被纳粹偷盗的艺术（2017）

had to leave the paintings behind in France.
他不得不把画，留在了法国。
He managed to flee the country.
他设法逃离了这个国家。
Originally, he thought he could head straight for New York,
一开始，他以为他可以直接去纽约，
but he first had to travel via Morocco,
但他首先要途经摩洛哥，
where he was detained in very bad conditions and where he suffered terribly.
他被关押在，条件非常恶劣的地方，遭受了极大的痛苦。
What we knew about Schiele's painting is that it was up for auction,
我们只知道，席勒的这幅画大约是1943年，
（贡尔纳.施耐贝尔，律师，《橱窗故事：复原纳粹掠获艺术品及争议》作者，
2008年出版）
organized by the Nazis around 1943 in Strasbourg.
在斯特拉斯堡，由纳粹组织拍卖♥♥的。
（贡尔纳.施耐贝尔，律师，《橱窗故事：复原纳粹掠获艺术品及争议》作者，
2008年出版）
We don't know whether it was bought,or whether it remained unsold,
我们不知道它是被买♥♥了，还是没卖♥♥出去，
（安德烈斯.隆贝勒，佳士得拍卖♥♥行专家，德意志及奥地利艺术品部门领导）
and we just don't know what happened between 1942 and now.
我们也不知道，从1942年到现在，发生了什么。
In 1943, the three canvases vanished into the lucrative parallel market.
1943年，这三幅油画消失在，利润丰厚的平行市场上。
At the end of the war,the figures were added up.
战争结束时，这些数字被加起来了。
The Third Reich had plundered over 600.000 works of art.
第三帝国掠夺了，60多万件艺术品。
Karl Grunwald took refuge in New York,where he remained.
卡尔·格伦沃尔德在纽约避难，并一直留在那里。
Alphonse Kann stayed in London.
阿尔方斯·卡恩留在了伦敦。
Only Paul Rosenberg returned to Paris as soon as the war ended.
战争一结束，只有保罗·罗森伯格回到了巴黎。
When my grandfather arrived in 1945,
当我祖父1945年来到这里时，
（安妮.辛克莱尔，记者，保罗.罗森伯格的孙女）
he started to search for his paintings,and people began to talk.
他开始寻找他的画，人们开始议论起来。
（安妮.辛克莱尔，记者，保罗.罗森伯格的孙女）
I would've liked my grandfather, perhaps,to take legal action, but in Monte Cristo style,
我本希望我的祖父，采取法律行动，但他要按照基♥督♥山的风格，
he said he would take revenge.
他说他会报复的。
He went from gallery to gallery saying,that's mine, that's mine, and that's mine.
他从一个画廊走到另一个画廊，说，这是我的，这是我的，这是我的。
I even think somebody said to him,ah no, I haven't seen a single of your paintings.
我甚至认为，有人对他说，啊，不，我没有看过你的一幅画。
Of course you know if I had seen one of your paintings,I would've said so.
你当然知道，如果我看过你的画，我肯定会这么说。
I would've made sure it was safe,and my grandfather said,well that one's mine.
我会确保它是安全的，我祖父说，那是我的。
Ah, there must be a mistake then,came the reply, and he gave it back to him.
“啊，那一定是搞错了。”对方回答，于是就把画还给了他。
The art world was very small at the time.
当时的艺术界社交圈子还很小。
（赫克托.菲利齐阿诺，《遗失的博物馆》作者，南国出版社1995年）
You knew that such and such a painting had been at the Paul Rosenberg Gallery.
人们都知道，如此这样的一幅画，曾在保罗.罗森伯格画廊展出过。
（赫克托.菲利齐阿诺，《遗失的博物馆》作者，南国出版社1995年）
You may have seen it,someone told you about it,
你可能会见过，别人也会来告诉你，
it's very simple.
就这么简单。
There was artistic collaboration.
在艺术界，也有“通敌卖♥♥♥国♥”行为。
（艾曼纽.波拉克，国家艺术史研究所副研究员，法国纪念物博物馆档案部经理）
If you wanted to find something, and if you wanted to trace things back at the time,
如果你想找到一些东西，如果你想追溯到当时，
（艾曼纽.波拉克，国家艺术史研究所副研究员，法国纪念物博物馆档案部经理）
all you had to do was look at Paul Rosenberg's catalogs.
你所要做的就是看看保罗·罗森博格的目录。
The dealers who collaborated during the war and who made a fortune at the time pretended they didn't know.
那些在战争期间，通敌叛国并赚了一大笔钱的商人，假装不知道。
But a dealer by definition knows.
但作为一个经销商，肯定知道。
Otherwise, they're just small time antique dealers.
否则，他们只是小规模的古董商。
They were clearly being dishonest.
他们显然是不诚实的。
In the post war years,the collectors set out in search of their stolen assets
在战后的几年里，收藏家们开始在国际市场上，寻找他们
in an international market that was flooded with works that had had a troubled past.
被盗的资产，国际市场上，充斥着过去有过“麻烦”的作品。
An artistic recovery commission was established on November 24th, 1944.
1944年11月24日，成立了一个“艺术品复原委员会”。
45.400 paintings were identified and returned via the commission after the war,
战后，该委员会鉴定并归还了45400幅画，
but another 50.000 were still missing without a trace.
但仍有5万幅画，仍然下落不明。
In the 50s and 60s,those sorts of questions weren't asked.
在五六十年代，这些问题，不被人们所关注。
There was a none memory surrounding the plundering.
关于那次劫掠，人们毫无记忆。
When you realize that it was only the historian Paxton
当你意识到，只有历史学家，帕克斯顿
in 1970s who revealed the collusion
在20世纪70年代，揭露了维希政♥权♥
of the Vichy regime in the deportations of the Jews,
在驱逐犹太人方面，与敌人勾结时，
so 25 or 30 years after the end of the war,
所以，在战争结束25年或30年后，
you can imagine that people didn't know the whereabouts of the paintings.
你可以想象，人们并不知道，这些画的下落。
Looting of works of art were nevertheless considered at the Nuremberg Trials to be a war crime.
然而，在纽伦堡审判中，“抢劫艺术品”被认为是，一种战争罪。
Alphonse Kann died in 1948 in London with nobody knowing if he had managed to recover Man With a Guitar.
1948年，阿尔方斯·卡恩在伦敦去世，没有人知道，他是否
设法找回了《拿吉他的人》。
Paul Rosenberg died in 1959 not knowing what had become of Woman in Blue in Front of a Fireplace.
保罗·罗森伯格1959年去世时，还不知道《壁炉前穿蓝衣服的女人》的结局。
And Karl Grunwald died in 196♥4♥ having asked his son to carry on
卡尔·格伦沃尔德在196♥4♥年去世时，曾要求儿子
searching for Wilted Sunflowers,his favorite painting.
继续寻找，他最喜欢的画作《枯萎的向日葵》。
蓬皮杜中心花费了900万法郎。
购买♥♥了布拉克的画作《拿吉他的男人》。
这幅画是在1965年，由在勒斐伏尔画廊卖♥♥出的。
It wasn't until 36 years after the end of the war that one of the three works reemerged at a famous French museum.
直到战争结束36年后，这三幅作品中的一幅，
才在一家著名的法国博物馆重新出现。
In 1981, the Pompidou Center was the object of much media attention following
1981年，蓬皮杜艺术中心，因购入乔治·布拉克的
the spectacular acquisition of Georges Braque's Cubist gem Man With a Guitar.
立体主义名作《拿吉他的人》，备受媒体关注。
At the time, there was no more mention of Alphonse Kann.
当时，没有人再提到阿尔方斯·卡恩。
In the 1980s, nobody was interested in the stories of looting.
到了20世纪80年代，没有人对纳粹抢劫的故事感兴趣。
It wasn't until the mid-1990s that the issue of the restitution was finally raised.
直到20世纪90年代中期，赔偿问题才最终被提出。
The French minister for foreign affairs decided to open its archives to the public,
法国外♥交♥部♥长决定向公众开放其档案，
and in particular, the E.R.R. report which detailed the lists and references
特别是向公众开放the E.R.R.的报告，该报告详细列出了
of all the works and families that had been looted.
所有被掠夺的作品，和家庭的清单及相关材料。
One morning in 1996,a client came to see me.
1996年的一个早晨，一位客户来找我。
He was a distant heir of Kann,and he brought me this.
他是凯恩的远房♥继承人，他给我带来了这个。
This E.R.R. report had been given to each one of the families.
这份E.R.R.的报告已经发给了每个家庭。
That's exactly how it happened.
事情就是这样发生的。
I went to the foreign office and got the E.R.R. list.
我去了外♥交♥部♥，拿到了这份E,R.R.名单。
Look what I found.
看看，我找到了什么。
（安东尼.孔德，卡恩家族的律师）
And it was in Beaubourg,sleeping peacefully on a wall in Beaubourg.
那是在波堡，静静地睡在波堡的墙上。
（安东尼.孔德，卡恩家族的律师）
In 1996, Kann's heirs asked for the restitution of Man with a Guitar,
1996年，卡恩的继承人要求归还，从他们的祖先
a painting looted from their ancestor Alphonse Kann.
阿尔方斯·卡恩那里掠夺来的画作《拿吉他的人》。
We made contact with the head of the museum at the time, Mr. Aillagon,and we had a rather hard time
我们联♥系♥了当时的博物馆负责人艾拉冈先生，但我们的日子过得相当艰难，
because the Beaubourg museum was having none of it.
因为，波堡博物馆对此一无所知。
We took a while to react because we considered that if the work
我们花了一段时间做出反应，因为我们认为，
had indeed be involved with the Nazi's looting policy
如果这件作品，确实在某种程度上，与纳粹的
at some point, it had reappeared at the end of the war
掠夺政策有关，那么它在战争结束时再次出现，
（让,雅克.艾拉贡，乔治.蓬皮杜国家艺术中心的前主席1996-2002）
in conditions that could've led one to believe that there was a transaction
这种情况，可能会让人相信，阿方斯·卡恩和
between Alphonse Kann and Andre Lefebvre.
安德烈·列斐伏尔之间存在交易。
Andre Lefebvre was a figure of the Parisian art market.
安德烈·列斐伏尔是巴黎艺术市场的重要人物。
The painting reappeared with him after the war.
战争结束后，这幅画又随他出现了。
In other words, after it had been looted.
换句话说，在它被洗劫之后。
The Pompidou Center suggested that Andre Lefebvre could have acquired the work entirely legitimately.
蓬皮杜艺术中心表示，安德烈·列斐伏尔可能，完全合法地，获得了这幅作品。
Had it done so, there would've been a trace of that.
如果是这样的话，就会留下一些痕迹。
（伊丽莎白.罗雅尔-格里姆布拉特，艺术品交易商，艺术史学者）
Curiously, the archives of Andre Lefebvre
奇怪的是，蓬皮杜中心收到的
given to the Pompidou Center were very detailed
列斐伏尔的档案在1939年之前
up until 1939, but from the looting to 1945,
非常详细，但从劫掠到1945年，
there was nothing.
什么都没有。
As chance would have it, they disappeared.
谁也不会想到，它们就消失了。
Nevertheless, Andre Lefebvre was associated with Man With a Guitar
然而，安德烈·列斐伏尔的这幅画，在战后重新出现时，
as soon as the painting reappeared after the war.
人们就把它与《拿着吉他的人》联♥系♥在了一起。
He officially lent the work for an exhibition in Freiburg im Breisgau, Germany in 1948.
1948年，他正式将这幅作品，借给德国弗莱堡的一个展览会。
One might think that the Frieburg exhibition
有人可能会认为，弗莱堡的展览，
was a way to make the painting seem
是为了让这幅画，看起来像
as though it belonged to Andre Lefebvre,
是属于安德烈·列斐伏尔的，
like a sort of laundering.
就像“洗钱”一样。
The work reappeared belonging to the great collector and patron Andre Lefebvre.
这幅作品再次出现，属于伟大的收藏家和赞助人，安德烈·列斐伏尔。
That really implies the organizers of these exhibitions had highly perverse intentions.
这确实意味着，这些展览的组织者，有着非常不正当的意图。
It really implies they had extremely somber intentions and supposes that they were engaged
这确实意味着，他们的意图极其恶劣，并推测他们参与了
in laundering operations for looted canvases and works.
为被掠夺的油画和作品“洗白”的活动。
It's unthinkable that Andre Lefebvre would've acted openly as the owner of the painting
简直很难想象，安德烈·列斐伏尔会以此画主人的身份行事，
（布鲁诺.拉辛，乔治.蓬皮杜国家艺术中心的前主席2002-2007）
while Alphonse Kann was still alive even without the existence of an agreement between Alphonse Kann and Andre Lefebvre.
那时，阿方斯.卡恩还活着，甚至都还没有
阿方斯.卡恩与安德烈·列斐伏尔之间的协议。
What was the nature of that agreement?
那份协议的性质是什么?
Was it a sale or an exchange or something else?
是买♥♥卖♥♥还是交换，还是别的什么?
There is no trace of it today.
今天，都一无所踪了。
There was an article in 1974
1974年，列斐伏尔的教子杰罗姆·佩涅厄
in Connaissance des Arts by his godson Jerome Penieux
在《艺术见解》杂♥志♥上发表了一篇文章，
who often had lunch at Andre Lefebvre's home,
他经常在安德烈·列斐伏尔的家中♥共♥进午餐，
and who himself said that he never knew where the paintings came from,
他自己说，他从来不知道，这些画是从哪里来的，
and Lefebvre never spoke to him about them.
列斐伏尔从未和他谈论过那些画。
After the war,Alphonse Kann claimed back a great many works that belonged to him.
战后，阿尔方斯·卡恩要回了许多本属于他的作品。
Why did he not claim back that one when it was one of the most important works he possessed?
那是他拥有的最重要的作品之一，他为什么不把它要回来呢?
You could say, but it's only a theory,that he considered he'd given the work to somebody else, Andre Lefebvre.
你可以说，但这只是一种理论，他认为他把工作交给了别人来做，
比如，安德烈·列斐伏尔。
To everything we provided in the way of documents gave rise to a we're also going to carry out research,
我们以文件的方式，提供的所有东西，都使得我们也会进行研究，
we'll meet with you later,and they came back with a standard response,no it's not possible.
“我们稍后会和你见面，”博物馆方最后，都只有一个标准的回答，
“不，这是不可能的。”
（贡尔纳.施耐贝尔，律师，2008年出版的
《橱窗故事：复原纳粹掠获艺术品及争议》作者）
It's typical of museums to draw negotiations out even when the legal situation relatively clear.
即使法律情况相对明确，博物馆也会拖延谈判。这是他们典型做法。
And this lengthy process is partly aimed at wearing down the claimants.
这个漫长的过程中，在一定程度上，是为了拖垮索赔人。
They try to negotiate a different amount for the transaction, or else,
他们试图协商一个不同的交易金额，或者，
an entirely different agreement that is more advantageous for the museum or for the owner.
是一个对博物馆或所有者，更有利的，完全不同的协议。