders at the time.

Here is an incomplete list of those artists:

• Jadwiga Bohdanowicz-Konczewska, died in 1943—sculptress who studied in France with Antoine Bourdelle.
• Olga Boznanska, died in 1940,
• Stanislas Kamocki, died in 1944, in Zakopane.—influenced by Jacek Malczewski and Leon Wyszolkowski. Taught at an art school in the village of Poronin near Zakopane.
• Roman Kramsztyk, died in 1942 in the Warsaw Ghetto—qualified as a Polish Expressionist. Part of the Friends of Fine Arts Society, Krakow. Linked to Tadeus Pruszowski and Eugene Zak. Had studied in Paris before returning to his native homeland in the 1930s.
• Edward Okun, died in 1945.
• Jozef Pankiweicz, Impressionist-like, died in 1940,
• Tadeus Pruszkowski, died in 1942. He belonged to the Warsaw School and the Fourth Group and taught at the Warsaw Academy of Fine Arts, and was a member of the Rhythm Group (1922-1932).
• Michal Rouba, died in Wilno in 1941.—His ‘Landscape of Mlyn, 1927’, is very much in the spirit of Soutine’s curvy landscapes. Studied in Krakow, but worked and lived in Wilno.
• Jan Rubczak, died on 27 May 1942 at Auschwitz—arrested by the Gestapo in April 1942 at a Krakow café with a group of artists.
• Henryk Szczyglinski, died in 1944, born in Lodz, died in Warsaw.
• Stanislaw Ignacy Witkiewicz, died in 1939.
• Feliks Michal Wygrzywalski, died in Rzeszow in 1944—a realist/orientalist painter trained in Munich.
• Kasper Zelechowski, died in 1942.—studied in Krakow.

French loot in Poland

Between the plundering ways of the Einsatzstab Reichsleiter Rosenberg (ERR) in German-occupied France and the numerous ‘procurement’ offices run by parallel organizations, an untold number of looted cultural objects ended up east of the Oder River and especially in the wartime, Nazi concoction known as the General-Gouvernement.

One of the most nefarious pairs of plunderers were the Muhlmann brothers who, not content with having despoiled Holland, plied their wares in Paris during the Vichy years. Headquartered at 5, rue Mayran, they used their Paris address as a processing center for all sorts of goods to be sent eastward to one of their best clients, Gauleiter Hans Frank.

According to studies and correspondence produced by the French Foreign Affairs Ministry in the late 1940s and early 1950s, most of the objects that passed through rue Mayran went to Krakow to furnish the offices and residences associated with the General-Gouvernement. The Wawel Castle was used as a depot.

André Maurois’ library ended up in Ratibor/Raciborz, as did the libraries of Simon Petlura and Léon Blum, former French Prime Minister who was tried at Riom by Vichy and ended up in Buchenwald.

One of Heinrich Himmler’s houses at Glawa in Silesia served as an erstwhile depot for select French libraries before being transferred to the University of Poznan, which was also used as a depot for tens of thousands of books belonging to French Freemasons and rare books removed from countless churches and monasteries.

Prince Pless’ castle near Klodzko/Glatz in Lower Silesia was used as a book depot.

War-making items from the “Musée de l’Armée” in Paris ended up in a local museum of Wroclaw/Breslau.

Objects associated with Frédéric Chopin were stolen from a society dedicated to the memory of Chopin in Lyon, France, and placed by the Germans in a museum in Krakow.

Gauleiter Hans Frank used the Palace of Count Potocki as one of his residences in Kreszowice where he brought in countless items from German-occupied France. The question remains: how many of these objects was he able to take with him on his hasty retreat to southern Bavaria in mid-January 1945?  What happened to the objects that remained in Kreszowice?

Last but not least, a priceless stamp collection looted by the Germans from a Postal Museum in Poland, fell into the hands of French occupation authorities in postwar Germany.  It was valued in 1950 at 40 million francs, a staggering sum which would make it one of the most expensive stamp collections in the world today. Officials at the French Ministry of Foreign Affairs proposed that the stamp collection should be used as a bargaining chip with the postwar Polish authorities to sway them into exchanging it for the libraries and countless objects forcibly removed from French institutions and households.

Did they?

The Krakow Declaration, May 14, 2009, Krakow, Poland

The Krakow Declaration was written by a group of independent historians, attorneys, and members of the art trade, from the United States and Europe, concerned over the general lack of initiative and action on matters pertaining to art restitution.

The Declaration evolved over two days of animated discussions, its ultimate purpose to provide an alternative text to the one that would be issued at the forthcoming Prague Conference of June 26, 2009, on Holocaust-era Assets.

Here it is:

Recognizing that it is not in the national interest to build art collections with looted property or to keep collections taken from victims of religious, racial or other forms of persecution between 1933 and 1945, 

Recognizing that between 1933 and 1945, the art and cultural property of Holocaust victims was dispossessed through various means including theft, coercion, abandonment, forced sales, and sales under duress, 

Recalling the Washington Conference Principles on Nazi-Confiscated Art adopted at the Washington Conference of 1998 which enumerated a set of commitments for governments, 

We reaffirm our support of the ‘Washington Principles on Nazi-Confiscated Art’ and encourage all parties including public and private museums, galleries and auction houses to abide by them as well. 

We acknowledge that the plunder of cultural property was an integral part of the genocide perpetrated against the Jewish people and of the persecution of others and that it was a war crime and a crime against humanity. 

Exclusive government control of research into provenance and title issues and the failure to permit, encourage and enable independent research is not acceptable. We therefore urge nations to provide adequate funds to facilitate independent research and to make such research available to the general public. 

Taking into consideration the Washington Principles on Nazi-Confiscated Art, we urge all parties to ensure that claims to recover looted art are resolved expeditiously and based on the facts and merits of the claims, having taken into account legal, moral and other considerations, in order to achieve just and fair solution. 

Export control, cultural heritage and citizenship laws should not be applied to prevent the return of property to Holocaust victims. It is unjust for a country that took or came into possession of Holocaust looted property to keep it.


We urge nations to enact or modify laws and regulations to authorize the restitution of looted Holocaust cultural property to their rightful owners.


Where statutes of limitations or prescription laws prevent the restitution of looted Holocaust property, they should be waived or exceptions for Holocaust looted property should be made. 

We urge nations to conduct systematic surveys of works of art and other cultural objects in their collections, produce inventories of this property and make them available to the general public. 

We urge nations to conduct systematic provenance research and make the results available to the public. 

We urge nations to provide alternative dispute resolution mechanisms using qualified and independent experts. 

Acknowledging that provenance research has priority over individual privacy protection, we urge nations to open all public records and archives pertaining to the looting of cultural property through various means including theft, coercion, abandonment, forced sales, and sales under duress; to make them accessible to researchers and the public, and to provide incentives for the accessibility of privately-owned archives. 

All nations should monitor restitution activity and make public annual reports on the making and resolution of claims and supply to the public accurate information about looted Holocaust property.


We urge all nations to create facilities where information is available on restitution procedures in other countries. 

Krakow, Poland

14 May 2009