In the wake of the Second World War, cultural officers from the western Allied powers recovered several million objects plundered by the Nazis – works of art, Judaica, fine furniture, collectible books and archive collections. Recent books and films have popularized the history of the heroic art recovery effort, but less well-known is the story of what happened to objects that were never returned to rightful owners. In France, Belgium and the Netherlands, postwar governments selected the best of the unclaimed objects and distributed them to public museums, ministries, embassies and other state buildings. This public use of recovered art quietly endured until the 1990s, when heightened awareness of Holocaust-era assets led to greater public and press scrutiny and an increase in restitution claims. This article examines the origins of postwar art custodianships in a comparative analysis of French, Belgian and Dutch restitution policies. The comparison reveals national differences in the scope of looting operations and postwar restitution policies, yet the broad contours of each government’s approach to ownerless art are remarkably similar. In all three cases the custodianships continued the long-term dispossession of Jewish owners wrought by the Nazis and their collaborators.
Who Was He? Internment, Exile and Ambiguity in Norbert Gstrein’s Novel Die englischen Jahre (The English Years) (1999)
