News Flash: Austrian Supreme Court Rejects Bloch-Bauer Heirs' Appeal for Sixth Klimt

Gustav Klimt, "Portrait of Amalie Zuckerkandl," 1918 (unfinished)
E. Randol Schoenberg, the lawyer who obtained restitution from Austria to the heirs of Ferdinand Bloch-Bauer of five works by Gustav Klimt (including the famed "Adele Bloch-Bauer I"), informs me that the Austrian Supreme Court last week rejected the heirs' appeal of a 2006 arbitration decision against the return of a sixth Klimt, "Portrait of Amalie Zuckerkandl" (above).
Aside from disappointing his clients, the court opinion, Schoenberg asserts, runs counter to Austria's own laws and marks a "disconcerting" shift in that country's legal posture concerning restitutions to Nazi victims and their heirs. Austria's Third Restitution Law, he said, had explicitly "recognized that the Jewish victims (having fled or been deported) would ordinarily not have the evidence to prove what had happened to their property, so...it became the burden of the person receiving the property to prove that the transaction was fair and untainted by Nazi persecution."
But now, according to Schoenberg's analysis:
The Court held that the arbitrators made a plausible decision to interpret the 1998 art restitution law in a way that abandoned the decades-old rule shifting the burden of proof [to the person receiving the property]....The Court wasted not a word on the unfairness to the victims of the Nazis in shifting the burden onto them after so long a time....No longer will transactions undertaken with Jewish property during the war be presumed to be part of the Nazi plan of total expropriation and annihilation....The unfortunate effect of the Bloch-Bauer heirs' suit for the sixth Klimt appears, then, to be a significant hardening of Austria's stance towards restitutions. Schoenberg had previously told me that he didn't think he would win this case. But I doubt he expected to lose it this badly.
Rather than afford itself the power to return artworks that would be presumed under long-standing Austrian restitution laws to have been confiscated during the war, under the Court's interpretation, the government is now PROHIBITED [emphasis Schoenberg's] from returning paintings with dubious provenance.
April 28, 2008 10:26 PM
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LEE ROSENBAUM I'm a veteran cultural journalist with many pieces in the New York Times, Wall Street Journal and major art magazines. I have been a cultural contributor on New York Public Radio (WNYC and WQXR) and have provided arts commentary on NPR and public radio stations in Philadelphia and Los Angeles. I am a HuffPost Arts writer. I've been profiled on the PBS NewsHour with Jim Lehrer's Art Beat and in the Chicago Reader. I've appeared as an art-market commentator on BBC-TV and have published numerous Op-Ed pieces in the New York Times and Los Angeles Times. I am author of The Complete Guide to Collecting Art (Knopf) and have lectured on cultural property issues at the New Acropolis Museum and the University of Pennsylvania, on deaccessioning at at Investigative Reporters and Editors 2011 Annual Meeting, Columbia Law School, the University of Iowa and a conference of the Museum Association of New York, on museum governance and cultural property issues at Seton Hall University, on arts blogging at American University and on Smithsonian exhibition controversies at Rutgers University.
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moreLEE ROSENBAUM I'm a veteran cultural journalist with many pieces in the New York Times, Wall Street Journal and major art magazines. I have been a cultural contributor on New York Public Radio (WNYC and WQXR) and have provided arts commentary on NPR and public radio stations in Philadelphia and Los Angeles. I am a HuffPost Arts writer. I've been profiled on the PBS NewsHour with Jim Lehrer's Art Beat and in the Chicago Reader. I've appeared as an art-market commentator on BBC-TV and have published numerous Op-Ed pieces in the New York Times and Los Angeles Times. I am author of The Complete Guide to Collecting Art (Knopf) and have lectured on cultural property issues at the New Acropolis Museum and the University of Pennsylvania, on deaccessioning at at Investigative Reporters and Editors 2011 Annual Meeting, Columbia Law School, the University of Iowa and a conference of the Museum Association of New York, on museum governance and cultural property issues at Seton Hall University, on arts blogging at American University and on Smithsonian exhibition controversies at Rutgers University.
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