The recent repatriation of an early Claude Monet artwork has brought renewed hope to the Parlagi family, who have tirelessly pursued justice for decades in the face of wartime thefts by the Nazis.
Short Summary:
- The pastel artwork “Bord de Mer” (1865) was originally owned by Viennese businessman Adalbert Parlagi and was seized by the Gestapo during World War II.
- After extensive efforts involving the FBI’s Art Crime Team and the Commission for Looted Art, the artwork was returned to Parlagi’s granddaughters in New Orleans.
- Despite the successful retrieval of this piece, many artworks still remain missing, illustrating ongoing struggles for restitution in the art world.
The journey of the Monet pastel begins in 1936 when Adalbert “Bela” Parlagi, an Austrian-Jewish businessman and art collector, acquired the piece in a Vienna auction. Soon after, the shadows of Nazi oppression darkened their lives as they were forced to flee to London, leaving behind a trove of family possessions, including art intended for shipment. Regrettably, their belongings were caught in the crosshairs of the Gestapo, who confiscated and auctioned these items to finance their war efforts.
For 86 years, the Parlagi family has endured an arduous struggle, attempting to reclaim their ancestral artwork. After World War II, Adalbert initially made attempts to locate “Bord de Mer” but encountered bureaucratic roadblocks that stymied his efforts. Adalbert passed away in 1981, leading his son, Franz, to take up the mantle of their family’s quest for justice. After Franz’s death in 2012, his daughters, Helen Lowe and Francoise Parlagi, sought assistance from the Commission for Looted Art in Europe in 2014, marking the beginning of renewed hope.
“Our grandfather would have been so happy to find out this Monet was being restituted after all his attempts over the years,” said the heirs in a statement. “This is a very moving and exceptional day for us, a day neither of us ever thought would happen.”
The work’s fate turned as the FBI’s Art Crime Team became involved. The painting surfaced at an auction in New Orleans in 2021 after making its way through various exhibitions and galleries. The art community was alerted, especially when it became evident that “Bord de Mer” could not be traced prior to 1953, whereas the Parlagi family could provide robust documentation proving ownership tracing back to 1936.
As related by James Dennehy, assistant director in charge of the FBI in New York, “While this Monet is undoubtedly valuable, its true worth lies in what it represents to the Parlagi family.” He further emphasized the emotional weight of recovering items lost during such brutal times, proclaiming that their value “can’t be measured in dollars – it’s priceless.” The FBI’s rigorous investigation led them to inform the current owners of the artwork, who graciously relinquished it upon discovering its dark past.
The “Bord de Mer” was unveiled on October 9, 2023, at the FBI field office in New Orleans, where both the Parlagi family and the previous owners, the Schlamps, were present. Helen Lowe shared how the moment felt, stating, “It felt unreal but becoming realer,” signifying a long-awaited conclusion to their quest.
“For 80 years, the family have made tireless efforts to find and recover their looted paintings,” remarked Anne Webber, co-chair at the Commission for Looted Art. “Now, thanks to the commitment of the FBI to investigate and track down the picture, a day the family never believed would come has finally arrived.”
Even with this landmark recovery, the Parlagi family still mourns the loss of six other artworks that remain missing. Among them are significant pieces by renowned artists Camille Pissarro and Paul Signac. The ongoing struggle for art restitution is echoed in statements from Webber, who articulates the responsibility of the art world to understand its history and the moral obligation to return stolen items to the rightful owners. “They represent the life and the lives that were taken,” Webber stated, emphasizing the profound implications of these artworks.
The historical context of this story is essential in understanding the broader legacy of looted art during Nazi rule. Before and during World War II, the Nazis orchestrated a systematic campaign to expropriate cultural property from Jewish families. U.S. State Department Holocaust adviser Stuart E. Eizenstat remarked, “The theft was not random or incidental, but an integral part of the Nazis’ plan to eliminate all vestiges of Jewish life in Germany and Europe.” This tragic history is a reminder of both loss and resilience.
As the 21st century progresses, there is renewed interest in artwork provenance and restoration efforts, punctuated by legislative changes in various jurisdictions that aim to assist families in reclaiming their lost treasures. For instance, New York recently enacted laws requiring museums to disclose the history of pre-1945 artworks potentially obtained through illegitimate means. Such initiatives serve to enlighten the public and foster increased transparency.
The story of “Bord de Mer” illustrates a key element of the ongoing struggle for restitution in the art world and reflects the broader challenges faced by families whose legacies were marred by the shadows of World War II. Despite systemic obstacles, the tenacity of families like the Parlagis exemplifies resilience amid adversity.
As Helen Lowe reflected, “We, of course, feel privileged. So many families aren’t able to have this conclusion.” Her statement bears grave significance, not only for her family but for countless others who may still be grappling with similar issues of heritage and ownership.
“It’s essential that we all as humans have these rules that we act by,” Webber emphasized. “We have conventions on human rights. Property belongs to the people who own it and they have a right to equal possession of it.”
In conclusion, the restitution of Claude Monet’s “Bord de Mer” marks a pivotal victory in the ongoing fight for art restitution while serving as a poignant reminder of the atrocities of the past. As the Parlagi family continues to seek justice for their missing artworks, they encourage hope among other families who may be on similar journeys, affirming the importance of collective efforts in righting historical wrongs.
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