The Paris of the late 19th and early 20th centuries was the vibrant centre of the art world. The bucolic neighborhood of Parc Monceau was home to major Jewish collectors and patrons, including the Ephrussis, the de Camondos and the Veil-Picards. Prior to World War I, artists from around the world, including Picasso and Chagall, flocked to the City of Light. A birthplace of transformative movements, from the Impressionism of Monet to the Surrealism of Breton, Paris became a seedbed for the avant-garde. As well as artists, the city attracted art dealers, writers and intellectuals, who met up at now-mythologised venues such as the cabaret Le Lapin Agile in Montmartre and cafés such as Le Dôme on Boulevard Montparnasse. Paris was synonymous with restless invention and creativity.
But the encroachment of Nazi Germany was not far off. In the 1930s, collectors, art dealers and artists fleeing Nazi Germany found temporary refuge in Paris; they included Hugo and Gertrud Simon, Alfred Flechtheim and Paul Graupe.
Nazi Germany's invasion of France in May 1940 and subsequent Occupation had a devastating impact.
Presented by the Christie’s Restitution team, Lost Paris provides snapshots of the Parisian art world before, during and after the Occupation.
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As war approached, Parisian museums closed their doors, put their collections into storage or transported them to what were presumed to be safe locations across France. Many art dealers and collectors, such as the Schloss family, also sought to protect their artworks by placing them into storage with museums, in bank vaults and other locations both in France and abroad.
From the beginning of the Occupation in June of 1940, the Nazis earmarked major Jewish art collections for confiscation, including the Rothschild, Schloss and David-Weill collections and the stock of the Seligmann and Rosenberg art dealerships. From 1 November 1940, the Nazi art looting agency Einsatzstab Reichsleiter Rosenberg (ERR) took over the Jeu de Paume museum in the Tuileries Gardens as its central base in Paris — here, the art historian Rose Valland would play a key role in the events to come.
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As war approached, Parisian museums closed their doors, put their collections into storage or transported them to what were presumed to be safe locations across France. Many art dealers and collectors, such as the Schloss family, also sought to protect their artworks by placing them into storage with museums, in bank vaults and other locations both in France and abroad.
From the beginning of the Occupation in June of 1940, the Nazis earmarked major Jewish art collections for confiscation, including the Rothschild, Schloss and David-Weill collections and the stock of the Seligmann and Rosenberg art dealerships. From 1 November 1940, the Nazi art looting agency Einsatzstab Reichsleiter Rosenberg (ERR) took over the Jeu de Paume museum in the Tuileries Gardens as its central base in Paris — here, the art historian Rose Valland would play a key role in the events to come.
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At the heart of Lost Paris are the stories of Jewish collectors, artists and art dealers whose artworks were looted by the Nazis and passed through the Jeu de Paume. Of the many stories that could be told, we focus on Philippe de Rothschild, Olof and Siri Aschberg, the Schloss family and René Gimpel. The surreptitious wartime notes taken by Rose Valland at the Jeu de Paume would help recover many looted artworks in the post-war years. We now identify Valland as a central figure of the Allied Monuments, Fine Arts & Archives program; men and women who — between the mid-1940s and mid-1950s and beyond — worked tirelessly to recover countless looted cultural property.
This project coincides with the launch of the first English-language edition of Rose Valland’s memoirs Le Front de l’Art (The Art Front, see FIG. to left, Courtesy of the Monuments Men and Women Foundation) published by the Monuments Men and Women Foundation in November 2024, with the support of Christie’s.
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