Anne Scher/Alex Wittenberg, 212.423.3271, email@example.com
PRESS PREVIEW: Tuesday, March 10, 2009, 10 AM to 1 PM
REMARKS AT 11 AM
PAINTINGS FROM THE COLLECTION OF JACQUES GOUDSTIKKER
OPENS AT THE JEWISH MUSEUM ON SUNDAY, MARCH 15
NEW YORK, NY – The Jewish Museum will present an exhibition of rarely-seen Old Master paintings entitled Reclaimed: Paintings from the Collection of Jacques Goudstikker from March 15 through August 2, 2009. Reclaimed reveals the extraordinary legacy of Jacques Goudstikker, a preeminent art dealer in Amsterdam, whose vast collection of masterpieces fell victim, and was almost lost forever, to the Nazi practice of looting cultural properties. Following its New York showing, the exhibition will travel to the McNay Art Museum, San Antonio, TX (October 7, 2009 - January 10, 2010); the Norton Museum of Art, West Palm Beach, FL (February 13 - May 2, 2010); and the Contemporary Jewish Museum, San Francisco, CA (October 30, 2010 - March 8, 2011).
In 2006, after years of working with a team of art historians and legal experts, Goudstikker’s family successfully reclaimed 200 of his paintings from the Dutch government – one of the largest claims to Nazi-looted art ever resolved. Featuring nearly 50 of the finest examples of the recovered art, along with original documents and photographs, the exhibition reveals Goudstikker’s influence as a collector, art dealer, tastemaker and impresario; and celebrates the historic restitution of the artworks to the rightful heir. Ten of the paintings on view have never been exhibited in North America before. Also included are 20 original documents and photographs relating to Goudstikker’s life – most significantly, Goudstikker’s own notebook inventorying the bulk of his gallery’s holdings at the time he fled the Netherlands. In addition, using digital photographs, The Jewish Museum has created a new, interactive touch-screen computer version of Goudstikker's notebook that allows visitors to view each page.
Jacques Goudstikker (1897-1940) was one of the most important and influential art dealers in Europe during the period between the First and Second World Wars. The Goudstikker Gallery, located in a grand house on one of Amsterdam’s prominent canals, dealt primarily in Dutch Old Masters from the Golden Age, yet also offered other Northern European and Italian paintings. Goudstikker sold paintings to leading collectors and museums in Europe and the United States, mounted groundbreaking exhibitions and had a profound influence on collecting patterns. His impressive and historically important collection rose to international acclaim.
As prominent members of society, Goudstikker and his wife, Dési, led luxurious and exuberant lives, but the world they inhabited would soon be lost. Due to the rising threat of the Third Reich and because he was Jewish, Goudstikker was forced to flee the Netherlands with his wife and their year-old son, Eduard (nicknamed “Edo”), in May 1940 shortly after the Nazi invasion. Jacques died in a tragic accident on board ship while escaping by sea.
Goudstikker left behind his collection of approximately 1,400 works of art, the bulk of which were taken to Germany after the looting of the Goudstikker Gallery by Herman Göring, Hitler’s second in command and a rapacious art collector. Göring’s henchman, Alois Miedl, ran the gallery throughout the war under the Goudstikker name, profiting from its remaining stock of artworks and respected reputation.
When World War II ended, over 200 Goudstikker paintings were located by the Allies in Germany and returned to the Netherlands with the expectation that they would be restituted to the rightful owner. Despite Dési’s efforts to recover them, the Dutch government kept the works in its national collections. Eventually, Dési and her second husband, A.E. D. von Saher, who adopted Edo, left the United States, where they had settled, to return to the Netherlands, where she died in 1996. Edo survived her by only a few months.
Edo’s widow, Marei von Saher, initiated the claims process for restitution in 1997 at a time of renewed interest in restituting Nazi-looted artworks in the Netherlands and after new information about the fate of the Goudstikker collection became available to her. The small black notebook Jacques Goudstikker had used meticulously to inventory his collection was found with him at the time of his death and later became a crucial piece of evidence in the battle to reclaim his art. Finally, after a nearly decade-long battle, the Dutch government agreed on February 6, 2006 to restitute 200 of the paintings looted by the Nazis.
Jacques Goudstikker’s inventory included Italian Renaissance works, early German and Netherlandish paintings, seventeenth-century Dutch Old Masters, French and Italian Rococo artworks, and nineteenth-century French and Northern European paintings. Although his offerings became increasingly diverse – he can be credited with expanding the Dutch art market as well as collectors’ tastes – his specialty remained Northern Baroque art. He catered to the leading collectors of his day, selling paintings not only to Dutch museums (such as the Mauritshuis in The Hague, and the Rijksmuseum in Amsterdam) but also to The Metropolitan Museum in New York, the Art Institute of Chicago, and to Andrew Mellon for the then-fledgling National Gallery of Art in Washington, DC. A natural impresario, Goudstikker delighted in organizing national as well as international art fairs, festivals, and exhibitions, some of which had enduring significance for the history of art. He was responsible for what was at the time the largest exhibition of Peter Paul Rubens’s art in the Netherlands, and the only show ever of the landscapes of Salomon van Ruysdael, among others.
Highlights in the exhibition include Jan Steen’s dramatic Sacrifice of Iphigenia of 1671, two splendid river landscapes by Salomon van Ruysdael, a rare early marine painting by Salomon’s nephew Jacob van Ruisdael, an atmospheric View of Dordrecht by Jan van Goyen, and Jan van der Heyden’s View of Nyenrode Castle on the Vecht – the country estate that Goudstikker himself owned and opened to the public each summer in the 1930s. On view are also Pieter Lastman’s 1619 David Gives Uriah a Letter for Joab as well as excellent still life paintings and portraits such as Hieronymus Galle’s Still Life with Flowers in a Vase, and Ferdinand Bol’s Louise-Marie Gonzaga de Nevers.
In addition to viewing fine paintings, museum visitors will be offered an opportunity to reflect on the inequities of war, the looting of cultural property during the Holocaust, and ongoing efforts to recover artworks stolen during World War II.
Reclaimed: Paintings from the Collection of Jacques Goudstikker was organized by Peter C. Sutton, Executive Director and CEO of the Bruce Museum in Greenwich, Connecticut, who also wrote the accompanying catalogue. Karen Levitov, Associate Curator at The Jewish Museum, has served as managing curator for the New York City version of this exhibition. Published by The Bruce Museum and The Jewish Museum in association with Yale University Press, the lavishly illustrated 257-page catalogue is available at The Jewish Museum’s Cooper Shop and bookstores everywhere for $60.
This exhibition is sponsored by Thomas S. Kaplan; the Conference on Jewish Material Claims Against Germany; and Herrick, Feinstein LLP.
Generous support was provided by Hanni and Peter Kaufmann; an anonymous donor in memory of Curtis Hereld; Fanya Gottesfeld Heller; the Alfred J. Grunebaum Memorial Fund; Carol and Lawrence Saper; and other donors.
About The Jewish Museum
The Jewish Museum was established on January 20, 1904 when Judge Mayer Sulzberger donated 26 ceremonial art objects to The Jewish Theological Seminary of America as the core of a museum collection. Today, The Jewish Museum maintains an important collection of 26,000 objects – paintings, sculpture, works on paper, photographs, archaeological artifacts, ceremonial objects, and broadcast media. Widely admired for its exhibitions and educational programs that inspire people of all backgrounds, The Jewish Museum is the preeminent institution exploring the intersection of 4,000 years to art and Jewish culture.
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