Art Market Monitor

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Chasing Chowaiki’s Victims, Chagall Edition

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Ezra Chowaiki is in jail for defrauding his clients but unwinding the effects of his fraudulent dealing is taking some time. Chowaiki sold a $1.2m Chagall to a client, Rick Silver, who was induced to leave the work with Chowaiki who then not only took out a loan using the painting as partial collateral but also sold the painting to a group of London dealers.

As a new lawsuit filed to get those dealers to return the painting shows, the dealers grew impatient waiting for the painting to be delivered. What they did not know was that Chowaiki had to get the picture out of hock before he could send it to them.

In the end, the dealers got the painting just a few days before Chowaiki declared bankruptcy. Nonetheless, they’ve been reluctant to return the picture either because they sold it on to an unsuspecting buyer or they simply don’t want to lose their shares in the painting.

As a result, they’ve been sued in Manhattan court.

Kokoschka and Kirchner Works Restituted to Alfred Flechtheim Heirs on Offer at Sotheby’s

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Sotheby’s announced a few more works in its World War I-themed sale within a sale, The Beautiful and Damned. Today’s announcement includes an Oskar Kokoschka and Ernst Ludwig Kirchner work. Each work is being restituted and will be sold with an estimate of between $15 and $20m.

Sotheby’s is honored to announce that two Modern masterworks recently restituted to the heirs of art-world luminary Alfred Flechtheim will highlight our Impressionist & Modern Art Evening Sale in New York on 12 November 2018.

Among the finest examples by their respective artists ever to appear at auction, Oskar Kokoschka’s portrait ofJoseph de Montesquiou-Fezensac from 1910 (estimate $15/20 million) and Ernst Ludwig Kirchner’s compelling Das Soldatenbad (Artillerymen) from 1915 (estimate $15/20 million) both encapsulate the seismic shifts occurring in visual arts during the period leading up to and including the onset of World War I. They also serve as testaments to Flechtheim’s passion for collecting exceptional Expressionist works.

In addition to their inherent art historical significance, both paintings are distinguished by their illustrious provenance and remarkable stories of restitution to Flechtheim’s heirs.  Prior to its restitution earlier this year, Kirchner’s Das Soldatenbadhad resided in the distinguished collection of the Solomon R. Guggenheim Museum in New York for three decades, and in The Museum of Modern Art prior to that. Like the Kirchner,Kokoschka’s Joseph de Montesquiou-Fezensac was voluntarily returned to Flechtheim’s heirs in 2018 by the Moderna Museet in Stockholm. As in the past, the Flechtheim heirs are expecting to use some of the proceeds for charitable causes, and for Holocaust remembrance and education purposes.

Joseph de Montesquiou-Fezensac and Das Soldatenbadwill be on view in Sotheby’s New York headquarters beginning 2 November, as part of our full sale exhibitions of Impressionist & Modern and Contemporary Art.

Lucian Simmons, Sotheby’s Worldwide Head of Restitution and Senior Specialist in the Impressionist & Modern Art Department, commented: “It is an honor to present these two recently restituted masterworks by Oskar Kokoschka and Ernst Ludwig Kirchner at auction this November. While markedly different in subject matter, both works are striking embodiments of the momentous changes developing in visual art throughout Europe at the time, and, as we can see with the Kirchner in particular, a tremendously palpable sense of angst during the beginning of World War I. Painted just after he returned from the war, Das Soldatenbadinstills the viewer with the same dehumanizing sentiments that Kirchner experienced during his enlistment and the frightening anonymity of life as a soldier. In this ferocious anti-war painting, the artist embraces the avant-garde through various techniques: the spatial arrangement of the figures; his unmediated depictions of the body that are divorced from the rigorous constraints of academic painting. In contrast, Kokoschka’s entrancing “soul painting” of Joseph de Montesquiou-Fezensacis an intensive study of personality and expression, one wherein he sought to bring the invisible inside of a person to the surface. These two introspective pictures are united not only by their respective restitutions, but also by the pioneering foresight of Alfred Flechtheim, an innovative figure in his own right and trailblazer in the field of collecting. It is with this rich history that we are delighted to offer this pair of avant-garde canvases in our Impressionist & Modern Art Evening Sale.”

Sotheby’s Is Restituting $12m Schiele in November Sale

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Sotheby’s announced late last week that it would be offering an Egon Schiele work being sold as part of a private restitution discovered by Sotheby’s own researchers. The $12m work will be sold in the Impressionist and Modern Evening sale on November 12th:

Sotheby’s is honored to announce that Egon Schiele’s masterwork landscape Dämmernde Stadt (Die Kleine Stadt II) (City in  Twilight (The Small City II)) will highlight our Impressionist & Modern Art Evening Sale in New York on 12 November 2018.

Painted in 1913, Dämmernde Stadt is one of Schiele’s finest landscapes remaining in private hands, with comparable works now principally found in museum collections. The dreamlike view above the city of Krumau – birthplace of the artist’s mother – documents the pivotal period during which Schiele established his singular and now-iconic visual language, after years of shadowing his mentor Gustav Klimt.

Independent of its art historical importance, the work is distinguished by the remarkable family history it has brought to life. Dämmernde Stadt was purchased in 1928 by Elsa Koditschek, a young Jewish widow living in Vienna. During the course of her harrowing persecution by the Nazis following the annexation of Austria in 1938, the work was forcibly sold in payment of alleged debts to the very person who helped Elsa survive. Sotheby’s will present the work this November as the resolution of a joint and private restitution between the present owners and Elsa’s heirs.

Elsa’s story is told today through an extensive and incredibly rare family archive of correspondence she wrote throughout the war and for years after. However, her heirs had remained unaware of the landscape until recent years, when Sotheby’s research on an unrelated picture uncovered reference to the Koditschek name. Lucian Simmons, Sotheby’s Worldwide Head of Restitution, and Andrea Jungmann, Managing Director of Sotheby’s Austria, initiated a dialogue between the family and the present owners that has ultimately resulted in the present offering.

Dämmernde Stadt is estimated to sell for $12/18 million in the 12 November auction.

DÄMMERNDE STADT (DIE KLEINE STADT II)

The series of large-scale townscapes painted by Egon Schiele between 1913 and 1917 show him working at the apex of his artistic powers, experimenting with elements of composition, color and form that would eventually lead him to Abstraction.

Dämmernde Stadt depicts the small, medieval town of Krumau, the birthplace of Schiele’s mother and one of only two locations that are the subjects of his celebrated landscapes. Referred to by Schiele as the “dead city”, Krumau’s compact configuration was intriguing to the artist, who captured its winding streets and crumbling buildings from perched atop the high left bank of the Moldau river – known today as the Vltava in the Czech Republic.  The result of this radical approach to perspective is a flat pictorial dreamscape that reflects both his highly-personalized interpretation, as well as his emotional and psychological response to the storied town.

These stylistic elements manifest in myriad characteristics throughout the canvas: the boldly-delineated shapes of buildings’ rooftops; twilight cast in a muted palette; and windows aglow with brilliant, jewel-like colors reminiscent of Gothic stained-glass. In looking to a Medieval past, Schiele was aligned with a contemporary strain of Gothic revivalism. However he was also attuned with the artistic movements developing concurrently across Europe at the time. His adoption of the high viewpoint and his growing sensitivity to formal relations suggest that he was looking at the work of Post-Impressionist artists, such as Vincent van Gogh and Paul Cézanne. The influence of Klimt’s experiments with form, and the square format in particular, are also apparent in the present work.

Who Is Stealing China’s Cultural Patrimony from Western Museums?

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Of the 10 million objects estimated to have been looted from China during the Century of Humiliation from 1840-1949, only a fraction have been recovered through the art and auction trade. Some extremely notable works like the 12 heads from the Zodiac clock designed for the Chinese Emperor’s Summer palace by a Jesuit priest became celebrated standoffs. A Chinese dealer bid for the two heads included in the Yves St. Laurent-Pierre Bergé collection sale and won. But the dealer refused to pay on principle that the works were stolen. Bergé refused to donate the works to China citing human rights violations by the current regime.

Artist Ai Weiwei picked up on the cultural importance of these objects by creating his own series of Zodiac heads, pictured above.

Christie’s parent company eventually broke the impasse by acquiring the heads and giving them as a gift in 2013. GQ magazine suggests that China might have embarked on a global initiative in 2010 to repatriate looted works with their own extra-legal campaign. According to GQ, a series of robberies at museums in Norway, France and Sweden seem to have been connected and highly targeted:

They often seem to be working from a shopping list—and appear content to leave behind high-value objects that aren’t on it. In each case, the robbers focused their efforts on art and antiquities from China, especially items that had been looted by foreign armies. Many of these objects are well documented and publicly known, making them very hard to sell and difficult to display. In most cases the pieces have not been recovered; they seem to simply vanish. After that first robbery, in Stockholm, a police official told the press that “all experience says this is an ordered job.” As the heists mounted, so did the suspicion that they were being carried out on instructions from abroad. But if that was true, an obvious question loomed: Who was doing the ordering?

The Great Chinese Art Heist (Gentleman’s Quarterly)

The Strange Case of Christos Tsirogiannis

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Bloomberg spent some time with Christo Tsirogiannis, the archeologist who keeps a secret database of illegally exported antiquities. Sotheby’s recent lawsuit against the Greek government was sparked by an object Tsirogiannis identified as suspicious. The greek academic claims to have spotted 50 objects and proudly claims to have “disrupted” $10m in sales.

Tsirogiannis makes no money from his vetting of antiquities auctions. He feels the auction houses should be vetting their objects with the governments of the countries that once produced them; the auction houses feel that would be a cumbersome and inefficient process that might open the door to governments cherry-picking objects from sales. Clearly, there’s a need for an honest broker in between who might be paid by the auction houses and dealers to add value to the antiquities market.

Curiously, Tsirogiannis expressed frustration to Bloomberg that he has made no money from his efforts identifying works that might have been sold illicitly. The auction houses are not shy about their frustration that Tsirogiannis keeps his database secret. The profile makes a big show of the lengths he goes in protecting his data:

More than a decade ago, Tsirogiannis started building a secret archive of tens of thousands of Polaroids and other photos from the artifact underground, where illicitly dug pots and statues are laundered as they pass from tomb raiders to smugglers to dealers and then on to museums, collectors, and auction houses. Most of his images were seized in police raids and given to him by prosecutors in Greece and Italy. Working independently, Tsirogiannis matches the photos with objects that surface at auctions or museums and then works to repatriate the pieces. […] Tsirogiannis takes great caution to keep the images from prying eyes. The archive itself—30,000-plus pictures depicting more than 100,000 objects—is a digital one, taking up a half-terabyte on a server in an undisclosed country in the South Pacific, accessed with passwords he changes twice a week. “There is no actual copy with me or in my house or in my working space,” he said.

“His approach has made auction houses and other dealers take due diligence much more seriously,” said David Gill, a professor at the University of Suffolk who specializes in cultural heritage issues and helped supervise Tsirogiannis’s grad work. Sotheby’s contends that the industry’s due diligence would benefit if the archives were made public. “Regrettably, those materials have been and remain at present completely inaccessible—except to one private individual,” it said in a statement. Bonhams has asked for access to the archive, “to assist the rigorous due diligence that we do for each object in our sales,” said spokeswoman Lucinda Bredin.

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