Edited by: Fern Sidman

In a poignant and historic moment, seven remarkable artworks by Austrian Expressionist Egon Schiele were finally handed over to the heirs of Fritz Grünbaum, a celebrated Jewish cabaret artist from Vienna and art patron, who tragically lost his life at the hands of the Nazis, as was reported by the New York Times on Wednesday.  This restitution ceremony, which took place at the office of Manhattan District Attorney Alvin L. Bragg, signifies a significant turning point in one of the art world’s most enduring Holocaust restitution cases, according to the NYT report. The return of these artworks marks a triumph of justice for the descendants of Holocaust victims who have tirelessly sought the restoration of looted property nearly eight decades after World War II.

Fritz Grünbaum, an outspoken critic of Nazism, and known for his wit and artistry, was arrested in 1938 and subsequently sent to the notorious Dachau concentration camp in Germany. The NYT report indicated that it was during his imprisonment that he was coerced into signing a power of attorney in favor of his wife, Elisabeth, who, in turn, was compelled to surrender his extensive art collection, which included 81 Schiele pieces, to Nazi officials. The collection was then seized and stored in a Nazi-controlled warehouse in 1938. According to the NYT report, the Schiele artworks, considered degenerate art by the Nazi regime, were auctioned or sold abroad to fund the Nazi Party. Tragically, Fritz Grünbaum perished in 1941, followed by his wife in 1942.

The saga of the Grünbaum heirs’ quest for justice spans over a quarter of a century, involving civil suits in both state and federal courtrooms. As was reported in the NYT, the battle over the collection gained international attention in 1998 when an Austrian museum lent one of Grünbaum’s Schiele works to the Museum of Modern Art in New York. At the time, Robert M. Morgenthau, the Manhattan district attorney, issued a subpoena in an attempt to prevent its return to Austria, but this effort proved unsuccessful. The NYT reported that the case reemerged in December, following a 2018 New York civil court ruling that affirmed the Grünbaum heirs as the rightful owners of the artworks. This pivotal ruling, which established that Grünbaum had never voluntarily sold or surrendered any of his art before his death, set the stage for the return of these long-lost treasures, the report added.

The Manhattan district attorney’s office renewed its involvement in the case after prosecutors uncovered evidence that the seven Schiele works had passed through the hands of a Manhattan dealer. This revelation granted the district attorney jurisdiction over the case, resulting in a distinct turn of events. According to the NYT report, upon being approached by prosecutors, several museums and collectors voluntarily agreed to return the Schiele artworks to the Grünbaum heirs after it was revealed that they possessed stolen property.

“Fritz Grünbaum was a man of incredible depth and spirit, and his memory lives on through the artworks that are finally being returned to his relatives,”  Bragg said in a statement, the NYT reported.  “I hope this moment can serve as a reminder that despite the horrific death and destruction caused by the Nazis, it is never too late to recover some of what was lost,” he added.

The NYT also reported that Matthew Bogdanos, the assistant district attorney who directs the city’s Antiquities Trafficking Unit, said that he was persuaded by the heirs to investigate the case as a criminal matter, and that doing so turned up new evidence tracking the paintings through New York.

“Today’s celebration is affirmation that justice has no expiration date,” Bogdanos said in an interview.

“This is of huge importance in our world,” emphasized Timothy Reif, one of the Grünbaum heirs, the NYT reported. He noted that this moment sets the tone and agenda for all future Holocaust restitution cases, emphasizing the enduring significance of addressing historical injustices and reclaiming stolen cultural heritage.

In the 1950s, many Schieles and other works from his collection surfaced on the art market in the possession of a Swiss dealer, Eberhard Kornfeld. They were later sold to an American dealer, Otto Kallir, who had a gallery in New York, before being sold on to a variety of buyers and widely dispersed, the NYT report noted.

The seven returned Schiele works had been housed in three museums: the Museum of Modern Art and the Morgan Library & Museum in New York, and the Santa Barbara Museum of Art in California. Additionally, the NYT report said that two collectors, Ronald S. Lauder and the estate of Serge Sabarsky, had possession of some of these artworks. A separate Schiele work held by the Sabarsky estate had been previously returned to the heirs.

The return of the artworks not only symbolizes justice but also carries significant financial value. At least six of the returned Schiele pieces are slated to be auctioned at Christie’s in New York, where the sales will include a commemoration of Fritz Grünbaum’s life. The NYT report indicated that the proceeds from these auctions will contribute to the newly formed Grünbaum Fischer Foundation, which aims to establish a scholarship program in Fritz Grünbaum’s name for young musicians. The foundation was initially funded by the $2.5 million sale of the two works recovered in the 2018 state case, the report added.

In addition to Timothy Reif, the Grünbaum heirs include David Fraenkel and Milos Vavra, according to the NYT report. Fritz Grünbaum was Timothy Reif’s paternal grandfather’s first cousin, adding a deeply personal connection to the restitution efforts.

The returned Schiele artworks have been estimated to be worth between $780,000 and $2.75 million each, attesting to their exceptional value in the art world. Notably, the NYT reported said that the artworks surrendered by the museums and collectors include “Prostitute” (1912) and “Girl Putting on Shoe” (1910) from the Museum of Modern Art, “Portrait of the Artist’s Wife, Edith” (1915) from the Santa Barbara Museum of Art, “Self-Portrait” (1910) from the Morgan, “I Love Antithesis” (1912) from Ronald S. Lauder, “Portrait of a Boy (Herbert Reiner)” (1910) and “Seated Woman” (1911) from the Sabarsky estate.

Lauder declined to be interviewed, the NYT report indicated but in a statement he said, “I am pleased and honored to be able to help Fritz Grünbaum’s heirs continue their laudable efforts to recover his legacy.”

The Santa Barbara Museum of Art said in a statement that based on the new information, its director and board “made the determination that the drawing should be returned,” the NYT noted.

In a statement sent to the media, the World Jewish Restitution Organization (WJRO) said on Wednesday that they welcomed the return of the seven Schiele works. Gideon Taylor, President, WJRO said, “We warmly welcome the decision to return the Schiele artwork to the rightful Grünbaum heirs. This underscores the significant strides we are making in the realm of looted art restitution and look forward to more positive developments.”

This momentous occasion extends beyond these seven returned artworks. Manhattan prosecutors have stated that they are currently investigating at least a dozen more Schiele works that were looted by the Nazis and subsequently trafficked through New York. The NYT noted that the recent developments include the seizure of three Schiele pieces from out-of-state museums, namely the Art Institute of Chicago, the Carnegie Museums of Pittsburgh, and the Allen Memorial Art Museum at Oberlin College in Ohio. These institutions are now facing lawsuits from the Grünbaum heirs in federal court, and the outcome of these cases remains to be determined.

In the words of Timothy Reif, this moment fills him with gratitude as each returned artwork is a testament to preserving the memory of Fritz Grünbaum and rectifying the injustices inflicted upon him during one of the darkest periods in human history, the report indicated.

“Each one is exquisite to me,” he said, the NYT reported. “I love these works because recovering them allows me to honor the memory of this man.”

As these artworks find their way back to their rightful owners, they serve as a beacon of hope and a poignant reminder that justice knows no expiration date, even in the face of the gravest atrocities committed by humanity.