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Chapter 4 Giving Back: The Case of Stolen Art “Of particular justice and that which is just in the corresponding sense,” wrote Aristotle, “(a) one kind is that which is manifested in distributions of honour or money or the other things that fall to be divided … and (b) one is that which plays a rectifying part in trans- actions between man and man” (Aristotle 1941, 1005–6). The first – distributive – kind of justice takes a non-historical baseline, and it leads us to ask how, given a certain population and a certain set of valued goods, and giving no weight


Zu den ungelösten Folgeproblemen des deutsch-sowjetischen Kriegs gehört der schwierige Komplex von Beutekunst und Kunstrestitution. Trotz langjähriger Verhandlungen konnten beide Seiten hier zu keiner Übereinkunft finden. Frank Grelka untersucht im vorliegenden Aufsatz Konzepte, Ansprüche und die Durch-führung der sowjetischen Kunstrequisition in Deutschland nach dem Zweiten Weltkrieg und kann zeigen, dass diese über das Prinzip der restitution in kind deutlich hinausgingen.

Die Restitution der Beute- und Raubkunst im Kollisions- und Völkerrecht

Introduction 3 Part I: Looking Back 1 Should We Worry about Presentism? 13 2 The Question of [Anyone’s] Guilt: Collective Liability to Punishment 36 3 For Benefits Received 55 4 Giving Back: The Case of Stolen Art 80 5 Bad Memories 99 Part II: Going Forth 6 The Prior Question: Assessing the Benatar Thesis 123 7 Coming to Terms with Yoder 140 8 Only Egalitarians May Have Children 160 9 If the Future Is a Foreign Country … 179 10 The Rights of Past and Future Persons 198 Conclusion 216 Notes 245 References 253 Index 269 Contents This page intentionally


century is re- flected in his life in surprising clarity: The struggle against radical anti-liberalism and antisemitism during the Weimar Republic; immigration, a new beginning and the transfer of knowledge to Palestine; and finally his personal commitment towards an understanding in the Jewish-Arab conflict. Koebner met this challenge with his conceptual history, which was simultaneously a historiographical method, a theory of modernity, a critique of ideology as well as a novel form of chrono- politics. Frank Grelka, Stolen Art and Art Robbery . Soviet

Diebstahls von Kunstwerken und ihres uner- laubten Handels im Europa der Neun, 1978, S. 74 ff.; Collin, The Law and Stolen Art, Artifacts, and Antiquities, Howard Law Journal, Vol. 36 (1993), S. 17–42; Conley, International Art Theft, Wisconsin International Law Journal, 13 (1995), S. 493–512; Das, Claims for Looted Cultural Assets: Is there a Need for Specialized Rules of Evidence?, in: The International Bureau of the Permanent Court of Arbitration, Resolution of Cultural Property Disputes – Papers emanating from the seventh PCA International Law Seminar May 23, 2003

correct results. Both for choice of law, where the economic approach considers effects on primary behaviour and incentives to make efficient law, and for jurisdiction, where litigation costs and quality of law are economic factors, the situs rule is supported as the best approach when dealing with water rights, adverse possession of land, and acquisition of rights to wild animals. However, in the context of stolen art, the traditionally used situs rule turns out to have several shortcomings; for these specific situations, Klerman proposes the last place of

Kulturgüterschutz und Kunstrestitutionsrecht II: Zivilrecht – Guter Glaube im internationalen Kunsthandel, 2010, 3. Teil Rdn. 169 ff. 54 Vgl. BGH NJW 1982, 38 f. 55 Vgl. Lalive Sur le régime des objets d‹art volés en droit international privé, in: Matscher /Seidl-Hohenveldern /Karas-Wald- heim Festschr. f. Schwind, 1993, S. 51–69 (65 f.); Lalive SZIER 1997, 13 ff. (30, 38); Renold Stolen Art: The Ubiquitous Question of Good Faith, in: The International Bureau of the Permanent Court of Arbitration Resolution of Cultural Property Disputes – Papers emanating from the seventh PCA

NS- Verbrechen gerecht zu werden und unrechtmäßig entzogene Kunst und Kulturgüter an die Erben der Opfer zurückzuerstatten. Dr. Adalbert Weiß Ministerialdirektor Bayerisches Staatsministerium für Bildung und Kultus, Wissenschaft und Kunst Forewords XIII Foreword by Adalbert Weiß On the 25th of October 2011, the Institute for Contemporary History Munich – Berlin and the Bayerische Staatsgemäldesammlungen (Bavarian State Painting Collections) held a workshop on the topic of “Stolen Art and Restitution”, which focused in particular on the inventory of paintings