“A little-known discipline in art history”

Building design
Photo folder with contents from the archive of the Julius Böhler art dealership.

Photo folder with contents from the archive of the Julius Böhler art dealership.

To mark International Provenance Research Day, Restauro spoke to provenance researchers Cosima Dollansky and Anna-Lena Schneider about the significance of this day, their current project and the planned changes to the legal basis for the restitution of Nazi-looted property. Dollansky and Schneider conduct research at the Munich Central Institute for Art History and have been leading a project on the Julius Boehler art dealership since May 2023.

To mark International Provenance Research Day, Restauro spoke to provenance researchers Cosima Dollansky and Anna-Lena Schneider about the significance of this day, their current project and the planned changes to the legal basis for the restitution of Nazi-looted property. Dollansky and Schneider conduct research at the Munich Central Institute for Art History and have been leading a project on the Julius Boehler art dealership since May 2023.

Restauro: Dear Ms. Dollansky, dear Ms. Schneider, I am very pleased that you have agreed to conduct this interview. Provenance research is currently on everyone’s lips since it was decided that the procedure and legal basis for the restitution of Nazi-looted art should be changed. What do you think about this?

Cosima Dollansky: This is an important change which – if it is implemented as planned – would give victims and their heirs in particular significantly more opportunities to actively reclaim unlawful spoliations. However, we must not lose sight of the fact that this is, so to speak, a side issue: Dispute resolution presupposes, after all, that the facts are in principle on the table and only their assessment is still in dispute. However, this constellation only applies to a fraction of the historical transactions in National Socialism. For us as researchers, it is much more about the many changes of ownership that we are reconstructing from the sources for the first time – we are creating the conditions for restitution.

Anna-Lena Schneider: The creation of a legal basis for the restitution of cultural property seized as a result of Nazi persecution was enshrined in the German government’s coalition agreement. It is therefore gratifying that the topic is now “on everyone’s lips”. The publicly initiated debate also highlights the topicality of the issue – 25 years after the Washington Conference. To this day, some complex cases remain unresolved, so the creation of an appropriate legal basis would be a very important step on the way to just and fair solutions.

Restauro: In 2015, the Central Institute for Art History in Munich was able to acquire the photo archive and associated object files of the Julius Böhler art dealership. What makes the photo archive so important for provenance research?

Dollansky: First of all, I would like to emphasize that not every object that was traded by the Böhler art dealership has a photograph. And some photo folders are more informative than others… however, the almost 8,000 photo folders that are available at the ZI are in any case unique source material for provenance research, because in addition to the mere visualization of an object, the photo folder often contains further information about the object. Very often, original appraisals and/or a copy are found, which, in addition to authenticating a work, also provide information on previous owners or auctions at which the work was offered. Other documents include newspaper clippings. Very rarely, the photo folders were used to store labels that were once on the back of an object.

Schneider: The index cards provide an insight into the transactions of the Julius Böhler art dealership in the years 1903 to 1993 – although only a few index cards are available up to around 1917/18. They show from whom the objects were acquired and to whom they were resold by Böhler, which is of course of essential value for provenance research. In some cases, previous provenances are even noted on the index cards. In addition to the sheer size of this card index (more than 30,000 cards!), it is above all the combination with the photo folders that makes the archive so valuable. Even if a photograph does not exist for every index card, a large number of works are given clear visual evidence. This identification is of particular importance for provenance research, as the descriptions of the objects are often very brief, ambiguous or sometimes even contradictory. In some cases, the photo folders also contain further documents such as appraisals, additional photographs, letters or even references to the previous or subsequent owner. All this makes this collection of sources truly unique.

Restauro: You have been in charge of the boehler re:search project at the Central Institute for Art History since May 2023, can you tell me more about it? What is the project supposed to achieve and what is its objective?

Dollansky: The aim of the project is to transcribe and standardize the index cards of the Böhler art dealership from 1903-1993 and make them accessible in a database. For current provenance research, transactions and actors between 1933 and 1945 are essential, but it was taken into account that index cards before 1933 and after 1945 can also provide evidence of unlawful seizure during the National Socialist regime. By standardizing the actors involved in a transaction, it is possible to see how many and which objects an actor acquired or sold at Böhler, whether an actor had prepared appraisals or how many objects of a certain type or region were traded at Böhler.

Schneider: As part of the project “Dealers, collectors and museums: The Julius Böhler art dealership in Munich, Lucerne, Berlin and New York. Indexing and documentation of traded artworks 1903-1994”, the art trade source in question is being recorded in the Boehler re:search database and made accessible to the public. Particular attention was paid to the transparent processing of the source material, which is why the information on the index cards was not only transcribed, but works, actors and auctions were also standardized. In this way, the data records become searchable and can be linked within Boehler re:search or with other databases and enriched with further information. This makes connections visible and provenance chains traceable – for everyone.

Restauro: How exactly can people use the database that was created as part of the boehler re: search project?

Dollansky: By going to https://boehler.zikg.eu/ and then using the full-text search to look up people or objects. Some filter options make it possible, for example, to filter objects of a certain genre or time. The fact that not only the transcriptions and standardizations of the index cards are available, but also a digital copy of the index cards, means that enquirers can independently check the information relevant to them.
For data protection reasons, only the years 1903 to 1948 are currently publicly accessible. Limited access is planned for the years 1949-1993. Until then, it is possible to ask us directly for information after 1948, we will be happy to provide information!

Schneider: In principle, all the source material from the archive of the Julius Böhler art dealership at the Central Institute for Art History (ZI) has been entered into Boehler re:search – even if external users have so far only been able to view transactions that took place before 1949 due to privacy and data protection guidelines. This means that anyone interested can research the art trade source independently and is not dependent on information provided by third parties. By creating standard data records, the search can start at different points. If I want to find out the provenance of a work, I can search for the title or the artist. Various filter options also allow sorting by genre, so that I can search for a sculpture, a painting, a gold or silver work, etc. If, on the other hand, I want to see which works were sold to or acquired by Böhler from a particular art dealer or collector, this is also possible. At the same time, for example, I can also find out which and how many objects were bought by Böhler at a particular auction or which works were consigned by him. Thanks to the data records, this kind of information is made available in a bundled form. This makes research much easier!

Restauro: You are also planning a conference on the Julius Böhler art dealership, which will take place from April 10-12 at the Zentralinstitut für Kunstgeschichte in Munich and also online. What is planned?

Dollansky: The title of the conference is “Quelle und Kontext II: Die Kunsthandlung Julius Böhler in Relation to Museums and Collections”. During these three days, numerous national and international colleagues, who work primarily in museums and other collections, will report on their current research findings on the Julius Böhler art dealership.
We are also offering a workshop on Thursday afternoon to discuss the limits and capabilities of our digital edition with the research community.

Schneider: The conference will focus on the archives of the Kunsthandlung Julius Böhler at the ZI and the business documents and correspondence of the Kunsthandlung at the Bayerisches Wirtschaftsarchiv (BWA) as well as the (counter) records in collection and museum archives. The various sources often complement each other, but sometimes also contradict each other. It is precisely these divergences that will be presented, discussed and scrutinized. What conclusions can be drawn from this for provenance research?
At the same time, the conference will also serve as a review of the Julius Böhler art dealership project, which ends on May 31. What have we achieved with the provision of this research data infrastructure, what still needs to be worked on? How effectively and efficiently can it be used to identify cultural property seized as a result of Nazi persecution? What conclusions can be drawn for future data infrastructure projects? All of this will be explored at the conference together with the research community.

Restauro: How important do you think a day like “Provenance Research Day“, which takes place this year on April 10, is?

Dollansky: Very important! It allows people to gain an insight into a discipline of art history that is otherwise less visible and less well-known.

Schneider: The “Provenance Research Day” also offers an insight into our work to interested parties who are not normally active in this field of research. The guided tours and lectures that take place in museums or research institutions on this day can be attended by anyone. It is therefore practically comparable to an “open day”. At the Central Institute for Art History, we will also be providing an insight into our work in the run-up to the conference. As part of three different “preliminary programs”, there will be an English-language, more general guided tour in which the sources of the ZI relevant to provenance and art market research will be presented. This will be followed by two parallel tours presenting various art trade sources in detail: The auction catalogs of the Munich art auction house Adolf Weinmüller and the gallery Hugo Helbing and the archive of the art dealer Julius Böhler.

I think it is extremely important to create this proximity to our work, to educate, to enable accessibility, to exchange ideas. Even after all these years, many people are still not familiar with provenance research and it is time to get this relatively young branch of research out of its infancy. The “Provenance Research Day” therefore offers us the opportunity to provide an insight into this field and at the same time develop an awareness of the problems we deal with on a daily basis.

Photos: Susanne Spieler

POTREBBE INTERESSARTI ANCHE

The skilled trades must step on the gas

Building design
General
digital services and marketing approaches. Photo: servicerebell

digital services and marketing approaches. Photo: servicerebell

Digital strategist Christoph Krause supports the skilled trades sector when it comes to digitalization. STEIN spoke to him about the opportunities and dangers of digital change and the role that platforms play in this. STEIN: Mr. Krause, how do you get the digital sense into the skilled trades? Christoph Krause: Some people don’t even have that on their radar yet. I […]

Digital strategist Christoph Krause supports the skilled trades sector when it comes to digitalization. STEIN spoke to him about the opportunities and dangers of digital change and the role that platforms play in this.

STEIN: Mr. Krause, how do you get the digital sense into the skilled trades?

Christoph Krause: Some people don’t even have that on their radar yet. I’ve been involved in digitalization in the skilled trades since 2006, when it wasn’t an issue at all. Today, the focus is definitely on it, especially among the younger generation of entrepreneurs. The problem that companies have is the many isolated solutions that they first have to bring together. It’s not as if the companies have been working completely analogously up to now. But there is a lack of interfaces between the many software solutions. There are often more than ten different tools in use that don’t communicate with each other. This means copying from A to B – which costs a lot of time and money. This requires a digital chain. And companies are currently working on this.

STEIN: Does that mean the data flow has to be right before I can think about something like a platform?

Christoph Krause: Absolutely! Without data, there’s no platform, and individual trade businesses won’t be able to do it on their own. Platforms are created in a network. To do that, I need people who don’t come from the skilled trades and who understand IT. That’s why we have developed formats with our hackathons and barcamps that bring the skilled trades together with IT.

STEIN: What is created in the hackathons?

Christoph Krause: The charming thing about hackathons is that you not only develop new ideas here, but also implement them directly in a prototype. In the publishing sector, for example, these are concepts that use sensors in the wall or on the floor to measure humidity. This can result in completely new service offerings. In this case, a company not only installs the bathroom, but also ensures that the surface remains instant. Or blockchain solutions that, combined with sensor technology, provide customers with assistance for surface cleaning. The worktop then organizes its own professional cleaning, so to speak, and the entire process can be controlled digitally. As an installer, all you need to do for such IoT
(Internet of Things) approaches, all you have to do is go through your individual installed layers and consider what additional benefits digitalization can offer here.

STEIN:… in order to then market new services digitally?

Christoph Krause: Exactly. But the problem is that many companies simply don’t have the time to deal with such disruptive ideas at the moment. Capacity utilization is high. Craftsmen used to be the industry’s top performers in sales. This is no longer the case because companies are no longer able to process orders. The trade is becoming a bottleneck. In addition, their sales performance is being called into question by start-ups. Or the industry itself is approaching customers via its own platforms. The more modular I make sales and service, the fewer parts of the process I still need the craftsman for. The digital solutions for this are currently being built or have already been completed in some cases. In the sanitary trade, up to 1.4 billion euros in sales are already being generated via platforms.

STEIN: So what needs to be done?

Christoph Krause: The trade needs to step on the gas, digital communication and processes, the Internet of Things, customer connection. A fancy website is not the key. I have to define the added value for the customer. What added value do I offer with my digital solutions? Lean processes, transparent order processing, quotation and appointment configurators, digital payment processes. I have to offer digital added value in order to stay ahead.

STEIN: Many companies use existing platforms as a gateway to the digital marketing process.

Christoph Krause: Yes, that’s true. It’s definitely a good way for smaller businesses. But if I have a business with 30 or 50 employees, I can also build my own digital business model. To do this, however, I need implementation networks. That means I need to bring in people who can do what I can’t. I need to get in touch with digital implementers. That’s exactly what we offer with our formats. There’s been enough talk at digital conferences, now it’s time for the skilled trades to put it into practice.

STEIN: Digitalization needs networking. What role can the guilds play? After all, no industry is as well networked regionally as the skilled trades.

Christoph Krause: The guilds need to develop into digital service providers and support their members in the process. To do this, however, they would have to organize themselves differently. It doesn’t make sense for every small, regional guild to work on the same topics. The tasks need to be distributed. Then competence centers for certain subject areas will emerge. And the trades need to join forces. A cultural change is needed for the guilds.

STEIN: BIM, which will be mandatory for public buildings worth five million euros or more in Germany from 2020, also runs on collaboration platforms. Are all companies ready for this?

Christoph Krause: The trade has to take care of this too. If I have a small business, I may only need to have the right to read. But if I’m planning myself, I have to get to grips with it. I have to make sure that my software is BIM-capable and that I have the interfaces. It takes me a year and a half to build up this expertise. I need BIM specialists with knowledge of my trade. Entirely new training professions will emerge. For existing buildings, the question arises as to where the data comes from. Then I might have to fly a drone around buildings to collect it. Do I buy it myself? Do I commission them? These are questions that owners have to deal with.

STEIN: Does that mean a digitalization strategy is needed for every business?

Christoph Krause: Definitely. Even banks now want to see a digitalization strategy when they grant loans to the skilled trades. Today, I have to think in terms of value chains in order to secure my company value in the long term. A digitalization strategy is my investment basis for the future.

Generation Y

Building design

They grew up with the feeling of being something special. Attention, encouragement and praise from parents, having a say and making decisions in the family played a role from an early age, and later discussions with teachers and professors were completely normal. They were brought up to be independent and are used to talking to authorities as equals. They have […]

They grew up with the feeling of being something special. Attention, encouragement and praise from parents, having a say and making decisions in the family played a role from an early age, and later discussions with teachers and professors were completely normal. They were brought up to be independent and are used to talking to authorities as equals. They have high expectations of themselves, life and work. Values such as family, friendship and leisure are more important to them than leadership positions, managerial salaries or other monetary incentives. They are self-confident and know their value, not least because demographic change and the shortage of skilled workers make it necessary for companies to be more responsive to them. They expect interesting projects, rapid promotion opportunities and a good work-life balance from their work: we are talking about “Generation Y”. Generation Y” usually refers to anyone born between 1981 and today. The young people of this generation are also often referred to as “digital natives” because of their affinity to digital media such as computers, the Internet, cell phones, MP3 players, etc., with which they have grown up. In contrast, people who have only become acquainted with these things in adulthood are referred to as “digital immigrants”.
Generation Y follows Generation X, those born between 1965 and 1980, and the generation before them, the baby boomers, who were born between 1946 and 1964.

They will radically change the work culture

The “Ypsiloners” have been conquering companies for some time now, working side by side for a while with the previously dominant “baby boomer” generation, which they will soon replace. In a few years, “Generation Y” will account for every second employee worldwide. “This is the most demanding and self-confident generation in a long time,” says Anders Parment from the Stockholm University School of Business, who has written a book about the Ypsilonians. They will radically change the work culture in companies and thus contribute to another important trend, the change in values in society, against the backdrop of demographic change as the most important social trend. “The values and patterns of thought and action of ‘Generation Y’ reflect the developments and trends in our society and working world,” writes Prof. Dr. Jutta Rump from the Institute for Employment and Employability in Ludwigshafen.

Their parents were “workaholics” for them

To understand Generation Y, it helps to take a look at their socialization: growing up with parents from the “baby boomer” generation, they learned and still learn how hard they worked for their retirement. It is not uncommon for them to see their parents as “workaholics”. Values such as leisure and family took a back seat in this generation. At best, they had time for their grandchildren, but the children of the baby boomer generation are deeply affected by the lack of affection and time from their fully committed parents. A daunting picture: “Generation Y” does not want to do this with its own family and is consciously distancing itself from the “live to work” attitude of its parents. Many of those born after 1980 grew up in wealthy dual-income households, often as the only child. They have not usually experienced a strict family hierarchy. On the contrary: “Generation Y” was allowed to have a say in decision-making from an early age. And so they confidently represent their needs – even in companies.
For “Generation Y”, there are more important things in life than work, work and more work. They have learned that growth, speed and ever new records, which have long dictated the economy, have brought more and more prosperity, but also many problems, both in terms of health and interpersonal relationships. Now a generation is storming the workplace that is economically fed up, that has grown up under the dictates of consumerism and that has seen their parents, today’s 50 to 60-year-olds, sacrifice themselves for work and put their private lives behind their careers.

Time for family and other things

For example, Ypsiloners are emphatically demanding a private life worthy of the name. The family image is being redefined and conservative values are being rediscovered. “Family enjoys top priority,” writes Christian Schmidt, surgeon and Medical Director of the Cologne City Clinics, in an article entitled “Generation Y” in the specialist magazine “Der Anästhesist”. The physician knows what he is talking about: for his publication on the recruitment, development and retention of Generation Y, Schmidt documented findings available worldwide on those born after 1980. They were collected by management consultancies, working groups at ministries and sociological institutes.
According to Schmidt’s literature research, the representatives of “Generation Y” are characterized by a high level of self-confidence, but sometimes also react sensitively to criticism: he suspects that this is because they have been overly praised by the “baby boomers”. Schmidt characterizes “Generation Y” as follows: “They have high expectations of the workplace and reject both hierarchies and working hours. Overtime must be very well justified.” And he warns: “Generation Y would rather change jobs than adapt.”

Find out more about Generation Y and what they expect from their future employers in the latest STEIN!

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