The Berlinische Galerie in Berlin is showcasing the complex and often unsuccessful work of provenance research through a new salon exhibition that reveals the hidden histories of artworks and their rightful owners. The exhibition, titled "Provenances. Artworks Wander," demonstrates how researchers painstakingly trace the ownership history of cultural objects, particularly those that may have been stolen or sold under duress during the Nazi era.
A remarkable discovery by provenance researcher Wolfgang Schöddert illustrates the detective work involved in this field. In 1947, Schöddert found a postcard written by Joachim Giesche, a student of the painter Fidus, stating that he had acquired "Templetanz" (Temple Dance) from a Jewish heir named Neuhäuser after 1933. This postcard proved crucial in uncovering the true history of a five-part Art Nouveau cycle called "Temple Dance of the Soul," painted by artist Fidus (born Hugo Höppener, 1868-1948), which had become a centerpiece of the Berlinische Galerie's collection.
The museum had acquired these works in 1974, initially believing that the seller had obtained the cycle directly from Fidus himself. However, the postcard revealed this assumption to be incorrect. Schöddert continued his research and eventually located the heirs and rightful owners of the artwork. Thanks to an agreement reached with these heirs, the Berlinische Galerie was able to properly acquire the cycle, and the famous "Temple Dance of the Soul" can now be displayed in the current exhibition.
The exhibition "Provenances. Artworks Wander" features works that entered the collection after 1970, many of which have never been displayed before. Visitors can explore three media stations that provide detailed information about each exhibit's current provenance research status, offering what amounts to a journey through Berlin's art history. The interactive displays allow museum-goers to understand the complex paths these artworks have taken before arriving at their current home.
The scope of the challenge facing the Berlinische Galerie is substantial. The museum's collection includes approximately 8,000 paintings, sculptures, photographs, works on paper, and graphics dating from before 1945. These pieces came to the museum through various means: purchases from art dealers or private collections, donations, or bequests. However, determining the exact path each artwork took before entering the collection raises critical questions about their legitimacy and legal ownership.
Researchers must investigate who sold these works and to whom, particularly examining whether any transactions occurred under pressure during the Nazi dictatorship, when rightful owners were often dispossessed of their property. The museum's provenance researchers have successfully demonstrated that 1,482 works in their collection are not "Nazi persecution-related dispossessed cultural property," as the official terminology describes it. However, this verification process remains incomplete for many other pieces in the collection.
The complexity of provenance research becomes evident when examining two paintings by Konrad-Alexander Müller-Kurzwelly. The landscape paintings "Evening Mood at the Baltic Sea" and "Old Farmstead on the Beach of Rügen" show striking similarities to each other. Researchers must now determine how many versions of these motifs Müller-Kurzwelly created, whether they were exhibited or sold directly, and through what channels they changed hands. Only after establishing these facts can researchers begin to reconstruct the various paths these artworks have taken throughout their existence.
As the exhibition demonstrates, provenance research represents both a moral imperative and an artistic endeavor in itself. The painstaking work of tracing artwork histories serves not only to ensure proper ownership but also to preserve the cultural memory embedded in these objects. The Berlinische Galerie's ongoing efforts reflect a broader commitment within the museum world to address historical injustices while maintaining transparency about their collections' origins.
