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Recommendation regarding Feldmann (III)

Feldmann (III)

Report number: RC 1.196

Advice type: Dutch National Art Collection

Advice date: 21 October 2024

Period of loss of ownership: 1933-1940

Original owner: Private Individual

Location of loss of ownership: Outside the Netherlands

Two Women’s Heads by an anonymous artist (photo: Rijksmuseum Amsterdam)

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Summary

The Restitutions Committee has assessed an application for restitution of the drawing Two Women’s Heads by an anonymous artist, which is part of the Rijksmuseum Amsterdam’s collection. Research has revealed that it is highly likely that this drawing was the property of the Czech-Jewish art collector Arthur Feldmann. It has also become sufficiently plausible that Feldmann lost possession of the drawing involuntarily as a result of circumstances directly connected with the Nazi regime.

It has emerged from research that Arthur Feldmann put the drawing up for sale at an auction in 1934 in Lucerne, but that it remained unsold. The Committee sees no reason to assume that the drawing did not belong to the group of drawings that was returned to Feldmann after the auction and came back into his possession. When Germany invaded Czechoslovakia on 15 March 1939, the Gestapo seized the Feldmann family’s art collection. The Feldmanns were thereby unable to safeguard their property.

In 1947, the drawing came into the hands of the London art dealer Hans Calmann, who sold it to the Rijksmuseum Amsterdam. Although research has not clearly revealed how the drawing ended up with Calmann, the Committee considers it plausible that it originated from Arthur Feldmann’s collection confiscated by the Gestapo.

The Committee has advised the Minister of Education, Culture and Science to restitute the drawing Two Women’s Heads to the heirs of Arthur and Gisela Feldmann.

Recommendation

On 1 April 2022, the State Secretary for Education, Culture and Science (hereinafter referred to as the State Secretary) asked the Restitutions Committee (hereinafter referred to as the Committee) to issue a recommendation. This recommendation concerns the application for restitution of the drawing Two Women’s Heads by an anonymous artist (hereinafter also referred to as the Drawing). The Drawing has been part of the Dutch National Art Collection since 1947 under inventory number RP-T-1947-25.

The restitution application was submitted by the heirs of Dr Arthur Feldmann (1877-1941) and Gisela Hofmann (1881-1944), AA, BB and CC (hereinafter also referred to as the Applicants). The Applicants stated they are grandchildren of Dr Arthur Feldmann. AA and BB authorized their brother CC to act on their behalf. CC in turn authorized the Holocaust Claims Processing Office, New York State Department of Financial Services (hereinafter also referred to as the HCPO) by means of a declaration of consent to represent the Applicants. The Netherlands Cultural Heritage Agency (hereinafter referred to as the RCE) represented the State Secretary in this case.

  1. The Application

In a letter dated 1 April 2022 the RCE, on behalf of the State Secretary, asked the Committee to issue a recommendation regarding restitution of the Drawing. This was prompted by the application from the HCPO on behalf of the Applicants to the State Secretary, as described in an e-mail of 7 March 2022. The Drawing was supposedly originally the property of the Jewish art collector Dr Arthur Feldmann.

The Committee issued two recommendations previously in regard to restitution applications submitted by the heirs of Arthur Feldmann. In both cases it advised the State Secretary to restitute the objects concerned. These recommendations were accepted at the time.

These concerned:

  • RC 1.32 – Recommendation issued on 15 May 2006 with regard to the application to restitute the drawing Woman Standing with Veil by Hendrick Goltzius.
  • RC 1.176 – Recommendation issued on 3 June 2022 with regard to the application to restitute the drawing The Marriage of Tobias and Sara by Pieter Coecke van Aelst.

2. The procedure and the Applicable Assessment Framework

The Committee informed the Applicants in a letter of 26 April 2022 about the request for a recommendation from the State Secretary, and explained the Committee’s procedure and regulations. The Committee took note of all the documents submitted by the Applicants and the RCE. It sent copies of all documents to the Applicants and the RCE. The Committee furthermore asked the Expert Centre Restitution of the NIOD Institute for War, Holocaust and Genocide Studies (hereinafter also referred to as the ECR) to launch an investigation into the facts. The findings of the investigation were recorded in the investigation report referred to below.

Chronological overview of the committee’s actions and the responses to them

  • In an e-mail of 7 March 2022, the Applicants asked the State Secretary to restitute the Drawing, which at that time was, and also still is, in the Rijksmuseum Amsterdam (hereinafter also referred to as the Museum) under inventory number RP-T-1947-25. The Applicants approached the Rijksmuseum in writing before submitting the restitution application. The RCE provided the Committee with the correspondence between the Applicants and the Museum, namely e-mails of 7 January and 28 February 2022.
  • On 1 April 2022, the RCE, on behalf of the State Secretary, asked the Committee to issue a recommendation concerning the restitution application.
  • On 26 April 2022, the Committee asked the ECR to launch an investigation into the facts.
  • The results of the investigation were recorded in a draft investigation report that was sent by the ECR to the RCE and the Applicants on 6 November 2023 for additional information and/or comments. The Applicants and the RCE responded to this draft on 14 November 2023 and 18 December 2023 respectively.
  • Op 22 December 2023, the ECR sent the Committee an amended version of the draft investigation report together with the responses of the Applicants and the RCE thereto.
  • The Committee discussed the draft investigation report with the ECR during its meeting of 1 February 2024.
  • On 6 February 2024 the Committee received the final investigation report from the ECR and sent it to the RCE and the Applicants on 23 February 2024. The parties were also asked if they wished to be heard by the Committee. On 29 February 2024 the RCE responded and stated that it had no additional comments regarding the final report and that it would comply with the wishes of the Applicants with respect to the hearing. On 1 March 2024 the Applicants responded to the final investigation report and stated that they had no further comments on the report and that they did not need a hearing.
  • The Committee sent its draft recommendation to the RCE and the Applicants on 23 July 2024.
  • The Applicants responded to the draft recommendation on 6 August 2024 with a few suggestions relating to the text, some of which were incorporated. The RCE responded on 3 September 2024, stating it had no comments.

3. Establishing the Facts

The Committee establishes the following facts in this case on the basis of the investigation into the facts.

Arthur Feldmann and his family

Dr Arthur Feldmann was born on 9 February 1877 in Vyškov (Wischau, South Moravia), to Leopold Feldmann and Katharina Feldmann-Berger. He studied law in Vienna and was awarded his doctorate in 1901. In around 1909 he founded his own law firm in Brno, in the former Czechoslovakia. The firm was successful and had many clients in Vienna and elsewhere. In 1903 Feldmann married Gisela Hofmann. The couple had two children, Otto Feldmann (1904-1956) and Karl Feldmann (1909-1989). From 1911 the family was registered as living at Traubengasse 13 in Brno.

Arthur Feldmann’s art collection

Arthur Feldmann owned a substantial private collection of old master drawings (hereinafter also referred to as the Feldmann Collection). Part of it had come from famous older collections. Arthur Feldmann started collecting drawings around 1922. Over the years he developed his holdings into an internationally renowned collection. On the eve of the German invasion of Czechoslovakia on 15 March 1939 this collection amounted to around 750 works. It was housed in the family residence – a mansion – in Brno.

Confiscation of the Feldmann Collection

On 15 March 1939, the day Germany invaded Czechoslovakia, the Gestapo forced their way into the Feldmann family’s large detached home in Brno. All of Feldmann’s possessions – including his art collection – were confiscated. Feldmann and his wife were forced to evacuate their home within two hours. They were not able to take their possessions to a place of safety. They were only permitted to take a small suitcase with them. After his house had been seized, Feldmann was arrested by the Gestapo at the end of January 1940 and interned in Brno.

Several witnesses confirm that the Feldmann Collection was in the Brno mansion when the Germans invaded. As a result of the house being seized, the Gestapo also laid their hands on the Feldmann Collection. Dr C.K. Blum, medical advisor and friend of the family, stated:

Es ist mir bekannt, dass vor meiner Abreise von Bruenn im Jahre 1939 die Handzeichnungen im Hause wohl verwahrt waren. Ich hoerte waerend meines Aufenthaltes in London in 1940, dass nach der Besetzung im Jahre 1939 die Handzeichnung-Sammlung von der Gestapo (der Obergruppenfuehrer Stedelmann wohnhaft in Brünn, Legionärstrasse 23 und Obergruppenfuehrer Dietrich) aus dem Hause Traubengasse 13 beslagnahmt wurden.
[I know that before I left Brno in 1939 the drawings were kept in the house. During my stay in London in 1940, I heard that after the invasion in 1939, the Gestapo’s drawing collection (Obergruppenfuehrer Stedelmann, resident in Brno, Legionärstrasse 23 and Obergruppenfuehrer Dietrich) had been seized from the house at Traubengasse 13.]

Feldmann’s housekeeper, Stepánka Horáková, continued to work in the house until 1940 and stated that the collection remained at the property after the Feldmann family had been forced to leave:

Already on 15 March 1939 officers of the Gestapo moved into the villa Hroznová 13 in Brno and since that day behaved as if they owned everything. As mentioned, I was working in the villa until 1940. From 15 March 1939 I did the housekeeping for the people of the Gestapo, but Dr Feldmann had to continue paying my wages…. I know that Dr Feldmann was a collector of paintings and that he had many drawings by Old Masters. They were kept in a specially constructed box in the villa Hroznová 13. I also got to see them from time to time on the occasion of visitors. These drawings were left in the villa Hroznová 13 even after the forced departure of the married couple Feldmann on 15 March 1939.

There are no known lists of the drawings confiscated from the Feldmann Collection by the Gestapo. Primary sources about the looting of items of cultural value by the Nazis in the former Czechoslovakia have probably been completely destroyed.

The appointment of Heinrich Rosorius as administrator and the Feldmann Collection

In October 1940, the Reich German Heinrich Rosorius, a member of the NSDAP (National Socialist German Workers’ Party) since 1933, was appointed by the occupying authorities as administrator of Arthur Feldmann’s possessions. After Feldmann died on 16 March 1941, Rosorius also became administrator of his estate. He systematically reduced Feldmann’s assets during his time as administrator and took the initiative to liquidate Feldmann’s estate. The liquidation started on 8 September 1943. It had still not been completed when the war ended.

Rosorius had no access to Feldmann’s house, which was occupied by the Gestapo. After the war he stated that when he was appointed, most of Feldmann’s possessions had already been confiscated by the Gestapo. In a letter of 16 April 1941, Rosorius offered the Albertina Museum in Vienna a folder containing 128 drawings from the Feldmann Collection. He added three lists with descriptions of the drawings. It turned out that the Albertina Museum was only interested in four drawings. After that, Rosorius decided to have the 128 drawings concerned put up for auction at Kunstantiquariat C.G. Boerner in Leipzig. But before these drawings were put on the market in Leipzig, the Moravian Museum in Brno expressed interest in purchasing them so that they would be retained for the region. In the autumn of 1942, the drawings were purchased by the Ministry of Education and Culture in Prague and they were placed under the management of the Moravian Museum in Brno. All of the drawings were marked on the back with this museum’s monogram. Inventory numbers were also put on the backs. The drawings were later transferred from the Moravian Museum to the Moravian Gallery in Brno.

Persecution and deaths of the Feldmanns

Arthur Feldmann suffered greatly as a result of the anti-Jewish measures implemented during the occupation. His law firm was closed down on the orders of the occupying forces. His licence to practise law was withdrawn and his bank accounts were frozen. This made Feldmann dependent on support from third parties for his living expenses. He was released in March 1940 as a result of vascular complaints and died on 16 March 1941. His wife Gisela was deported to Theresienstadt concentration camp in 1942 and then in 1944 to Auschwitz concentration camp, where she was murdered. Their two sons Otto and Karl and their families survived the war.

Fates of Otto and Karl Feldmann during and after the war

In 1940 Karl and Otto Feldmann and their families were able to flee from the then Czechoslovakia to Palestine taking just a few suitcases with them. As part of the preparations for his emigration, at the end 1939, Karl Feldmann applied for an export licence for 32 drawings from the Denkmalamt (monuments board) in Brno. Consultation with the Moravian Museum, the National Museum in Prague and the Ministry of Education and Folk Culture resulted in an agreement under the terms of which six drawings had to be handed over to the Moravian Museum in exchange for an export licence. In mid-December 1939 Karl received permission to export 26 of the 32 drawings concerned. A statement from a nephew of Gisela Feldmann-Hofmann reveals that Karl Feldmann did not take the 26 drawings with him to Palestine. There are no reasons to doubt the correctness of this statement.

The six drawings that had been handed over by Karl Feldmann to the Moravian Museum in Brno were restituted to the heirs of Arthur Feldmann in 2003. The Moravian Museum was not the only one to receive works from the Feldmann Collection. In 1956 a few drawings that were in the State Bank of Czechoslovakia were handed over to the National Museum in Prague. These drawings were restituted to the heirs of Arthur Feldmann in 2013.

Both of Arthur Feldmann’s sons and their families survived the war thanks to their escape to Palestine. They remained in Israel after the war and built new lives for themselves. It emerges from several post-war statements that Otto and Karl arrived with no possessions. They had financial difficulties, in part due to the fact that they were unable to practise their profession. Otto Feldmann died in 1956. He had no children. His younger brother Karl died in 1989, three years after his wife Vally Brüll. The couple left three children behind.

Object information and information on the back of the Drawing

The restitution application concerns the drawing Two Women’s Heads, a pen and brown ink drawing dated 1400-1500 by an anonymous artist. The Drawing is part of the Dutch National Art Collection and is currently in the collection of the Rijksmuseum Amsterdam under inventory number RP-T-1947-25.

Provenance of the Drawing

It has been established that the Drawing was part of the Feldmann Collection. The last known owner prior to Arthur Feldmann was Adalbert Freiherr von Lanna of Prague. A part of his collection, including the Drawing, went to auction on 22 May 1911 at Rudolph Lepke in Berlin. It is not known when Arthur Feldmann acquired the Drawing because his records were confiscated by the Gestapo. The first indication that the Drawing was in Arthur Feldmann’s collection was during the auction at H. Gilhofer & H. Ranschburg in Lucerne in 1934.

H. Gilhofer & H. Ranschburg auction, Lucerne 1934

As a result of the deteriorating economic conditions during the nineteen-thirties, Arthur Feldmann had to put up part of his art collection for sale by auction. On 28 June 1934, a selection of works from the Feldmann Collection were offered for sale at an auction held by at H. Gilhofer & H. Ranschburg in Lucerne, Switzerland. A depiction of the Drawing features prominently on the front of the auction catalogue. The work described in the catalogue under number 177 as ‘Winkler Master’ can be identified as the Drawing, which was part of the Feldmann Collection. A handwritten annotation in the catalogue reveals that the Drawing remained unsold during the auction sale. There is no reason to assume that the Drawing did not belong to the group of drawings that was returned to Feldmann after the sale.

The Drawing between 1934 and 1946

No documentation was found during the investigation about the Drawing between 1934 and 1946. It is therefore also not known when the Drawing ceased being in the possession of Arthur Feldmann. According to statements by Karl Feldmann in 1966 and Hans Hofmann, a nephew of Gisela Feldmann-Hofmann, in 2000, after the 1934 sale Arthur Feldmann supposedly sold no further drawings and also did not send any drawings abroad. According to Karl Feldmann, Arthur Feldmann even expanded his collection. Other artworks from the Feldmann Collection did turn up between 1934 and 1947, however. Documentation has revealed that drawings from the Feldmann Collection changed hands after the 1934 sale too. There are indications that the married couple Hilda and Victor Haida (New York) purchased seven drawings from the Feldmann Collection shortly after the 1934 sale, or in any event during the mid-nineteen-thirties. Christie’s auction house stated, among other things, the following about the Haidas and their connection with Brno and Feldmann Collection:

It was on one of these visits that the Haidas acquired the Rembrandt Strolling Couple, with six other drawings, which came from the collection of Brno lawyer Dr Arthur Feldmann. The drawings are recorded in the Haida’s collection in New York from the mid-1930s. …. The family did not return to Europe until 1947.

The Drawing, however, was not among the aforementioned seven drawings.

It is also known that the Drawing was not among the sheets that were put under the management of the Moravian Museum in Brno in 1942. There is no monogram or inventory number of the Moravian Museum on the back of the Drawing. Furthermore, all the drawings sold to the Moravian Museum by Rosorius were restituted to the heirs of Arthur Feldmann in 2003.

The Drawing was also not among the 32 works in regard to which Karl Feldmann requested permission to export prior to his escape to Palestine with Otto Feldmann.

The Drawing from 1946

Sale at Sotheby & Co, London 1946

The law firm Bennett & Bennett submitted 95 drawings to a sale on 16 October 1946 at Sotheby’s & Co in London. These drawings had come from the Feldmann Collection. The drawings were included in the sale catalogue in lots 40 to 88. The law firm Bennett & Bennett was registered in the Channel Islands. Research has not revealed the names of the people who were behind this law firm, or on behalf of whom Bennett & Bennett put lot numbers 40 to 88 into the auction. Research has shown, however, that the Channel Islands, occupied by the Nazis – during and also after the war – were known as a transit point for looted art.

Although it cannot be ruled out that the Drawing was among the drawings put up for sale, the probability is low. Of the 48 lots designated as ‘The Property of a Collector’, there are 28 lots comprising two or more drawings. Not all of the drawings are described individually. Some are designated as ‘and another’ or ‘two others’. It is striking, when studying the different lots, that individual sheets were not grouped together in a random fashion. Groups were defined on the basis of stylistic or geographical characteristics or genre. The Drawing cannot be identified as one of the described works and furthermore none of the groups of sheets correspond to it in terms of style, geography or genre. It is, however, notable that several drawings from the Feldmann Collection turned up in London separately and around the same period.

Hans Calmann, William Redford and the purchase of the Drawing by the Rijksmuseum  Amsterdam in 1947

At the end of 1946, the Drawing was noticed by Professor I.Q. van Regteren Altena in London at the premises of the leading Jewish art dealer Hans Maximilian Calmann (1899-1982). In 1937 Calmann and his family fled Nazi Germany and settled in London. He opened his first shop at 42 St James’s Place.
Some time later Calmann opened a larger shop at 15 Davies Street. Calmann rented this space, which was on the first floor, from the antiques and art dealer Gerald Kerin (1882-1976), who had a shop of his own on the ground floor.

In January 1947, only a few months after the sale at Sotheby’s in London, Calmann sent the Drawing, together with two other sheets, to the Museum. He did this following a request from Ms L.C.J. Frerichs of the Rijksmuseum Print Room to examine them. After the Museum had decided to buy the Drawing, the acquisition was not completed until October 1947, when the agreed purchase price of 200 pounds sterling was paid to Calmann. Calmann described the maker of the Drawing in both his cash book and his inventory book as ‘Winkler Master’ – a reference to the 1934 Gilhofer & Ranschburg sale catalogue. In his file on the Drawing, Calmann recorded W. Retford’ (with a ‘t’) as the drawing’s previous owner. This was probably William Redford (with a ‘d’), whom Calmann mentioned in his 1976 memoires.

William (Bill) McIntyre Redford (1912-2004) was a South African who had served in the British army during the Second World War. After the war he started working for Gerald Kerin, the antiques and art dealer from whom Calmann rented his shop. Redford became a partner in Kerin’s business within a year and worked mainly in the Mount Street branch, just around the corner from Calmann. In his memoires, Calmann refers to a number of business transactions with Redford relating to drawings. The name ‘Retford’ also occurs several times in Calmann’s business records. It is possible that Calmann sold the Drawing to the Rijksmuseum Amsterdam on Redford’s instructions. This explains why Calmann did not include the work in his records until after the transaction had been completed. It is not clear how the Drawing came into Redford’s possession.

Nothing was found in the business archives of William Redford and Gerald Kerin to indicate who the Drawing’s owner was before the W. Retford referred to in Calmann’s records.

The Drawing has remained in the collection of the Rijksmuseum Amsterdam since 1947. When the Drawing became part of the collection an inventory card was prepared and the Drawing was included in an inventory book. The name Feldmann is not referred to in these sources. The inventory card of the Rijksmuseum Amsterdam gives the art dealer H.M. Calmann as the last owner, from whom or on behalf of whom the Museum purchased the Drawing in 1947.

4. Substantive Assessment of the Application

In view of the requirements in section 1 a to e of the assessment framework, the application is eligible for substantive handling by the Committee.

Pursuant to section 2 of the assessment framework, the Committee must assess whether it is highly plausible that the Drawing was the property of Arthur Feldmann, and on the grounds of section 3 whether it is sufficiently plausible that possession of the Drawing was lost involuntarily as a result of circumstances directly related to the Nazi regime. To this end the Committee finds as follows:

Ownership requirements (§ 2 of the assessment framework)

Documentation dating from the nineteen-thirties found during the investigation indicates that in 1934 Feldmann was the owner of the Drawing. It has been established that part of his collection, including the Drawing, was put up for auction in June 1934 at H. Gilhofer & H. Ranschburg in Lucerne. It emerges from the sale catalogue that the Drawing was not sold. The Committee considers it plausible that the Drawing was among the remaining works that were returned to Arthur Feldmann after the sale.

The Committee concludes that no indications were found which suggest that the Drawing ceased being the property of the Feldmanns prior to the German invasion of Czechoslovakia in 1939. This is consistent with Karl Feldmann’s statement that his father did not sell any further drawings after the auction in 1934. With regard to the drawings that turned up after the sale in 1934, it is plausible that they were purchased at the auction or were part of Feldmann’s confiscated assets or were already in the possession of Feldmann’s children.

On the grounds of this information, the Committee has come to the conclusion that it is highly plausible that the Drawing belonged to Arthur Feldmann when Germany invaded Czechoslovakia on 15 March 1939. This means that the ownership requirement of section 2 of the assessment framework has been met.

The consequence of this is that the Committee now has to evaluate whether, with regard to the Drawing, there was involuntary loss of possession as a result of circumstances directly associated with the Nazi regime.

Involuntary loss of possession (section 3 of the assessment framework)

The principle underlying the assessment of the nature of the loss of possession is that, irrespective of the capacity or status of the original owner and irrespective of the country in which and at which moment – provided that it was after 30 January 1933 – possession was lost, involuntary loss of possession is assumed if the involuntariness is sufficiently plausible. The Committee takes the view, on the basis of the current status of the investigation, that this requirement has been met.

It has emerged from documentation that on 15 March 1939, the day Germany invaded Czechoslovakia, the Feldmann family’s large detached home in Brno was forcibly entered. As a result of the house being seized, the Gestapo also laid their hands on the Feldmann Collection. The Feldmanns were given the opportunity to take only one small suitcase with them when they left. Arthur and Gisela were therefore unable to safeguard any of their possessions. Post-war statements by medical advisor and friend Dr C.K. Blum and housekeeper Stepánka Horáková confirm that the Feldmann Collection was in the Feldmanns’ home when the Germans invaded.

Although it has emerged that the German administrator Heinrich Rosorius sold a part of this confiscated collection in 1942, the Committee concludes on the basis of statements about the total extent of the Feldmann Collection that this was only a small fraction of Feldmann’s holdings. It is known that a further selection of works from the remainder of this collection, 95 drawings, was offered for sale in London in 1946 via the auction house Sotheby’s & Co by the law firm Bennett & Bennett, established at the time on the Channel Islands. With regard to these drawings, it was established earlier that they had been stolen from the Feldmann Collection. One of these drawings was the subject of an earlier restitution application (RC 1.176), in regard to which the Committee issued a recommendation in 2022 to honour the claim. Research conducted in the context of that application revealed that the Channel Islands, which were occupied by the Nazis during and also after the war, were known as a transit point for looted art.

Although it was not put into the auction at Sotheby’s & Co, the Committee considers it plausible that the Drawing, which was noticed in London at exactly the same time as the sale, was one of the few hundred remaining drawings that belonged to the Feldmanns’ assets that were confiscated by the Gestapo. The Committee therefore concludes that it is sufficiently plausible that the loss of possession of the Drawing was involuntary, caused by circumstances directly related to the Nazi regime. This means that the requirements relating to involuntary loss of possession in section 3 of the assessment framework have been met.

Conclusion with regard to the restitution application

The Committee concludes that it is highly plausible that the drawing Two Women’s Heads by an anonymous artist was the property of Arthur and Gisela Feldmann and that it is sufficiently plausible that they lost possession of the Drawing involuntarily as a result of circumstances directly related to the Nazi regime.

In view of sections 2 and 3 of the assessment framework (criterion 3.3 and the end of section 3), the upshot of all this is that the Committee will recommend that the Drawing should be restituted to the Applicants.

5. Recommendation

The Restitutions Committee recommends that the Minister of Education, Culture and Science restitutes the drawing Two Women’s Heads by an anonymous artist, which is currently in the collection of the Rijksmuseum Amsterdam under inventory number RP-T-1947-25, to the heirs of Arthur Feldmann and Gisela Hofmann.

Adopted at the meeting of 21 October 2024 by A.I.M. van Mierlo (Chair), D. Oostinga (Vice-Chair), J.F. Cohen, S.G. Cohen-Willner, C.J.H. Jansen, J.J. Euwe and A. Marck, signed by the Chair and Committee Member J.F. Cohen.

(A.I.M. van Mierlo, Chair)     (J.F. Cohen, Committee Member)