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This institution also provides a list of works with incomplete provenance during the period 1933-1945.

NATIONAL GALLERIES OF SCOTLAND

National Galleries of Scotland
The Mound
Edinburgh
EH2 2EL

Contact for all enquiries about Holocaust or WWII Spoliation:

Anne Buddle, Head of Exhibitions and Collections Management
Tel 0131-624-6315 Fax 0131-332-4939
Email: abuddle@nationalgalleries.org

(See below for detailed reports for National Gallery of Scotland, Scottish National Gallery of Modern Art and Scottish National Portrait Gallery)

GENERAL DESCRIPTION OF COLLECTION

Oil paintings; watercolours; prints; photographs and sculpture form the core of the collections. In addition, there is some furniture; metalwork and textiles. The greatest part of the collection is housed in Edinburgh, at the National Gallery of Scotland, the Scottish National Portrait Gallery, the National Scottish Gallery of Modern Art and the Dean Gallery.

At Paxton House, one of the finest Palladian country houses in Scotland, the NGS has provided paintings to fill the original picture gallery of the house. Duff House, a baroque masterpiece by William Adam is managed jointly by NGS, Historic Scotland and Aberdeenshire Council and has been furnished as a Country House Gallery, paintings loaned by NGS are complemented by a major loan of decorative arts. The total number of works in the NGS collections is in the region of 90,000, plus an estimated 60,000 Tassie 'gems' and medallions. 80 works are displayed at Paxton and 185 at Duff House (the 850 additional objects are on loan to the NGS).

1. OVERALL PLANS (GENERAL)

A Areas which could contain looted items
Almost all areas of the collections except those given below.

B Areas excluded and why
Scottish, post 1933, known never to have left Scotland before acquisition by NGS
850 works on long loan from the Trustees of the Mrs Sharpe Erskine Bequest, Dunimarle Castle These are the foundation of the fine & decorative art collections at Duff House, and are known never to have left Dunimarle Castle until the day the NGS transported them to Duff House in 1995

C Target areas and timetable for research
All works acquired since 1933 and created before 1945, except those identified here as exclusions or lower priority. Within this area research has been prioritised as follows:
Identify, and eliminate from investigation, all objects with unbroken & untainted Provenance;
Identify works without a completely unbroken provenance, and further consider
a) works for which circumstantial evidence almost certainly indicates 'all clear'
b) works for which circumstantial evidence may give cause for concern

Group b) has been the focus of our attention and research was completed in December 1999,
following areas will be dealt with in due course:

The collection of 60,000 Tassie gems: these are again very low risk, but this needs to be formally confirmed by our curators

an on-going check on any loans-in material

D Areas considered a lower priority and why
Print collections because the objects are not unique

3. INFORMATION REGARDING RESEARCH AND PROGRESS

See the following reports from individual galleries.

4. INFORMATION ON MAKING GENERAL ENQUIRIES OR ABOUT COLLECTIONS

A. Contact for all enquiries about Holocaust or WWII Spoliation
Anne Buddle, Head of Exhibitions and Collections Management
Tel 0131-624-6315 Fax 0131-332-4939
Email: abuddle@nationalgalleries.org

B. Details of Published catalogues and how to get access to them
Published catalogues already exist for all three galleries, and separate catalogues are available for parts of the collections e.g. Spanish and Italian. A list of current publications is available from the
NGS Publications Department
73 Belford Road, EH4 3DS
Tel: 0131 624 6261 Fax: 0131 623 7135.

In addition members of the public may use the Print Rooms in all four galleries, where staff can refer to the databases.

The NGS Website is being developed and will provide on-line access to the databases during the coming financial year, 2003-04

C. How to make enquiries about collections
Curators are always available to respond to specific enquiries about the collections.

D. Press office contact
Michael Gormley, Press and Information Officer
Tel: 0131 624 6314 Fax: 0131 343 3250
Email: mgormley@nationalgalleries.org

NATIONAL GALLERY OF SCOTLAND
(National Galleries of Scotland)

GENERAL DESCRIPTION OF COLLECTION

The National Gallery displays European paintings from the Renaissance to Post-Impressionism, with many world-class paintings on loan from the Duke of Sutherland. Also the National collection of Scottish paintings and of watercolours, including the Turner Bequest. The works on paper include a strong collection of Italian and Netherlandish drawings, and sculpture, including medals and plaquettes, and is likewise European in scope. The NG did not receive its own purchase grant until 1903.

1. OVERALL PLANS

A Areas which could contain looted items
Any areas of the collection except works acquired before 1933

B Areas excluded and why
a). David Laing Bequest (19th Century bequest to the Royal Scottish Academy, part of which was transferred to the National Gallery between 1966-1974)
b). Dunimarle Collection Loans (Loan agreed 1995 and now at Duff House)

C Target areas and timetable for research
The Gallery has identified 1,123 items within its collections which have an incomplete ownership history for the operative period. The vast majority of these were either purchased on the art market (principally in London, but also in Paris, New York and elsewhere), or were acquired by gift or bequest. Staff at the Gallery have checked the provenance information that was recorded at the time of acquisition, and this information has provided the primary source for the current research.
As with certain other large institutions, the Gallery has had to make a judgement on the feasibility of pursuing the research for such a large number of objects. The Gallery has, therefore, prioritised for research fifteen objects in the Gallery's collection, in most cases simply because they are recorded before, during or shortly after the 1933-45 period in Germany, Switzerland or in countries occupied by the Nazis. These works have been selected for further research, and their details are listed below. Should the Gallery receive further significant information regarding any other works, it will undertake any necessary research. It should be emphasised that the Gallery has so far discovered no actual evidence that points clearly to any items in the collection having been looted and not subsequently restituted.

D. Areas considered a lower priority and why

2. RESEARCH CARRIED OR BEING CARRIED OUT IN TARGET AREA

A Process and sources for initial checks from information readily to hand

Definitions
Each work has been assigned to a category in accordance with the following definitions:
1. Works which can be securely eliminated as 'all clear'.
Objects falling into this category must have an unbroken (and untainted) provenance for the entire period from 1933 until their acquisition by the Gallery.
2. Works for which firm, unbroken provenance data are not readily available for the relevant period.
Some works in this section may be assigned to one of the following more precise subcategories, but only if there is sufficient evidence to do so:
(i) Works which circumstantial evidence indicates are almost certainly 'all clear' (eg objects which we know were in Britain both pre-1933 and after the war, and for which there is no indication that they ever left the country). Marked with * in Appendix One.
(ii) Works which circumstantial evidence indicates may give cause for concern or prompts further questions to be asked (eg the Bernardo Daddi triptych, which was purchased from the Spanish Gallery in London in 1938, and for which the previous recorded location was with the Munich dealer Julius Böhler in 1917). Works in the latter category will be the first to be investigated in greater depth at the next stage of the review. Marked with ** in Appendix One.

3. Works which were without doubt stolen, sequestered or forcibly purchased by Nazis or their agents or collaborators, or which were sold under duress as a result of the policies and activities of the Third Reich.

One painting in the National Gallery's collection, A Vase of Flowers by Eugène Delacroix (NG 2405) was confiscated by the Nazi's from the Goldschmidt family of Potsdam and placed on deposit at the Wallraf-Richartz Museum in Cologne. However, the picture was returned to the Goldschmidt family in 1958 and was subsequently legitimately acquired by the Gallery from a Swiss dealer in 1980

B Description of checks being carried out beyond desk research
Further investigations will be carried out in respect of the fifteen items prioritised for further research.

3. INFORMATION REGARDING PROGRESS IN TARGET AREA

A No. of items in target area
1469

The appointment of a part-time Provenance Research Curator has permitted detailed work to proceed on French works of art in the collection

B No. of items where provenance has been tested satisfactorily
368 works have been shown to have a satisfactory provenance. In the case of a further 297 works, circumstantial evidence suggests that they were in Britain both before and after the War.

C No. of items where initial checks on provenance are still being made from internal sources and information readily to hand
None

D No. of items for which initial research can be taken no further and additional information is being sought from external sources
There are 1,123 items for which initial research can be taken no further.

In the French works of art category, 18 works, including 4 sculptures and 1 drawing have been prioritised for further research.

Of the 1,108 remaining works there is circumstantial evidence that 160 were in Britain before and after the War, and the rest almost certainly fall into category 2(i) above. Information about these works can be made available to enquirers and researchers and will in due course be posted on the WWW.

4. INFORMATION ON MAKING GENERAL ENQUIRIES OR ABOUT COLLECTIONS

A Contact for all enquiries about Holocaust or WWII Spoliation
Anne Buddle, Head of Exhibitions and Collections Management ,
Tel 0131-624-6315 Fax 0131-332-4939
Email abuddle@nationalgalleries.org

B Details of Published catalogues and how to get access to them
Published catalogues already exist for all three galleries, and separate catalogues are available for parts of the collections e.g. Spanish and Italian. In addition members of the public may use the Print Rooms in all four galleries, where access to the Collections Data Base is available. The NGS Website, at http://www.nationalgalleries.org. being expanded and re-designed in 2003-04

C How to make enquiries about collections
In the first instance, to Anne Buddle, Head of Exhibitions and Collections Management (see above)

Curators are always available to respond to specific enquiries about the collections.

D Press office contact
Michael Gormley, Press and Information Officer
Tel: 0131 624 6314 Fax: 0131 343 3250

National school Medium Total no. of works Category 1 Category 2 Category 2. i Category 2. ii
Italian Paintings 45 23 22 (6) (4)
Italian Drawings 130 16 114 (8) 0
Italian Sculpture / medals 100 6 94 (3) (7)
French Paintings 80 48 32 (6) (7)
French Drawings 77 18 59 (1) 0
French Sculpture / medals 36 4 32 (4)0
Dutch / Flemish Paintings 36 18 15 (13) (2)
Dutch / Flemish Drawings 56 6 50 (9) 0
Dutch / Flemish Sculpture / medals 12 0 12 0 0
German Paintings 12 8 4 (2) 0
German Drawings 32 0 32 0 0
German Sculpture / medals 13 0 13 0 (1)
Scottish Paintings 297 116 181 (181) 0
British (excl. Scottish) Paintings 31 13 16 (16) 0
British (excl. Scottish) Drawings 454 64 390 (32) 0
British (excl. Scottish) Sculpture 24 1 22 (22) 0
Other schools Paintings 17 8 9 (4) 0
Other schools Drawings 7 0 5 0 0
Other schools Sculpture 11 4 7 (1) 0
Other schools Misc. 2 1 1 0 0
TOTALS BELOW
Grand total 1469 341 1123 (297) (15)

NB The figures in columns 2(i) and 2(ii) are bracketed because they are subsets of column 2 and should not form part of the cumulative total. French Pictures and other Works of Art - Amendments to provenance status

Paintings

Accession No Artist/Title Previous category Updated category
NG 1803 Van Gogh - Olive Trees - 1
NG 1829 French School (17th Century) The Death of King Laius 2 1
NG 1883 Chardin - A Vase of Flowers 2 2 (ii)
NG 1950 Fantin-Latour - Peaches on a Dish 2 2(i)
NG 1961 Style of Philippe Mercier - A Boy and a Dog 2 1
NG 1962 Style of Philippe Mercier - A Girl with a Tea Cup 2 1
NG 2107 Fantin-Latour - Roses 2 1
NG 2190 Delacroix - Arabs Playing Chess 2 2 (i)
NG2216 Van Gogh - Head of a Dutch Peasant Woman - 2(ii)
NG 2217 Van Gogh - Orchard in Blossom 2 (i) 1
NG 2225 Degas - A Group of Dancers 2 2 (ii)
NG 2234 Courbet - Trees in the Snow 2 2 (ii)
NG 2235 Sisley - Molesey Weir 2 2 (i)
NG 2349 Boudin - Washerwomen on the Banks of the Touques 2 2 (ii)
NG 2351 Boudin - A Fishing Boat, Trouville 2 2 (ii)
NG 2371 Boudin - Trouville Harbour 2 1
NG 2372 Boudin - The Beach at Trouville 2 1
NG 2373 Boudin - Villefranche Harbour 2 1
NG 2374 Boudin - Venice 2 1
NG 2386 Sisley - The Seine at Suresnes 2 2 (i)
NG 2392 Boudin - The Bridge over the Touques at Deauville 2 1
NG 2406 Boudin - Golfe-Juan 2 2 (i)
NG 2423 Monet - Boats in a Harbour 2 2 (ii)
NG 2462 Guigou - The Olive Trees 2 2(i)
NG 2642 Bidauld - An Alley of Trees in a Park 2 1

Drawings/Watercolours

Accession No Artist/Title Previous category Updated category
D 5100 Ingres - Mlle Albertine Hayard 2 1
D 5110 Seurat - Seated Nude 2 2 (i)
D 5453 Turpin de Crisse - A Fisherman Pulling his Boat onto a Beach 2 1

Sculpture

Accession No Artist/Title Previous category Updated category
NG 2050 Legros - Torso of young woman 2 2 (i)
NG 2053 Barye - Puma and Deer 2 2 (i)
NG 2054 Rodin - The Weeping Lion 2 2 (i)
NG 2059 Barye - Sheep 2 2 (i)


SCOTTISH NATIONAL PORTRAIT GALLERY
(National Galleries of Scotland)

GENERAL DESCRIPTION OF COLLECTION

The Scottish National Portrait Gallery provides a visual history of Scotland, through portraits of those who shaped it. Although all the sitters are people who have made an impact on Scotland, not all the portraits are by Scots. The collection includes oil paintings, works on paper, portrait miniatures, sculpture, coins and medallions. The National Photography Collection is based at the SNPG, although it is not limited to portraiture. The collection includes a very large and important holding of the work of Hill and Adamson, and a rapidly growing collection of contemporary Scottish photography.

1 OVERALL PLANS

A Areas which could contain looted items
Acquisitions post-1933 of objects made before 1945 (outside the areas listed below in B).

B Areas excluded and why
All temporary loans to the Gallery - outside the remit of the institution.
All prints, photographs and works on paper - the first two categories are usually multiples, mostly of low individual value and for all three categories the risk is negligible in terms of both documented and circumstantial history.

C Target areas and timetable for research
The provenance details between 1933-1945 of all paintings and sculpture within
the area defined by A and not excluded by B, have been checked.
Twenty-one works were have been identified for further research; this has now
been completed with the result that six of these can be categorised as 'low risk'

D Areas considered a lower priority and why
Works as defined as at A 1. Below.

2. RESEARCH CARRIED OUT IN INITIAL TARGET AREA

A Process and sources for initial checks from information readily to hand
The Gallery has completed a check on the works acquired by the Gallery since 1933. These have been divided into three categories:

1. No Risk - i.e. Provenance is known and documented between 1933 and the time of acquisition by the Gallery.

2. Negligible risk - Where there is no evidence of the object ever having left the UK, works (such as portraits of Scottish Gentry by 'Scottish School' unnamed artists) which would be unlikely to be marketed outside Scotland, usually from family collections and of Scottish historical/national/local interest rather than intrinsic artistic interest.

3. Very low risk but worth further checks - Works of artistic significance and of above low value with broken provenance during the operative period

Twenty-one works were identified as belonging to category 3. (this is different from the category 3 for NGS) The provenance of each of these has now been checked closely. Of this group, thirteen can be eliminated from suspicion because their secure provenance removes the possibility that they may have been looted.

B Description of checks being carried out beyond desk research
None

3. INFORMATION REGARDING PROGRESS IN INITIAL TARGET AREA

A No. of items in initial target area
Twenty-one

B No. of items where provenance has been tested satisfactorily.
13

C No. of items where initial checks on provenance are still being made from internal sources and information readily to hand.
8 - However, in the case of two of these, circumstances suggest that there it is highly unlikely that there could be any cause for concern.
a). An Oil Painting by Franciszek Smuglevicz, James Byres of Tonley and his Family, painted in 1776/79. Provenance information indicates that the painting was in the possession of the Byres family until at least 1943. It would therefore seem very unlikely that the work would have been spoliated by the Nazis.
b). A bronze medallion by Pierre Jean David d'Angers, of Mary Fairfax, Mrs William Somerville. This item is one of multiple copies and of low financial value.
The remaining six items are listed in the Appendix.

D No. of items for which initial research can be taken no further and additional information is being sought from external sources with the information to hand.
6 - as above (See List at Appendix 1). With only limited staff resources available, significant progress with this more detailed, external research will be slow.

4. INFORMATION ON MAKING GENERAL ENQUIRIES OR ABOUT COLLECTIONS

A Contact for all enquiries about Holocaust or WWII Spoliation
Anne Buddle, Head of Exhibitions and Collections Management
Tel 0131-624-6315; Fax 0131-332-4939
email: abuddle@nationalgalleries.org

B Details of Published catalogues and how to get access to them
Published catalogues include The Concise catalogue fof trhe Scottish Naftional Portrait Gallery' and A Companion Guide to the Scottish National Portrait In addition members of the public may use the Print Rooms in all four galleries, where access to the Collections Data Base. is available. The NGS Website, at http://www.nationalgalleries.org. being expanded and re-designed in 2003-04
The NGS Website is about to go 'live'.

C How to make enquiries about collections
Curators are always available to respond to specific enquiries about the collections.

D Press office contact
Michael Gormley, Press and Information Officer
Tel 0131-624-6325
Email: mgormley@nationalgalleries.org


THE SCOTTISH NATIONAL GALLERY OF MODERN ART (National Galleries of Scotland)

GENERAL DESCRIPTION OF COLLECTION

The Scottish National Gallery of Modern Art (SNGMA) was founded in 1959 and opened in 1960. It is part of the National Galleries of Scotland. The Gallery of Modern Art houses international and British paintings, sculptures, drawings and prints, as well as a small number of photographs and video works. The works date from c.1890 to the present. Prior to 1959 the National Galleries seldom acquired works by living artists, indeed a policy required that an artist should have been dead for at least ten years before his or her work might enter the collections. This policy was treated with some flexibility, particularly in relation to the acquisition of prints. When the Gallery of Modern Art opened, the twentieth-century works in the National Gallery collection - thirty-eight paintings and sculptures, and approximately 500 works on paper - were transferred from the National Gallery to the Gallery of Modern Art. Nearly all these works were by British artists. There are now approximately 5000 separate works of art in the collection of the Scottish National Gallery of Modern Art. There are nearly 1000 paintings, about 200 sculptures, and nearly 4000 prints and drawings. Additionally, the Gallery has recently acquired a very large donation of nearly 3000 works (mainly plaster studies and prints) by the Scottish sculptor Sir Eduardo Paolozzi which were given by the artist. The collections are housed mainly at the Gallery of Modern Art, with Dada and Surrealist works and the Paolozzi collection being shown at the Dean Gallery, which opened in March 1999.

1. OVERALL PLANS

A Areas which could contain looted items
Any areas except those excluded below.

B Areas excluded and why;
A large part of the collection falls outwith the investigation of the spoliation of art during the Holocaust and World War II, being post-1945. Furthermore, a substantial portion of the pre-1945 collection is of British, and particularly Scottish art which has, in all probability, never left the United Kingdom. So, for example, the Gallery has a very large collection of prints, and a lesser number of drawings, of the 1900-40 period by British artists such as Muirhead Bone, Eric Gill, Frank Brangwyn, Edmund Blampied, Mabel Royds and Gwen Raverat. These works have not been researched for the spoliation enquiry. The majority of these works were given or bequeathed to the Gallery by Kenneth Sanderson (1943) and D.Y. Cameron (1945), or were bought from the collection of the artist E.S. Lumsden (1949). Besides being of very low value and of little interest to continental collectors, many of these works would have been in the above collections by 1933.

A number of the Gallery's best-known international works pre-dating 1945 were acquired in the 1980's and 1990's from the Estate of the artist and collector Roland Penrose. Penrose purchased nearly all these works - which includes drawings, paintings and collages by Dali, Ernst, Magritte, Picasso, Tanguy and others - either directly from the artists, or from René Gaffé (in 1937) and Paul Eluard (in 1938). Gaffé and Eluard were close friends of the Surrealist artists and are known to have bought and been given works directly by the artists, or to have bought from the artists' dealers. In the case of most of the Penrose items, there is no written evidence of their provenance prior to Gaffé and Eluard, but the proximity of both collectors to the Surrealist artists themselves makes it almost certain that the works were acquired through the proper channels and, moreover, were acquired by 1933.

C Target areas and timetable for research.
Works pre-dating 1945, particularly major continental paintings and sculptures, but all other non-British prints and drawings also examined. The first phase of research has been completed.

Initial research has now been completed on a further 27 prints and drawings (see Appendix One) e.g. works by Lovis Corinth, Alexander Kanoldt, Rudolf Grossman, James Ensor and Georges Rouault. These were acquired by the Gallery some time ago, and little or no provenance details were provided by the vendor at time of acquisition. Further research will fit in with the GMA exhibition schedule.

D Areas considered a lower priority (as distinct from excluded) and why
Prints and drawings by lesser-known continental and US artists which were given or bequeathed to the National Gallery of Scotland by Kenneth Sanderson (1943) and D.Y. Cameron (1945), or were bought from the collection of the artist E.S. Lumsden (1949), and were transferred to the Gallery of Modern Art in 1960. This category comprises, for example, a collection of prints by John Copley and several prints by F.W. Benson.


2. RESEARCH CARRIED OUT IN TARGET AREA.

A Process and sources for checks from information readily to hand

The Gallery of Modern Art Permanent Collection is well-documented. The Gallery have published a Concise Catalogue of the Permanent Collection (1993) for which every work in the collection underwent research, and a Companion Guide to the Collection (1999) which details some more recent acquisitions.

B Description of checks being carried out beyond desk research
A number of letters sent to dealers, auction houses, other previous owners, other libraries (Tate Gallery and National Art Library for example), and experts on particular artists' work.


3. INFORMATION REGARDING PROGRESS IN TARGET AREA

The curatorial team at the Scottish National Gallery of Modern Art have conducted extensive research into the provenance of the works in the collection pre-1945. They have identified one work which was seized during the war, but which was subsequently returned to its rightful owner, one work which was declared 'degenerate' and removed from a German museum in 1937 and was with a German gallery by 1940, and a number of works for which the provenance during the period 1933-45 is wholly or partly unknown. It should be noted that there is no particular suspicion regarding the provenance of this latter group of works. Research is continuing

A No. of items in target area.
c. 500

B No. of items where provenance has been tested satisfactorily
472

C No. of items where initial checks on provenance are still being made from internal sources and information readily to hand
None. All items identified in the highest priority group have been researched at this first stage.

D No. of items for which initial research can be taken and additional information is being sought
The initial phase of research has been completed. The provenance of a number of works (56) remains unknown, however (see Appendix 1). It should be noted that there is no particular suspicion regarding the provenance of this group of works. Research is ongoing and includes a group of 27 prints and drawings not previously researched (See Appendix One).

4. INFORMATION ON MAKING GENERAL ENQUIRIES OR ABOUT COLLECTIONS

A How to make enquiries about collections
Anne Buddle, Head of Exhibitions and Collections Management,
Tel 0131-624-6315 Fax 0131-332-4939

B Details of Published catalogues and how to get access to them
Patrick Elliott - The Concise Catalogue of the Scottish National Gallery of Modern Art (Edinburgh). 1993, Patrick Elliott - A Companion Guide to the Scottish National Gallery of Modern Art (Edinburgh 1999).
Both of which are widely available.

C How to make enquiries about collections
Contact Anne Buddle in the first instance; curators are always available to answer queries

D Press office contact
Michael Gormley, Press and Information Officer
Tel: 0131 624 6314