196:, the pretender to the Austrian throne. Almost immediately after arriving in New York, Kallir joined the board of the Austrian-American League, one of several semi-political émigré groups. He was appointed chairman in 1940. The League organized "artistic evenings" and helped recent arrivals adapt to life in the US. As chairman of the League, Kallir endeavored to secure US visas and affidavits for persecuted Austrians, eventually arranging for the safe passage of about 80 refugees. Kallir was also concerned that, if the US entered the war, Austrians as enemy aliens might have their assets confiscated or be restricted in their ability to move freely. In 1941, he convinced Otto von Habsburg, who had recently arrived in America, to accompany him to Washington D.C., where they met with the Attorney General,
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most important dealers of modernist art in the twentieth century, helped transform the
American museum landscape. Yet they also engaged in a series of dubious activities that involved the National Socialist regime: despite being Jewish, both dealers established a modus Vivendi with the Nazi authorities that enabled them to export artworks from the Reich. This included works purged from German state collections, and those known as "flight goods," where persecuted Jews sold their possessions under duress. Valentin and Kallir enriched themselves in the process. Despite ethically dubious activities, they have been celebrated in the art world and hitherto avoided a critical scholarly examination.
20:
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Richard Nagy displayed them in
November 2015 at the Park Avenue Armory for the Salon Art + Design Show. Nagy insisted that the artworks had been purchased in good faith, but a New York judge sided with Grunbaum's heirs last year at summary judgment, saying "a signature at gunpoint cannot lead to valid conveyance." Nagy offered no evidence to contradict documents showing that the Nazis confiscated Grunbaum's collection by forcing him to sign power of attorney to his wife before she too was murdered in the Holocaust.
384:. The case turned on the defense of âlaches,â an "equitable doctrine asserted by Bakalar that bars title actions in which there has been a lengthy delay in filing a claim". The judge stated, âAfter more than two years of discovery in connection with this litigation and the benefit of archival research unavailable in 1956, Defendants have not produced any concrete evidence that the Nazis looted the Drawing or that it was otherwise taken from GrĂŒnbaum.â
172:, who was not Jewish. This was a rare example of a "friendly Aryanization." KĂŒnstler preserved the gallery as best she could and voluntarily returned it to Kallir after World War II. Because the modern artists represented by the Neue Galerie were not subject to Austria's export laws in 1938, and most were in any case considered
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Kallir made a special effort to assist collectors in recovering art that had been stolen during the Hitler years. In most cases, he met with fierce resistance on the part of the
Austrian museums and legal establishment. However, in 1998, Kallir's records facilitated the seizure of a stolen Schiele painting,
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Before the Nazis sent him to the concentration camp at Dachau, Fritz
Grunbaum had more than 400 artworks, 81 of which were completed by Austrian-born artist Egon Schiele. Two of Grunbaum's heirs filed suit in New York to recover two Schiele watercolors, "Woman Hiding Her Face" (1912), after collector
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Dowd also pointed to research by professor
Jonathan Petropoulos, a Holocaust historian at Claremont McKenna College in California, which showed that Kallir facilitated the sale of a Ferdinand WaldmĂŒller painting between a Nazi collector and a Nazi museum official who intended the work for Third Reich
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in New York, Kallir convinced him to mount a major Klimt/Schiele show. In 1966, Kallir issued an updated edition of his
Schiele catalogue raisonné, Egon Schiele: Oeuvre Catalogue of the Paintings, which was followed, in 1970, by a catalogue raisonné of the artist's prints, Egon Schiele: The Graphic
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In 1922, Nirenstein married the
Baroness Franziska von Löwenstein-Scharffeneck (1899-1992). The following year, to celebrate the birth of their son, John Kallir (d. 2022), he changed the name of his publishing house to Johannes Presse. Like the Verlag Neuer Graphik, the Johannes Presse specialized in
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Petropoulos, Jonathan (2011-05-24). "Bridges from the Reich: The
Importance of ĂmigrĂ© Art Dealers as Reflected in the Case Studies of Curt Valentin and Otto Kallir-Nirenstein". Kunstgeschichte (in German). Archived from the original on 2016-08-18. Curt Valentin and Otto Kallir-Nirenstein, two of the
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During his first years in
America, Kallir was inclined to see himself and his fellow refugees as victims of Nazism, but after the war he was forced to acknowledge the collusion of many who had remained behind. Given his connections in the exile community and his knowledge of prewar art collections,
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In 1939, when Kallir established the
Galerie St. Etienne in New York, the Austrian modernists had very little international recognition or market value. At Egon Schieleâs first American exhibition, mounted by the gallery in 1941, drawings were priced at $ 20, watercolors at $ 60; none sold. Through
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Among the most important publications of Verlag Neuer Graphik was Das graphische Werk von Egon Schiele, a portfolio containing the first editions of the artist's six etchings and two of his lithographs. In 1923, Nirenstein established the Neue Galerie (still operating, under different ownership, as
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The mythology of the passionate, unstable prodigy, ahead of his time, and untimely in the Nietzschean sense of opposing the currents of one's time, pervades Richard Gerstl at Neue Galerie, the artist's first US museum retrospective. Organized thematically, the exhibition includes more than half of
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Vienna Technical Institute) from 1919 to 1920. However, antisemitism at the Hochschule made it impossible for him to pursue his first ambition, to become an aeronautical engineer, so in 1919, he began a career in publishing by establishing the Verlag Neuer Graphik, a division of the Rikola Verlag.
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was the founder of the Free Austrian National Council, a rival of the Austrian-American League. He held Kallir responsible for the differences that had developed between him and Otto von Habsburg. This led members of Plöchl's group to denounce Kallir to the FBI as a "former agent of Hitler and
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by the Nazis, Kallir was able to bring a significant inventory with him into exile. He, his wife and their two children initially settled in Lucerne, Switzerland. But the Swiss would not give him a work permit, and so he traveled on to Paris. Here he founded the Galerie St. Etienne, named after
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artists' association to mount a major exhibition commemorating the tenth anniversary of Egon Schiele's death. Paintings were exhibited at the Hagenbund, works on paper at the Neue Galerie. Two years later, Nirenstein published the first catalogue raisonné of Schiele's paintings, Egon Schiele:
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Work. In recognition of the Guggenheimâs support, Kallir donated Schieleâs âPortrait of an Old Man (Johann Harms)â in 1969. Kallirâs other major donations included Klimtâs âPear Treeâ (given to the Fogg Art Museum in 1956) and âBabyâ (given to the National Gallery of Art in 1978).
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Egon Schiele,â Galerie St. Etienne, New York, November 7-December 5, 1941 (Kallir Research Institute archives, New York); approximately $ 424 and $ 1,273 as of 2023. This and all subsequent dollar equivalencies per the US Bureau of Labor Statistics, CPI Inflation Calculator,
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the roughly 70 works that have been attributed to Gerstl since his rediscovery by Viennese art dealer Otto Kallir in 1931. The underlying narrative of talent and tumult and the strength of the work beg the question of what would have been had he not ended his life.
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Mussolini" who had dealt with looted art. The unfounded accusation caused Kallir to suffer a near-fatal heart attack on December 12, 1942. After a long convalescence, he resigned from the Austrian-American League and thereafter ceased any involvement in politics.
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repeated showings, sales and gifts to museums, Kallir gradually established the reputations not just of Schiele, but also of Gustav Klimt, Oskar Kokoschka, and Alfred Kubin. The Galerie St. Etienne organized the first American one-person shows of such artists as
200:. They convinced Biddle that Austrians were victims, not accomplices, of Hitler. In 1942, after the US had entered the war, Austria was officially recognized as a neutral country, an action that had the desired effect for Austrian residents of the US, but also
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283:. In 2020, the gallery ceased commercial operations and became an art advisory. Its archives and library were transferred to the Kallir Research Institute, a foundation established in 2017 to continue Otto Kallirâs scholarly activities.
181:. The French refused to admit the rest of the Kallir family, however, and so they had to find a country that would take them all. In 1939, they emigrated to the United States, bringing a significant portion of the gallery's inventory.
90:, creating a permanent gallery installation (later donated to the Wien Museum) featuring the contents of the poet's former hotel room. Additionally, the Neue Galerie exhibited contemporary Austrian artists such as Herbert Böckl,
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in 1956 and sold it the following year for $ 300.The work had changed hands many times and increased greatly in value by the time Richard Nagy bought it in 2013. Nagy's attempts to appeal the ruling were unsuccessful.
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in 2006. Kallir had unsuccessfully attempted to assist Mahler Werfel in reclaiming the painting after the war, and as with the Schiele, his records proved instrumental in the later recovery effort.
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In an earlier case involving another Schiele, âSeated Woman with Bent Left Legâ (1917), also purchased from Kornfeld in 1956, the judge ruled in favor of the owner, David Bakalar, who had filed for
41:â November 30, 1978, in New York) was an Austrian-American art historian, author, publisher, and gallerist. He was awarded the Silbernes Ehrenzeichen fĂŒr Verdienste um das Land Wien in 1968.
228:(Office of Strategic Services, predecessor of the CIA): "Kallir was attacked from many sides. It appears those attacks were unjustified. Kallir is honest, but very incompetent in politics."
617:
Gerhardt Plöchl: Willibald Plöchl und Otto Habsburg in den USA. â Ringen um Ăsterreichs 'Exilregierung' 1941/42. Verlag Dokumentationsarchiv des Ćsterreichischen Widerstandes, Wien 2007.
245:(1958). During the 1940s, when works by the Austrian masters were almost impossible to sell, Kallir achieved a major success with the "discovery" of the self-taught octogenarian painter
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wrote that Kallir's activities during the Nazi era inhabit a "gray zone. In 2007, letters were discovered detailing Kallir's sale of a WaldmĂŒller painting via an agent to
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confirming that the affair had been instigated by the jealousy of a rival political group and had no basis in fact. On April 14, 1942, Otto von Habsburg wrote to the
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All the Schiele artworks in Mr. Kornfeld's 1956 show were later sold to a single American dealer, Otto Kallir, before being sold off to a variety of other people.
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Hitler wanted Portrait of a Young Lady by Ferdinand Georg WaldmĂŒller, one of his favorite painters. And Kallir, willing or not, was the dealer who got it for him.
249:. Known worldwide as "Grandma" Moses, she was one of the most famous artists of the Cold-War years, and the most successful female painter of her time.
220:, which had printed an article about Kallir's alleged Nazi connections, issued a formal apology. The FBI closed its investigation with a statement from
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In the same year, Kallir established the New York Galerie St. Etienne, where he introduced Austrian and German expressionist art to the United States.
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exhibition in Salzburg. After World War II, Kallir refused to have anything to do with Welz, whose dealings during the Nazi period were notorious.
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342:, that he made no money on the transaction and that subsequently wrote the owner: âThis entire episode has been extremely unpleasant for me.â
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580:"Bridges from the Reich the importance of émigré art dealers as reflected in the case studies of Curt Valentin and Otto Kallir-Nirenstein"
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446:(exhibition catalogue with texts by Hans Bisanz, Jane Kallir and Vita Maria KĂŒnstler; Historisches Museum der Stadt Wien, Vienna: 1986)
260:(of which Messer was then director) and traveled to five additional venues. In 1965, after Messer had been appointed Director of the
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94:, Gerhard Frankl, Ludwig Heinrich Jungnickel, Oskar Laske and Otto Rudolf Schatz, as well as nineteenth-century Austrian masters like
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The Neue Galerie in Vienna, run by various directors after the war, was formally dissolved in 1975. Its archives were donated to the
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102:. At a time when Austrians were still relatively unfamiliar with European modernism, Nirenstein mounted one-man shows of work by
141:. In 1933 Otto Nirenstein legally changed his name to Kallir, adopting a name that had been in his family for many generations.
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For a complete list of Neue Galerie exhibitions, see Jane Kallir: Austria's Expressionism (Rizzoli, New York, 1981), pp. 95-98.
50:
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Otto Kallir, Richard Gerstl (1883-1908): BeitrÄge zur Dokumentation seines Lebens und Werkes (New York: Counsel Press, 1974).
53:(Academic High School) in Vienna from 1904 to 1912. After serving in the Austrian Army during World War I, he studied at the
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in 1938, Kallir faced imminent persecution, not only because he was Jewish, but also because he had actively supported the
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limited-edition books and portfolios containing original prints. A daughter, Evamarie Kallir, was born in 1925 (d. 2022).
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Kallir's approach relied heavily on scholarship and cooperation with museums. In 1960, he collaborated with
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Among these was Edvard Munchâs âSummer Night on the Beach,â which was restituted to the granddaughter of
315:. The case caused Austria to revamp its restitution laws, permitting the return of many looted artworks.
688:"Holocaust historians blast MFA stance in legal dispute; Insist pressures of era led to painting's sale"
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In Paris, Kallir had naturally associated with other Austrian refugees, and he became friendly with
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Otto Kallir, Egon Schiele: oeuvre catalogue of the paintings (New York: Crown Publishers, 1966).
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Upon Kallir's death in 1978, the Galerie St. Etienne was taken over by his long-time associate,
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Restitution claims for artworks handled by Kallir have had mixed results. In a case concerning
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Otto Nirenstein, Egon Schiele: PersĆnlichkeit und Werk (Berlin/Wien: Leipzig/Zsolnay, 1930).
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work. Eventually, Nirenstein became an internationally recognized art dealer, representing
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338:. Kallir's defenders say that Kallir was in the process of fleeing Austria following the
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to organize the first American museum exhibition of Schiele's work. It opened at Boston's
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Otto Kallir, Das graphische Werk von Egon Schiele (Wien: Verlag Neuer Graphik, 1922).
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propaganda minister Joseph Goebbels - who in turn planned to give it to Hitler.
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Otto Kallir. Egon Schiele: The Graphic Work (New York: Crown Publishers, 1970).
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Richard Gerstl (1883â1908): BeitrÄge zur Dokumentation seines Lebens und Werkes
290:. Otto Kallir's family donated his collection of historical autographs to the
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Jewish emigrants from Austria after the Anschluss to the United States
879:"Case Review: the Seven-Year Saga of Bakalar v. Vavra Comes to an End"
368:â (1912), the judge ruled in favor of the heirs of Holocaust victim,
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Jane Kallir, Saved from Europe (Galerie St. Etienne, New York:1999).
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Otto Kallir, Grandma Moses (New York: Harry N. Abrams, Inc., 1973).
168:. Compelled to emigrate, he sold the Neue Galerie to his secretary
914: (United States Southern District of New York 2008-09-02).
18:
827:"Court Says Heirs of Holocaust Victim Can Keep Nazi-Looted Works"
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He also authored catalogues raisonnés documenting the oeuvres of
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Also in 1930, he received his doctorate in art history from the
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392:âą 1968: Silbernes Ehrenzeichen fĂŒr Verdienste um das Land Wien
66:), which opened with the first major posthumous exhibition of
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in 2008. Additional archival materials can be found at the
854:"Reif v. Nagy, 175 A.D.3d 107 | Casetext Search + Citator"
241:(1955), Klimt (1959), Kokoschka (1940), and Kubin (1941),
799:"Heirs of Holocaust Victim Prevail in Art-Recovery Case"
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Portrait of Otto Kallir at the Age of Twenty-Five, 1919
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from oblivion. Nirenstein also salvaged the estate of
749:"MFA sues to bolster claim to disputed 1913 painting"
372:. Kallir had purchased "Woman Hiding Her Face" from
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Otto Kallir: Ein Wegbereiter Ăsterreichischer Kunst
16:Austrian-American historian and author (1894â1978)
629:https://www.bls.gov/data/inflation_calculator.htm
403:Egon Schiele: Oeuvre Catalogue of the Paintings
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361:, the judge ruled in favor of the museum.
129:In 1928, Nirenstein collaborated with the
912:Case 05 Civ. 3037 "Opinion and Order"
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462:EGON SCHIELE The Complete Works Online
433:(Galerie St. Etienne, New York: 1999).
606:âArt in Review; âSaved From Europeâ,â
364:In the case of Schiele's watercolor â
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288:Ăsterreichische Galerie im Belvedere
405:(Crown Publishers, New York: 1966).
608:The New York Times, Dec. 24, 1999.
272:(1973) and Richard Gerstl (1974).
82:. In 1931, he rescued the work of
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773:"MFA to keep Kokoschka Painting"
426:(Counsel Press: New York, 1974).
208:Otto Kallir and Willibald Plöchl
726:from the original on 2015-11-18
538:from the original on 2017-11-22
326:Art Dealing During The Nazi Era
177:Vienna's central landmark, the
877:centerforartlaw (2012-10-18).
578:Petropoulos, Jonathan (2011).
526:Haddad, Natalie (2017-09-16).
410:Egon Schiele: The Graphic Work
311:, on loan from Austria to the
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357:in Boston sued the claimant,
258:Institute of Contemporary Art
947:Austrian publishers (people)
797:Rummell, Nick (2019-07-10).
747:Edgers, Geoff (2008-01-24).
188:The Austrian-American League
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957:Businesspeople from Vienna
440:(Rizzoli, New York: 1981).
204:in Austria after the war.
100:Ferdinand Georg WaldmĂŒller
64:Galerie nÀchst St. Stephan
419:(Abrams: New York: 1973).
292:Wienbibliothek im Rathaus
279:, and his granddaughter,
247:Anna Mary Robertson Moses
218:The Washington Daily News
134:Persönlichkeit und Werk.
479:The Holocaust in Austria
412:(Crown, New York: 1970).
359:Claudia Seger-Thomschitz
179:Cathedral of St. Stephen
49:Nirenstein attended the
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803:Courthouse News Service
716:"Dealer With the Devil"
528:"Vienna's Prodigal Son"
438:Austria's Expressionism
202:unforeseen consequences
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905:Vavra and Leon Fischer
903:David Bakalar v. Milos
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37:, April 1, 1894, in
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302:Postwar Restitution
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78:, Egon Schiele and
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777:Center for Art Law
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144:In 1937 he helped
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831:www.lootedart.com
692:www.lootedart.com
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431:Saved From Europe
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