The autumn auction in Grisebach bears witness to an amicable agreement. Up for auction is a painting by Paul Klee that belonged to the Jewish Pauson family before it was stolen by the Nazis. It has now been returned to descendants.
Robert Pauson carries on a tradition with his wife Emilie: they give each other works of art on special occasions. This is how an impressive collection was born. In 1923 they visited Paul Klee in Weimar, where he was a Bauhaus master in charge of the metal and glass workshops.
In 1938 the family had to flee. Her daughter had been insulted with anti-Semitic insults, bricks had been thrown at the bedroom window and the Nazis had deported Emilie Pauson’s brother-in-law to the Dachau concentration camp. The escape to England was successful, the Lichtenfels house was sacked and the collection confiscated. Subsequently the clover came into the possession of a family from Bensheim. The painting is now being auctioned in Grisebach.
The auction house’s experts studied the provenance. The Holocaust Claims Processing Office (HCPO) in New York has negotiated an amicable settlement with the heirs of Emilie Pauson, who never set foot on German soil again, so much so that it is now being offered with their explicit consent. The 23 x 36 centimeter watercolor is estimated at between 180,000 and 240,000 euros.
Main lot in Auction November 28, 2024 But in Berlin there is – once again – a painting by Max Beckmann. In recent years the auction house has achieved great success with the works of the expressionist painter. For example, Beckmann’s “Yellow-Pink Self-Portrait”, auctioned almost exactly two years ago with an estimate of 13 million euros.
The image was considered one of the last self-portraits in private hands. It was sold for 20 million euros. An important success for the then new head of Grisebach Daniel von Schacky. The auction house is now hoping for a successful auction of the painting “Quappi with the Green Parasol” from 1938. Mathilde von Kaulbach, known as Quappi, was Beckmann’s second wife.
In the year that the beach image, which at first glance seemed so peaceful, was created, the Frankfurt couple had fled to Amsterdam from the Nazis – they had ostracized Beckmann as a “degenerate”. They later emigrated to New York, where the artist died in 1950. Quappi survived him 36 years and managed his estate.
The painting came from a Swiss collection whose owner had purchased it on the London art market. Grisebach estimates “Quappi with green umbrella” at between four and six million euros.
How are modern art collectors addressing the restitution of artworks taken during the Holocaust?
Interview between Time.news Editor and Art Historian Dr. Laura Schneider
Time.news Editor: Thank you for joining us today, Dr. Schneider. The recent autumn auction at Grisebach reveals a remarkable story about a Paul Klee painting that was once taken from the Jewish Pauson family. Could you start by giving us a bit of context on the significance of the painting and its history?
Dr. Laura Schneider: Thank you for having me! This painting is not just a piece of art; it embodies a deeply poignant narrative of loss, resilience, and recovery that many Jewish families experienced during and after the Holocaust. Paul Klee, a key figure in the Bauhaus movement, created this work during a time of artistic innovation, and it was treasured by the Pauson family. However, after their forced exile due to Nazi persecution, the artwork was tragically lost to them, highlighting a painful legacy.
Time.news Editor: Absolutely, it’s a powerful reminder of how art can encapsulate human experiences. What can you tell us about the Pausons and their experiences leading up to the loss of their collection?
Dr. Laura Schneider: The Pauson family, particularly Emilie and Robert, were deeply integrated into the vibrant art scene of their time. They were not just collectors, but also patrons of modern art. Their visit to Paul Klee in Weimar in 1923 symbolizes their connection to the avant-garde. However, as anti-Semitic violence escalated, their life in Germany became untenable—Emilie’s brother-in-law was deported to Dachau, and they eventually fled to England. Unfortunately, their home was ransacked, and their beloved collection was confiscated. This narrative is tragically common among many Jewish families of that era.
Time.news Editor: It must have been heart-wrenching for them to lose not only their home but also their connection to such significant art. Can you elaborate on the process of how the painting has come back to the family through the auction?
Dr. Laura Schneider: Certainly! The return of the painting is a landmark example of rightful restitution. The Holocaust Claims Processing Office in New York played a crucial role in negotiating a settlement with the descendants of Emilie Pauson. This process involves extensive research into the provenance of artworks, ensuring they are justly returned to their rightful owners or their heirs. The agreed-upon sale at Grisebach with explicit support from the Pauson heirs symbolizes a step towards justice and recognition for the losses endured.
Time.news Editor: It sounds like a positive step forward. What impact do such auctions and the discussions around provenance have on the art community today?
Dr. Laura Schneider: These auctions can have significant ramifications. They not only provide financial restitution to families but also spark crucial conversations about the ethics of art ownership. The art community is increasingly aware of its responsibilities in addressing past injustices, and many institutions are revisiting the provenance of their collections. This growing awareness can foster a more inclusive narrative around art that acknowledges historical wrongs while working toward reparative actions.
Time.news Editor: It’s clear that the art world grapples with its history, much like society as a whole. As we look to the auction of this Paul Klee watercolor estimated at up to 240,000 euros, what should potential buyers keep in mind?
Dr. Laura Schneider: Buyers should recognise that they are not just purchasing a piece of art; they are participating in a historical dialog. Engaging with the backstory of works like this Klee painting can inform their understanding and appreciation of the art itself. Moreover, potential buyers should also consider the ethical implications of ownership and the legacy connected to these pieces—they can play a role in supporting rightful restitution.
Time.news Editor: Thank you for sharing such valuable insights, Dr. Schneider. It’s fascinating to see how art can transcend mere aesthetics to embody significant historical narratives.
Dr. Laura Schneider: My pleasure! Art indeed serves as a bridge between the past and the present, and it’s vital we continue to honor and reflect on its history as we move forward.