Von Klemperer Kokoschka stays in Ghent

In the Nazi-era restitution of art news corner, The Museum of Fine Arts in Ghent has decided not to return 'Portrait of Ludwig Adler' by Oskar Kokoschka to the heirs of Von Klemperer.
They argued that the Jewish banker and Dresdener art collector Victor Von Klemperer was forced to sell the piece under pressure in 1937 and they filed a case to recover the work on the grounds of historical circumstances and international treaties on the returning of looted jewish art.

The City of Ghent had an independent commision, chaired by former president of the Studiecommissie en de Commissie voor de schadeloosstelling van de Joodse Gemeenschap van België, look at the claims. According to them Von Klemperer was not pressured to sell the work.

On the basis of this advice the painting, which was acquired legally by the Museum in 1989 will not be returned.

Picture credit Zeldenrust.

Ensor drawing stolen in The Hague

News outlets are reporting the theft of an Ensor drawing The triumph of death (1887) from the Communal Museum in The Hague.
A spokesperson euphimistically described the work as 'missing' rather than 'robbed'. 'There are different possible scenario's. The case is now in the hands of the police'. The piece was found missing on Friday.

It is pretty embarrassing for them as the pencil on paper drawing (22,5 x 17 cm) was on loan from the Royal Museum of Fine Arts Antwerp who purchased the work from Brussels art collector Marcel Mabille in 1952.

Police release images of MAS horn thief

Today police have released CCTV footage showing the thief who boldly stole a powder horn in the new Antwerp city museum MAS on May 26th. It seems art theft investigation looks very inefficient and slow and does not seem to be a priority. Two weeks after the theft took place pictures of the culprit are distributed and they are appealing to the public to identify two a man and a woman.
Also what puzzles me: the report in the paper mentions the thief walked up to the horn, removed it and then hides it under his jacket. He also had a back-pack. This begs the question, why are visitors not requested to leave their coats, bags etc. at the cloakroom?
Watch out for those OAP's, they could use their appearance to lull security guards into a false sense of security. This thieving eminence grise does not look like David Niven or Pierce Brosnan, but he's just as effective as the fictional characters they portray in features or Stéphane Breitwieser for that matter.

Theft from new MAS museum in Antwerp

The MAS museum in Antwerp has barely opened its doors and already a thief has been active on the premises. The theft of a power horn was reported yesterday afternoon by one of the guards. After the discovery they upped the security and 'searched the visitors'.
Qudos to the thief for nabbing that horn. It was child's play really. No alarm, not in a lockable display case. And apparently no guards around to see someone meddling with an artefact. Director Paul Depauw said: 'We now know what the critical points are and how we have to deal with the public. There will be extra camera's and also 'do not touch'-signs. Some of the objects will be moved behind plexiglass walls'.
Sorry to roll my eyes here, but I seem to recall an article that appeared in The Economist not two weeks ago where Depauw says: “if you don't take care of objects, who is going to tell us stories about the past?”

Yes, and who is responsible for taking care of the objects and telling stories?
How can you not notice the critical points before opening. Never heard of a risk assesment?
And the measures that will be taken; they're as useful as fitting an alarm to a house that has already been burgled. Or, to use Tom Flynn's expression: that will be as effective as installing an ashtray on a motorcycle. Or in Blackadder's: as useful as a cat flap in an elephant house.

Tragic as though it is, this goes to show (again) the sheer naieveté Belgian museums have concerning thefts from public musea. Putting up 'do not touch'-signs. Will you believe it.