What kind of work back to the heirs of Malevich?

[Vladimir]

Is there any information, what works from Stedeliyka returned to the heirs of Malevich? What will happen at auction?

While we know this:
April 24, 2008, several authoritative sources, including Bloomberg News and The New York Times, reported on an agreement between the City of Amsterdam and the heirs of Kazimir Malevich at the controversial avant-garde works from the collection of Stedelijk Museum. New York law firm Herrick, Feinstein LLP, representing the interests of the heirs, made the transfer of five major works from the museum collection. It is believed that he was a bona fide purchaser Stedeliyk works. In 1958 they were bought from the heirs of Hugo Hering. Another thing is that Hering did not seem to have the right to dispose of them as his property. What they played lawyers. From the comments of agencies able to understand that the Dutch law due to expiry of the prospects for legal action in Europe was. Therefore, the legal attack began at a time when part of the collection Stedeliyka went to the exhibition to the United States in 2003 in New York's Guggenheim and the Houston Menil Collection, where she became vulnerable to claims of heirs.
Here is better to stop and catch my breath, to breaking up the legal fog, to be able to assess the scope of judicial decisions. It is believed that Stedeliyke is not only the largest but also the most representative collection of works by Malevich. Here we must bear in mind that it is formed not only works for the Berlin exhibition of 1927 and part of the collection Khardzhiev Nicholas and his wife Lilia fungus, which has been unofficially removed from the USSR in the 1990's and also gave rise to legal disputes.
But this again has nuances. Important than others. The fact is that for the Berlin exhibition in 1927 Malevich took the best. It was a kind of retrospective. And, of course, a chance to express their innovation and creativity a priority at the global level. Obviously, Malevich was afraid that his work, and thus the idea can be buried for many years the Soviet authorities. And, as is now clear, he was right. In the Soviet Union forged a new religion, new symbols - the competitors were not needed. In short, in Stedeliyke was a smart selection of oil Suprematist 1915-ies (sizes 70x60, and sometimes meter), Cubist compositions 1913-1914-ies and other valuable work. All finished, top-quality masterpieces. At the end of April is not yet known exactly which of the works sued heirs. But the experience of previous settlements is clear that the quality and value will help them understand.
 
Generally, startling as it sometimes repeats intrigue. Figures vary, canvas events remains. Story of the claims of heirs of Malevich's not hard to find in an electronic "binder" of the journal Art in America in October 1999 - "New York Museum of Modern Art concludes an agreement with the heirs of Malevich» (http://findarticles.com/p/articles /...56906503/print). This is so deja vu. According to the magazine article nine years ago in the exposition of the famous museum MOMA in 1935 there were 16 works by Malevich. Hung himself calmly, participated in exhibitions, no one was against. And should be delighted the eyes of visitors and further, if the Soviet Union had not disintegrated, not forgetting to pre-open borders. In active people have appeared previously unimaginable opportunities. And thirty-one heir of Malevich (at the moment, in 1999) has appeared more and a fantastic chance to sue the work facing tens of millions of dollars.
Legal vulnerabilities in the right museum for works by Malevich was the result of almost a detective story which, frankly, has created not only people but also the sinister atmosphere of the time. It is clear that the reconstruction of the events 80 years ago, suffers from many inaccuracies. Thus, it is necessary to take an amendment to the imperfection of sources, and indeed the number of interpretations, the right attitude to this history as a legend. In 1927, Malevich was the first time and, as it turned out later, the latter permission to travel abroad - for the preparation of the exhibition in Berlin. From his Leningrad studio artist in Germany has brought about 100 works, including about 70 paintings. But even before the expiry of travel Malevich suddenly summoned back to the country. Anticipating wrong and the other with the hope to return Malevich entrusted their work to the storage architect Hugo Haring. Pick up the work of Malevich was not destined to: abroad, it is no longer allowed to go until his death in 1935. At the end of the exhibition of Haring sent supremacist deposited director of the museum in Hanover Alexander Dorner. He has something they saw and then director of MoMA, Alfred Barr, who selected the material in Europe for the exhibition "Cubism and abstract art." Allegedly believing Dorner competent manager of operations, Barr bought him two paintings and a couple of pictures. A further 17 works selected for exhibition in New York. She somehow managed to smuggle the goods across the ocean. The historical landscape was such that the Nazis had plenty labeled "degenerate art". Already were confiscated, and even bought his Malevich, who also represented the "degenerate art" director Barr passage across the border in secret, hiding the canvases in an umbrella. Three years after the events described and the most Dorner had to emigrate to the United States, taking with him a painting and drawing. And the rest - to return back to Hugo Haring, with whom it all started. We must pay tribute Hering: he managed naderzhno spyatat paintings and drawings and preserve the legacy of Malevich during the war years. Meanwhile, work uplyvshie overseas, regularly exhibited at the MoMA. In 1963, when nearly three decades, none of the heirs had failed to declare their rights, they become part of permanent museum collections. The problems began only in 1993 when, after the collapse of the USSR heirs of Malevich, with the assistance of the German art historian Clemens Toussaint initiated negotiations with the MoMA for the return of works. As a result, in 1999, the New York Museum of Modern Art has agreed to pay financial compensation to heirs (the size is not named, but according to rumors about $ 5 million) and return one of 16 paintings - Suprematic Composition of the black and red rectangle, form a cross. The remaining 15 works were in the museum. It must be admitted that the museum lightly.
Otsuzhennoy same fate in 1999 at MoMA Suprematic composition was clear as daylight. Already in May 2000 at Phillips auction in New York on canvas sold for $ 17 million against the expected ten million. Perhaps this experience has taught the heirs continue to disagree on the money - to take pictures profitable.
At the same time in 1999 on the text of the article was already known that the following objectives Malevich's heirs - is Harvard's Busch-Reisinger Museum (they settled removed Dorner couple of works) and Amsterdam's Stedelijk Museum, where the heirs Haring sold more than 30 works by Malevich from among the works with exhibition in 1927, retained an architect. Is now known and about Stedeliyk.
Relation to the Crown and restorative dispute - how to win the lottery. Lucky. So, soon the auction. Remember, as recently returned and sold restorative Gustav Klimt, so come back and sold to Egon Schiele. From museum visitors not fail. But the market only possible way to date received the masterpieces of one of the most significant artists of the XX century. First time in a decade and probably the last time in history. Moreover, the masterpieces of Klimt and Schiele has come out to bid, there are sources, but Malevich this class - is unlikely. It is doubly important that these things will not simply with an iron provenance, but now we have completely "white" from a legal point of view - their new owner can no longer terrorize the claims, playing on the dubious origins. Completely legal Malevich, freed from the dark past - it is a great rarity on the market, that is the thing with the highest liquidity. Collectors are well aware that now or never. The battle for the top five of Stedeliyka to be serious. Timid forecasts such as "there are no less than 20 million" - is a painful modesty. It would be nice to understand exactly what works "sue" from the Dutch, but good Suprematist oil today can cost about $ 60 million, and even more. The collection also Stedeliyka, we recall anadromous things were not - yet selected the author for the exhibition. Thus our forecast - in the next year the name of Malevich moved from 5 th place in the ranking of most expensive paintings by Russian artists at least the second. Second, because the American abstract expressionist Russia origin also no fool. With the result in 72 million its place on the podium, he is unlikely to relinquish. Ironically, the legacy of Rothko, too, was related scandal. They cleverly "disposed of" trustees after the death of the artist. And only after years of debate, the daughter of the artist could sue some pictures and monetary compensation from the Marlborough Gallery.
 

Sources:
http://findarticles.com/p/articles/m...56906503/print
http://www.reuters.com/article/idUSL2467798420080424
http://www.svobodanews.ru/news/2007/...html?id=400384
http://www.geocities.com/aakovalev/khard-kov.htm
http://www.abcgallery.com/M/malevich/malevich-3.html

[d_atiquariato]

Interestingly, in the civilized world any "limitation periods" exist in works of art? How to prove that the thing your father bought at flea market by right belongs to you? Where is the guarantee that it does not take away the heirs?

[qwerty]

Statute of limitations on stolen works of art, as far as I know does not exist. At the flea market things better not to buy, for that there are decent galleries and auctions, which in the case of such problems, that is, incidentally, is not very often, take responsibility for themselves.

[Meister]

slightly out of topic, but still crossed: there is a database Art Loss Register (www.artloss.com), which contains lists of stolen items, even those who were expropriating during World War II. And it was not a few cases where the current owners had to agree (or return the work, or return a portion of its cost) to the descendants of the owners. Is interesting that the descendants themselves did not expect that they belong to such a value, yet it has not been accessed auction houses. The fact that the auction houses to check on the basis of the important lots, and, if they find them in this basis, notify the rightful owners. The situation for the current owners, of course, not a recipe, but alas. Therefore, when buying expensive works quite appropriate to test them on that basis. The cost of one request - $ 50.

[Vladimir]

Stedeliyk published the list transmitted to the heirs of work - is the best thing the congregation. Here's the link http://www.stedelijk.nl/oc2/page.asp?PageID=1831
Channel official - the museum itself.

[Vladimir]

Another pointed out that at artloss.com can advance to register their work (ie before the onset of a crime), to declare himself as the owner. Maybe someone need it.

[artemirra]

Meister,
As far as I know, the situation with "displaced values" World is so convoluted that the full database of these things, however.
I think that if there was any doubt as to the share that these things were confiscated and moved during the war - not worth buying. Then have long argued that it is bona fide purchaser. Moreover, in Russia and there is no unified position on this issue, as well as on the restitution.
And it would be like with Logvinenko

[Vladimir]

Remind them that it was with Logvinenko?

[artemirra]

Vladimir,
Logvinenko bought the painting "Tarquinius and Lucretia, Rubens (at one time exhibited in the Hermitage, now I do not know).
"Tarquin and Lucretia" was kept in Potsdam art gallery and disappeared in 1942. Later the work was discovered in the mansion's mistress of Joseph Goebbels, and from a suburb of Berlin painting had brought the Soviet Army officer. Years later, his daughter sold the painting, and Vladimir Logvinenko was her third buyer. He paid for staying in poor condition (see photo), a masterpiece of the amount of $ 3.5 million and renovate it. Now the picture is the estimated value of $ 80 million
The authorities demanded that Germany return the picture (of course, free), initiating a criminal case against Logvinenko.
Briefly described here:
http://www.kommersant.ru/doc.aspx?Do...amp;print=true

[Vladimir]

Nightmare. So what finally ended, returned to the Germans "Tarquinia"? According to the article, the Germans recognized its rightful owner. But the article is very old - 2004.