Looted art

The main purpose of the project is to discuss the possibility of returning Palestinian Materials, Images and Archives, visual and others, that were seized or looted by Jewish/Israeli forces/soldiers and individual since the first decades of the 20t century and which are now held by Israel in its official archives.
The proposed project aims
1. To chart the mechanism of looting and seizure and the types and scope of materials/archives/image that were taken by individuals or by organized military forces.
2. to deal with the way the materials/archives/image are held and controlled by Israel
3. to sketch a draft on how to return the seized and looted materials/archives/image to their legal owners and the public sphere and discuss obstacles that may be raised during this process.

The paper was writen by Rona Sela for swissforpeace

On January 29, 2016 a Greek Hellenistic terracotta polycrome head representing Hades has been repatriated to Sicily from United States of America. In 2013 the J.P. Getty Museum announced the ‘voluntary’ return of the sculpture, after having verified its illicit provenance.
In the Getty collection since 1985, the terracotta head was stolen in the late Seventies from Morgantina, the archaeological site in Sicily famous all over the world because of other important returns of stolen goods from USA: the archaic acroliths in Tempelsman collection (2009), the silver treasure in the collection of MET in NY (2010) and the ‘Getty Aphrodite’ (2011).
The Getty Hades head was related to Morgantina after a research published in 2007 about some Greek terracotta votives in Aidone Archaeological Museum, where a little blue painted curl of Hades beard in the Getty collection was housed. So this blue curl in Aidone allowed to claim the repatriation of the head from USA.
My presentation will focus on Hades’head history, from the theft to the return to Italy, considering that at the moment this event is in the spotlight of international press and scientific community.

Cultural objects have a special, protected, status because of their intangible ‘heritage’ value to people, as symbols of an identity. This has been so since the first days of international law and, today, there is an extensive legal framework to protect cultural objects and to prohibit looting. Despite this, for as long as demand exists and profits are high, cultural objects continue to be looted, smuggled and traded. At some point, their character tends to change from protected heritage in an original setting to valuable art and commodity in the hands of new possessors. In this new setting, the legal status of such objects most likely will be a matter of ownership and the private law regime in the country where they happen to end up. This article suggests that, irrespective of the acquired rights of others, original owners should still be able to rely on a ‘heritage title’ if there is a continuing cultural link. The term aims to capture the legal bond between cultural objects and p...

While the Romans did not have museums, practices of collecting and display were fully developed in Rome. Romans used collections of objects to substantiate, reinforce, and broadcast particular views of the world. This chapter shows how current work in museum studies opens new avenues of research into Roman art. It draws on recent scholarship on collecting that explores debates over cultural property, questions of viewing, and the role of collections in the construction of personal and imperial identities. It is herewith the appropriation of patrimony, with the creation of art, and with ideas of a universal artistic heritage-that we find ancient analogs of modern museums.

This article is part of the Journal of Contemporary History Special Issue 'The Restitution of Looted Art in the 20 th Century'.  France was massively affected by Nazi looting and plundering, and was also probably one of the most successful countries in securing the return of cultural property. Drawing on recently opened Archives, this article reflects on the entangled history of the 'recovery' of works of art in Soviet occupation zones, in Poland, Czechoslovakia and in the GDR, focusing on the French investigations in the East. The micro history of this fieldwork allows for an interpretation of looting and restitution as a transnational moment of political and memory construction. The article first presents the organization of missions in the changing landscape of Europe, leading to the beginning of an East-West relationship on the ground. Then it analyses French and Soviet visions of the notion of looting, restitution and cultural property and finally concludes by attempting to interpret a loss of memory.

Art provenance databases: Are they fulfilling their promise? Comparative evaluation of ten major museum databases in the USA and the UK

Nearly twenty years ago, Museums committed to making Nazi-era provenance information more transparent and accessible. This paper applies the method of IT user tests to assess progress in collections databases. Findings include compliance statistics, best and worst practices observed, and recommendations. Testing focused on museums with the most NEPIP-listed items (Annex 1); museums mentioned in WJRO’s June 25, 2015 report (Annex 2); and two major UK museums as well as the UK Collections Trust (Annex 3). Provenance information was tested for: access, search, display, download, traceability and integration. (Quality as in accuracy of the provenance information content was not assessed.) Key findings: Of the 30 museums accounting for 75% of items on the AAM NEPIP list, more than half offered no provenance information search functionality for internet users. Various obstacles to search and display were observed, with Best Practices and Worst Practices showing a wide gap, despite similar technical platforms. Download functions and audit trail were not available for internet users. Little integration was observed, either between the NEPIP and member databases; or between collections databases and looted art data bases, such as stolen items, lists of victims, lists of red-flagged dealers, or dealer records; or between collections records and original source documents. Centralized progress reporting appeared to be publicly accessible in the UK but not in the US. Recommendations include implementing Best Practices across all collections, reevaluating integration goals to better target Nazi-era provenance needs, and systematizing regular evaluations and progress reporting.

Laurel Zuckerman  is an author based in Bry sur Marne, France. Zuckerman was introduced to provenance research techniques and museum practices when she began making inquiries about the ownership history of a painting that later became the subject of a Nazi-era restitution claim. A graduate of France’s HEC business school with more than a decade of professional experience in large scale information systems projects, she is exploring the potential benefits of applying techniques from domains outside art history to the challenges of Nazi-era provenance research

This article analyses in depth a Spanish case connected to the financing of DAESH through antiquities trafficking. There is a worldwide debate on this issue, boosted every time that a case of this nature pops up. Criminal networks use the legislation for their benefit. These are some of the points which this paper deals with. (Last update 20/06/2018)

Simpson, E., ed. The Adventure of the Illustrious Scholar: Papers Presented to Oscar White Muscarella. Leiden: Brill, 2018.

The Adventure of the Illustrious Scholar: Papers Presented to Oscar White Muscarella, edited by Elizabeth Simpson, is a Festschrift celebrating the career of one of the foremost archaeologists of the ancient Near East. Oscar Muscarella is a former curator at the Metropolitan Museum of Art and a formidable scholar who has excavated at sites in Turkey, Iran, and the United States. He has published eight books and nearly 200 articles, excavation reports, and reviews on topics ranging from the arts of antiquity and the importance of connoisseurship, to the difficulties of dating and the problems of forgeries, the looting of ancient sites, and the antiquities trade. The forty-seven contributors are experts in the areas of Muscarella's interests and are major scholars in their fields. This volume constitutes an unusual, important, and timely addition to the archaeological and art historical literature.

The fourth known pre-Columbian Maya codex, the only one discovered in the twentieth century, was found by looters in the mid-1960s. First exhibited in New York in 1971, what has come to be known as the  Grolier Codex is half of a 20-page, 104-year divinatory hybrid-style Mesoamerican Venus Almanac, probably the physically oldest surviving pre-Columbian book, and with new radiocarbon dates that place it in the thirteenth century CE. It is likely to be the oldest surviving book on paper from the Americas as well as the only ancient Maya codex now residing in Mexico. Although most Mayanists have accepted it as authentic, based in part on the author’s 40 years of research, it remains an unacknowledged Mexican national treasure, as it has never been officially recognized. Mesoamerican Venus Almanacs were widely used in pre-Columbian Mesoamerica to regulate practices of sacred warfare, the goal of which was to obtain captives for sacrifice, their blood shed to invoke the personified forces of rain and fertility. The  Codex offers unique images of 10 of the 20 manifestations of Venus, greatly enriching our knowledge of these traditions. The present study offers a brief history of accounts of the discovery of the Codex and allegedly associated artifacts; presents a documented photographic history; outlines the author’s comprehensive program of research, including several new scientific discoveries; and offers a new Latinized name that recognizes that the Codex Mayano-Mexicanus is an authentic ancient book deriving from the Maya culture and now properly residing in Mexico.


*****
This article has been posted on Academia.edu as part of the Grolier Codex Project of the Center for Archaeoastronomy under the directorship of John B. Carlson, Ph.D.  The Grolier Codex Project seeks to further advance the study of the Maya Grolier Codex.

Una rete di commerci illeciti ha portato nei decenni scorsi centinaia di migliaia di opere d'arte e reperti archeologici dall'Italia a musei stranieri, come il Getty Museum, che oggi possiede circa 44.000 opere d'arte e reperti archeologici greci, romani ed etruschi, quasi tutti classificati ufficialmente come "di provenienza sconosciuta" ed in realtà provenienti dall'Italia, dalla Grecia e da altri paesi dell'area mediterranea.

Curatori e fornitori del Getty Museum sono stati recentemente al centro di indagini internazionali, che hanno dimostrato la provenienza illecita ed il funzionamento del "sistema di approvvigionamento" delle opere d'arte. Le opere non passavano mai direttamente dalle mani dei tombaroli a quelle dei curatori del museo americano, ma attraverso una serie di passaggi, come commercianti d'arte (come Giacomo Medici, Robin Symes, Chrìstos Michailidis e altri) e vendite all'asta, in modo da far perdere le tracce della loro provenienza illecita. Tutte le persone coinvolte in questo sistema erano consapevoli della loro provenienza da scavi clandestini.

The article Żydowscy kolekcjonerzy dzieł sztuki międzywojennego Krakowa. Adolf Schwarz, Rudolf Beres, Seweryn Gottleib – postaci, które odeszły w niepamięć historii [Jewish Art Collectors in interwar Krakow. Adolf Schwarz, Rudolf Beres, Seweryn Gottlieb – persons, who departed into the oblivion of history] describes biographies of three Jewish citizens of Krakow, as art collectors, and as patrons of various artistic endowments, but mostly as devoted citizens of independent Poland and beloved Krakow. These were: Adolf Schwarz, an antiquarian and an art dealer of Polish paintings, Rudolf Beres, a promoter of Maurycy Gottleib’s oeuvre, and Seweryn Gottlieb, an eclectic collector and an erudite. They lived in the modern part of the West side of the city and belonged to an intellectual, but not financial elite of Krakow. They worked professionally, but they devoted their lives to the cultural development of the city and its institutions that promoted and treasured art. The presented stories exhibit diversities of their collections as well as their distinct approaches toward collecting and promoting their own artworks. On the scene of interwar Krakow, their collections testified to their national identity and social status. All of that was undermined and annihilated already during the first days of the War World II. 
Jewish citizens of Krakow were sentenced to extermination by Nazi decrees during the war. Most of the Jewish intelligentsia, who survived the Holocaust, was pushed into the margin of history during the times of communism. Art collections that they owned were dispersed and plundered during the German occupation. Remains of artistic assets were returned to the surviving members of the families, but in most cases the families were soon forced to dispose of the artworks mainly for financial reasons.
The knowledge about Adolf Schwarz, Rudolf Beres, and Serweyn Gottlieb, and their collections was assembled from various sources, often scattered all over the world, as had been the fate of Polish Jews. Kraków archives and libraries were the base for the primary research presented in this article, but a great deal of material was also found in Warsaw archives, in addition to various institutions and partially preserved families’ archives located in Austria, Israel, Canada, Germany, Sweden, and the United States. The art collections that belonged to Schwarz, Beres, and Gottlieb were described in this article fragmentarily, and most likely the completed reconstruction of collections are not possible any longer. There are several reasons that constitute this state of research, such as: the lack of actual inventories of owned assets prior to the World War II, loss of private and institutional documents as the result of the German occupation and communist aftermath, and finally, and just as important the absence of witnesses. In presenting these three biographies, the article describes, neglected until now in academic research, the history of Jewish intellectuals – art collectors and their artistic assets in interwar Krakow. 
Describing art collections of Adolf Schwarz, Rudolf Beres, and Seweryn Gottlieb, the article provides a small contribution to provenance research of Jewish owned artworks in Poland that were lost, misappropriated, or plundered during the World War II. In each of the three cases the war and post-war fates of the collections were presented. These facts were not known to most of audiences. 
The research is a tribute to Jewish people – art enthusiasts and collectors, who lived in the interwar city of Krakow and significantly developed this cradle of culture, and who were abhorrently prosecuted during the World War II.

In der Bührle-Affäre kam die zentrale Frage nach der Herkunft der Bilder jahrelang nicht aufs Tapet. Das Nicht-wissen-Wollen sei charakteristisch für den Umgang der Schweiz mit ihrer Geschichte, sagt der Historiker Jakob Tanner. Interview: Martina Läubli und Gordana Mijuk NZZ am Sonntag.

One of the biggest acts of plunder by Israel was of a vast Palestinian film archive looted by Israeli military forces in Beirut in 1982. The films are managed under the repressive colonial control of the Israel Defense Forces Archive, which thus conceals many of them and information regarding their origin. This article documents my efforts to disclose the films and locate their institutions in Beirut, to chart their history, name their film-makers and open a discussion about returning them. It also provides a deeper understanding of colonial mechanisms of looting and truth production. I discuss the Third Palestine Cinema Movement and the various institutions that were part of the Palestinian revolution in the 1970s, with a focus on the Cultural Arts Section managed by Ismail Shammout.

"Zürich hat sich nicht eine Gewehrpatrone, sondern eine Kanonenkugel in den Fuss geschossen": So kommentiert das Westschweizer Wirtschaftsmagazin «bilan» den Bührle-Skandal in Zürich. Tatsächlich endete die Kommunikationsstrategie von Stadt und Kanton Zürich mit einem Fiasko. Als im August 2018 eine Studie zur Geschichte des «Kanonenkönigs» und seiner Kunstkäufe in Auftrag gegeben wurde, hiess es noch, die Limmatstadt wolle «ein international vorbildhaftes Projekt zum Umgang mit einer politisch 'belasteten' Kunstsammlung (...) präsentieren» (Zitat aus dem Projektauftrag). Das urbane Standortmarketing hatte vor, die Limmatstadt mit einer hochkarätigen Sammlung in die globale Spitzenliga der Museen zu katapultieren, wurde jedoch in flagranti von der düsteren Geschichte Bührles eingeholt. Der in der "Friedenszeitung" (Nr. 39, Dezember 2021) erschienene Artikel analysiert die Dynamik des Skandals und verortet das Problem, das Zürich mit der Bührle-Sammlung hat, in einem nationalen und internationalen Kontext.

A section of Henry M. Stanley's "Coomassie and Magdala: The Story of Two British Campaigns in Africa" followed by a scholarly comment written for the Translocations Anthology - a research blog that examines and comments on source texts since antiquity about looted art, art as war booty and the translocation of cultural assets. Format of PDF may be corrupted, please see original blog post at https://translanth.hypotheses.org/ueber/stanley

In the second half of the 19th century, the journalist Henry Morton Stanley covered the exploits of the Anglo-Indian invasion force of the ›Abyssinian Expedition‹ against the Ethiopian king Tewodros II, which came to a head at the Battle of Mäqdäla on 13 April 1868. After storming Tewodros‘ stronghold of Mäqdäla, the British soldiers looted the mountain fortress – which had served as repository for countless treasures recently looted by Tewodros himself from all over the Ethiopian kingdom as a means to establish his claim to sovereignty. A crown and chalice described by Stanley can be identified with items now in the possession of the Victoria & Albert Museum in London, where claims for restitution date back to the 1870s.

Unter "Prominenten" versteht man im Allgemeinen Personen, die "beruflich oder gesellschaftlich einen hervorragenden Platz einnehmen"' die deshalb "in der Öffentlichkeit hervortreten und allgemein bekannt" 2 wie auch "führende Persönlichkeiten" 3 sind, deren Tun, Leben und Schicksal öffentlich sind. Um gekehrt kann man jedoch sagen, dass es eine kritische bürgerliche Öffentlichkeit ohne Prominente eigentlich nicht gibt; beide bedingen sich gegenseitig. Her vonagende Persönlichkeiten sind auch an der Bildung der öffentlichen Meinung beteiligt: Anhand ihres Beispiels werden Probleme diskutiert, oder sie selbst stehen stellvertretend PUr gewisse Strömungen in der Gesellschaft, Öffentlichkeit und Prominente sind in ihrer modernen Fonn aus der Diskussionskultur hervor gegangen, deren Anfängen im 18. Jahrhundert Jurgen Habermas eine Studie gewidmet hat und die er darin als eine der Grundlagen der demokratischen Gesellschaft identifiziert. 4 Prominente personifizieren in gewissem Maße Öffentlichkeit.

The conference aims to bring together the rich yet fragmented research on art looting in twentieth century Europe and to develop a framework for understanding the processes of restitution in a transnational and global perspective.

Over the past decade the subject of looted art and the restitution of cultural property have captured the attention of the media and the public alike through a range of popular recollections that included novels, exhibitions, documentaries and more recently even a blockbuster movie, Monuments Men. In these narratives, the historical complexities that characterized wartime looting or under duress sales and the ensuing efforts to restore cultural artefacts to their pre-war conditions have often been put aside in favour of vivid literary accounts that occasionally present a tale of heroic sacrifice and the fulfilment of justice. Alongside, a diverse and wide-ranging academic literature has developed, providing insights from legal, historical and art historical perspectives.

The field remains, however, highly compartmentalized along institutional, disciplinary and national boundaries. The geographical and chronological spread of studies also still proves rather uneven. This conference aims to overcome these fragmentations by establishing connections between the public and private responses to art looting across institutional and national borders over the course of the twentieth century. It will bring together speakers from a variety of national contexts in and beyond Europe to investigating the nexus between private individuals, national governments and international organizations in order to question the impact on notions of national, international and regional identity in European nation-states and gain a deeper understanding of the processes of restitution of cultural property as a political and cultural practice in transnational and global perspective.

This conference has been generously supported by Newnham College, University of Cambridge, The Journal of Contemporary History & The George Macaulay Trevelyan Fund, Faculty of History
University of Cambridge.

CONVENERS
Bianca Gaudenzi (University of Cambridge)
Astrid Swenson (Brunel University)
Mary-Ann Middelkoop (University of Cambridge)

While the glaring differences between Holocaust-era and colonial-era persecutions and expropriation instances are indisputable, inquiring into the similarities in post-fascist and post-colonial restitution practices and discourses appears crucial to better understand not only the political relevance of heritage and its role in memory- and nation-building, but also the persistence of anti-Jewish and racist stereotypes in the post-1945 world order and the recurrence of restitution motives in present-day nationalist propaganda.

Con un comunicato stampa sulle pagine del Los Angeles
Times, il 10 Gennaio 2013 il J. Paul Getty Museum annunciava
ufficialmente al mondo la restituzione “volontaria”
alla Sicilia di una testa di terracotta di dimensioni
pari al vero di età ellenistica raffigurante una divinità
barbuta, probabilmente il dio greco degli Inferi Ade. Grazie ad una pubblicazione scientifica a cura della scrivente
edita nel 2007 e ad ulteriori indizi recuperati più di
recente al Museo Archeologico di Aidone è stato possibile
attribuire il pregevolissimo reperto a Morgantina e
avanzarne richiesta formale di restituzione al Getty Museum,
che verificatane la legittimità ha immediatamente
risposto favorevolmente disponendo la restituzione
“volontaria” della testa, ormai prossima al rientro in Italia.

In 72-69 B.C., L. Lucullus successively captured the most important urban centres of the kingdom of Pontus, and Tigranocerta in Armenia. His army also operated in the kingdom of Commagene und in Upper Mesopotamia. Lucullus’ military campaign was continued by Pompey. We come across incidental information about the scale of robbery and destruction committed by the Roman army (the statue of Autolycus by Sthennis in Sinope, the temple of Ma in Comana, the secret archives of Mithradates VI, the Roman library of Lucullus, the treasures of Darius the Achaemenid). Some objects of the plundered art appeared in public at the triumphal shows of wealth in Rome, which was perfunctorily documented by Pliny the Elder, Appianus of Alexandria and Plutarch (63 and 61 B.C.). Artworks were also acquired by functionaries of the occupying administration from urban communities and private persons through extortion and blackmail. The Roman lawyers and intellectuals worked out a set of skilful legal formulas to justify and legalise the plunder of cultural goods (ius belli, monumentum imperatoris, ornamentum urbis). Cicero, Livy and Plutarch never condemn the robbery of artworks and libraries if they were committed in the name of the Roman state. The fragmentary evidence testifies to the once flourishing literary circles of the kingdoms of Pontus and Commagene (Methrodorus of Scepsis, Athenion, the anonymous authors of inscriptions from Commagene, the epitaphs of the Bosporan kingdom).

In 2011, a monograph long anticipated by art historians with an expertise in Old Russian and Byzantine art was published by Ljudmila Pekarska. The main subject of the monograph – the history of a hoard of jewellery found in Kiev in 1906, and as luck would have it is today divided between the British Museum and the Metropolitan Museum of Art. The author, however, did not limit her study to the analysis of objects from this hoard. She used an extensive amount of comparative materials from collections in many Western, Ukrainian, and Russian museums. L. Pekarska focuses mainly on the cloisonné enamels, an impressive example of exquisite medieval luxury. Welcoming
the publication of this book, and being interested in the research, as well as its author, I do not envy the hard work that it would take for a person to write a scholarly review on this publication. The book contains so many specific features, so many politicized statements, so many altered facts that an unprepared reader, and even a professional, will not always be able to understand these “sleights of hand”. For this reason, I chose only three pages from the book of Ljudmila Pekarska that discuss a collection of cloisonné enamels of Alexandr Zvenigorodsky and its fate
(now almost the entire collection is kept in the Metropolitan Museum of Art). I hope that my article will help the reader in understanding the nuances of L. Pekarska’s book and, besides that, off ers the reader more detailed information about the unique collection of Zvenigorodsky and the reasons it is now in Western museums. In this article, the author includes biographical facts about Alexander Zvenigorodsky; it shines a light on the history of Zvenigorodsky’s ownership of the cloisonné enamels, and criminal origin of the collection taken from Georgian monasteries.
Also included is information on the publication of the collection by its owner – the famous book issued in three languages
in 200 copies each: in Russian, in German, and in French. The book has long since become a rare example of the highest quality of printing and refi ned luxury. A considerable attention is paid to the fate of the collection after the death of its owner; the reason it was secretly sold to John Pierpont Morgan; a negative role in this sale of the infamous collector Michail Botkin. A seemingly private matter about Zvenigorodsky’s collection of enamels has raised numerous problems of ethical, methodological, and, in some degree, even cultural and political nature.

RESUMO Este traballo aborda desde unha perspectiva de análise socio-política o contexto anterior á autonomía de Galiza e a evolución inmediata das políticas públicas galegas unha vez instaurado o Estado autonómico co obxectivo de comprender a situación presente da nosa cultura. Ao mesmo tempo expón con detalle o actual concepto de industrias culturais e fai un repaso das estratexias desenvolvidas na nosa comunidade por parte do sector como mecanismo para garantir a viabilidade e autonomía dos proxectos de contido cultural. palabras chave: Industria cultural galega, políticas públicas culturais, actual contexto cultural de Galiza, iniciativas culturais galegas.
RESUMEN Este trabajo aborda desde una perspectiva de análisis socio-político el contexto anterior a la autonomía de Galicia y la evolución inmediata de las políticas públicas gallegas una vez instaurado el Estado autonómico con el objetivo de comprender la situación presente de nuestra cultura. Al mismo tiempo expone con detalle el actual concepto de industrias culturales y hace un repaso de las estrategias desarrolladas en nuestra comunidad por parte del sector como mecanismo para garantizar la viabilidad y la autonomía de los proyectos culturales. palabras clave: Industria cultural gallega, políticas públicas culturales, actual contexto cultural de Galicia, iniciati-vas culturales gallegas.
ABSTRACT Based on a socio-political analysis perspective, this work is about the state before the autonomy of Galicia and the immediate evolution of Galician public politics once its autonomy was set up, with the aim of understanding the current situation of our culture. At the same time, it exposes in detail the current concept of cultural industries and it reviews the strategies developed by this sector in our autonomous region as a mechanism to guarantee the cultural projects' viability and autonomy.

Art looting networks operate on many levels, many of them hidden, over long periods of time. Documenting and visualizing the connections - and linking them across disparate sources of information - are tasks that graphs are particularly well suited for. This paper describes efforts to track Nazi-art looting networks using the native graph functions of Wikidata enhanced by federated queries.

27 Gli spazi commerciali di una città romana: le tabernae del Foro di Herdonia 31 di Giuseppe Pippo Per un'archeologia dei paesaggi nella valle del Medio Basento (Basilicata) 37 di Antonio Gambatesa Arte rubata, arte ritrovata: Morgantina e il ritorno del dio Ade 43 di Serena Raffiotta Crustumerium. Death and afterlife at the gates of Rome 50 di Paola Filippini La Sicilia è la risposta di tutto: "Help. L'Età della plastica" approda nell'isola di Mozia 52 di Simona Sanchirico 14. Scultura in terracotta policroma di età ellenistica (IV-III sec.

Tilla Durieux was born on August 18th, 1880, in Vienna, as Ottilie Helene Angela
Godeffroy. She was the daughter of Richard Goddefroy, a Chemistry professor, and of his
second wife, Adelheid Ottilie Augustine Godeffroy, maiden name Hrdlička1, a Hungarian
pianist. Early on, her parents didn’t support her acting career, so she shortened her name to
Tilla and changed her last name to Durieux2 after her French grandmother. Later on, she
became a famous actress and she worked with Max Reinhardt, Otto Brahm, Leopold Jessner,
and Erwin Piscator, among others. She played in many theatres across Germany and Europe
and became the most famous German theatre actress, a big star, an uncrowned queen3.
During her long life, Tilla Durieux was portrayed by many popular painters and sculptors,
photographed by many important photographers; many companies published and sold
postcards with images of Tilla Durieux and famous fashion designers made clothes for her. All
that was without doubt evidence of her popularity. Even today, one can find a lot of postcards
with the images of Tilla Durieux, wearing various costumes from her plays, in her fashionable
clothes or in fancy interiors of her apartments (Fig. 1). Newspapers and magazines published a
lot of articles about her life; journalists of that time wrote about her glamour, her popularity,
her sense of style and fashion, her charismatic glow, her attractiveness, her talent, her life, as
well as about the intellectual circles she frequented; «yellow press» reported her several affairs
throughout her life. Tilla Durieux was adored by men and women, she was a true diva, a real
star of many plays and silent movies, famous across Europe and America. During her
interesting life, Tilla Durieux was married three times; first in 1904 to the painter Eugene
Spiro, then in 1910 to the art dealer and editor Paul Cassirer, and, for the third time, since
1930, to the industrialist Ludwig Katzenellenbogen.

Franziskus Graf Wolff Metternich (1893-1978) verkörpert durch seine Tätigkeit als Provinzial-und Landeskonservator im Rheinland von 1928 bis 1950 und als Beauftragter für den Kunstschutz in den besetzten Gebieten während des Zweiten Weltkrieges eine wichtige Rolle im Diskurs um den Kulturgutschutz im 20. Jahrhundert. Im Rahmen der Tagung werden die Ergebnisse des dreijährigen Forschungsprojektes zur Quellenlage des Kunstschutzes sowie zum Personen-Netzwerk um Wolff Metternich vorgestellt. Das Projekt ist im LVR-Archivberatungs-und Fortbildungszentrum angesiedelt. 30 Referent*innen stellen die aktuelle Forschung zum Kunstschutz in Europa und im Rheinland während der NS-Zeit vor. Für den rheinischen Kontext werden konkrete Beispiele der regionalen Kunst-, Archiv-und Bibliotheksschutzmaßnahmen thematisiert. Die Präsentation von internationalen und transdisziplinären Ansätzen zum Kulturgutschutz in Kriegszeiten führt auch zu Fragen nach aktuellen Präventionen und Praktiken zum Schutz von Kulturgut heute. Die La protection du patrimoine culturel en France sous l'Occupation (Französischer Kulturgutschutz während der deutschen Besatzungszeit) > Susanne Dörler M.A. (Deutsches Dokumentationszentrum für Kunstgeschichte -Bildarchiv Foto Marburg): Bildarchiv Foto Marburg: Fotokampagnen im besetzten Frankreich > Dr. Nikola Doll (Kunstmuseum Bern): Westforschung. Kunsthistorische Forschungsnetzwerke der 1920er bis 1950er Jahre Abb. unten: Warnschild zum Schutz historischer Gebäude im Rahmen des militärischen Kunstschutzes, 1941/1942 Kulturgutschutz in Europa > Julia Schmidt M.A. und Sabine Scherzinger M.A. (Univer sität Mainz): Die Bücher der Kunsthistorischen Forschungsstätte Paris in der Johannes Gutenberg-Universität Mainz > Dr. Christian Hoffmann (Niedersächsisches Landesarchiv Hannover):

Introduction
1. A Slice of Material History
1.1. The religious act of the foundation of Pella-on-the-Orontes
1.2. The (re)foundation of Apamea – the royal generosity of Seleucus and Apama
1.3. Apamea: prosperity and joy of suburban life
2. The mosaic as a new historical source for the history of Apamea
Conclusions
Beyond the devastation and tragedy of human lives precipitated by the conflict in Syria, priceless representations of ancient culture and history have likewise fallen victim to a seemingly never-ending maelstrom of destruction. Ancient monuments and art have either been destroyed, damaged, or lost as chaos persists in a region that has for thousands of years seen the footprint of a parade of civilizations. (...)
The scenes tell the story of the founding of Pella/Apamea and further development of this city on the Orontes river. Three main groups of scenes can be distinguished: (1) the foundation of Pella-on-the-Orontes by the legendary Archippos, (2) the (re)foundation of the city as Apamea-on-the-Orontes (earlier Pella-on-the-Orontes) by Seleucus I Nikator and the simultaneous financial generosity of his wife, Apama, for the development of the new Seleucid colony in 300 BC, and (3) the raising of the town fortifications around monumental public buildings and an illustration of the daily life of a joyous people living in the rich Apamean agglomeration and hinterland. Features of style date the panels to the 4th century AD.

Der Kurs erstrebt, die Völkerrechtsgeschichte von ihren Anfängen bis in die Gegenwart zu verfolgen und eine möglichst globalgeschichtliche Perspektive einzunehmen. Dabei sollen die wesentlichen Epochen und Institute sowohl der Staatenpraxis als auch der Völker-rechtswissenschaft angesprochen werden. Dies geschieht zunächst aus juristischer Sicht, aber auch unter Berücksichtigung von Erkenntnissen allgemeiner Geschichtswissenschaft, Politikwissenschaft (IB), Philosophie und Soziologie.

Alexander Langsdorff ist den Archäologen durch seine Studien über die etruskischen Schnabelkannen und durch seine Ausgrabungen im Iran bekannt. Aber er hatte auch bemerkenswerte Kriegsabenteuer erlebt und in der NS-Zeit eine sehr vielfältige politische Karriere gemacht, sei es in der SS, in der Diplomatie oder im Reichsinnenministerium. Eine umfangreiche Dokumentation gibt Einblick in eine komplexe, aber manchmal widersprüchliche Persönlichkeit. Alexander Langsdorff is best known to archaeologists for his work on the Etruscan oenochoes and for the excavations he led in Iran. But he also experienced some extraordinary war adventures and made a political career in the Third Reich whether in the SS, in diplomacy or in the Ministry of the Interior. The study of the archives gives an insight into a complex and sometimes contradictory personality.