[showcase on the left, left side]

Provenance research on Nazi-looted property at the Museum am Rothenbaum

Provenance research addresses questions of origin and reconstructs the changing ownership history of cultural property: it clarifies questions of how and where. In this project, these subjects of investigations relate to the time of National Socialism and the immediate postwar period. This means that collections that entered the museum between 1933 and 1952 are being examined. Even after 1945, acquisitions may have been influenced by contexts of injustice. Currently, 186 defined collections of varying sizes are being checked with concrete indications of suspicion. One of the collections under investigation is presented in this display case with a focus on the ethnographic trade. The project concentrates primarily on the context of appropriation and the personal biographies of the sellers: many Jews were forced to flee, went into exile, or were deported and murdered. Their possessions were confiscated and auctioned off or had to be sold due to persecution.

The project is funded by the German Lost Art Foundation. 

Context, Konietzko and the collection 44:7

Many individuals, organizations and institutions were associated with the Hamburg Museum für Völkerkunde (today MARKK) between 1933 and 1952, but none more frequently than Julius Konietzko (1886–1952). Konietzko was not only a “collector” of ethnographic objects, but also a very active dealer who maintained a large international network with numerous business relationships with various museums and private individuals. Even during the war, Konietzko continued to work as an ethnographic dealer.

In 1943, Konietzko’s business premises in Hamburg were destroyed in a bombing raid. In order to replenish his collections, he traveled to the occupied Netherlands, an advice given by the then museum director Franz Termer (1894–1968).

The international market for ethnographic objects during the Second World War has so far not been vastly researched, which is why this topic will be highlighted within the current research project.

This showcase presents research into a collection that Konietzko acquired in Amsterdam and sold to the museum in 1944. These objects also raise the questions: How and where did they come from? Were they acquired legally, or was the collection seized wrongfully from its previous owners?

The question of provenance prior to Amsterdam also arises, as it remains unclear under what circumstances the objects left Indonesia and whether there may have been a colonial context.

The map

The journey of the objects from Indonesia to their current location at the MARKK can be reconstructed as follows: The collection came – maybe with detours – from Indonesia to Amsterdam. In Amsterdam Konietzko “acquired” the objects under unknown circumstances. From Amsterdam, Konietzko sent his “purchases” via Delft to the port of Hamburg. This map illustrates the known history of the collection to date. Provenance research translates those paths into so-called provenance chains. For the objects on display here they can be found highlighted in yellow.

[showcase on the left, right side]

Archives and documents

Usually, provenance research begins with a review of the museum’s internal documentation. The files and documents relating to the collection are preserved in the in-house archive, including correspondence, invoices, entries in the accession registers and inventory cards for individual objects.

The remaining correspondence helps to contextualize the circumstances surrounding the acquisition. It also illuminates the role of Franz Termer, who in December 1943 recommended a purchase in the Netherlands, as ethnographic objects were “quite inexpensive” and collections there were “relatively easy to acquire from private owners”.

In the same letter, Termer also requests the purchase of “suitable pieces” for the museum in Hamburg, which are to be discussed verbally. Termer’s remark reinforces the suspicion of injustice in the Netherlands and reflects the museum’s position.

[Documents]

MARKK Archiv I 305, Postcard dated 17.03.1944, from Julius Konietzko to Franz Termer

“17/3.44 
Dear Professor!
Returning Tuesday.
Haul good, but mainly Indonesia.
Prices very high. Goods going
via Delft H and from there
with Kirsten Line to Hbg […].” 

In this winterly themed postcard, Julius Konietzko reports on his activities in Amsterdam. He talks about high prices and successful acquisitions. It can be assumed that the two objects on display had already been “acquired” at this point and were part of the “successful haul”. This postcard (along with other documentation not exhibited here) allows us to reconstruct the path of the objects from Amsterdam via Delft.

MARKK Archiv I 305, Invoice, dated 19.08.1944, by Julius Konietzko

The invoice from Konietzko to the museum lists various purchases. The objects exhibited here are listed under “17 items from East Asia and Indonesia” and belong to the collection 44.7. Recording to the invoice they were bought for 2663.- Reichsmarks.

[Objects] 

Wayang mask
Artist not documented
Java, Indonesia
1944, acquired by Julius Konietzko 
Accession Museum für Völkerkunde Hamburg (today MARKK) on the 12.08.1944 
mounted wood, glass, metal foil
Inv. nr. 44.7:10 

The Wayang mask originates from the Indonesian island of Java. Wayang refers to various types of performing arts. The mask theatre Wayang Topeng is based on a cycle of Javanese stories known as the Panji tales. In Wayang Topeng, the artistically designed masks represent different characters through different colors and forms of expression.

Provenance chain

[artist not documented], n. d., Java | [provenance gap] | before 17.03.1944 Julius Konietzko, Amsterdam, circumstances of acquisition not documented | 1944, the then Hamburg Museum für Völkerkunde (today MARKK), purchase

Siger (headgear)

Artist not documented
Sumatra, Indonesia
1944, acquired by Julius Konietzko
Accession Museum für Völkerkunde Hamburg (today MARKK) on the 12.08.1944 
Brass, textiles, cardboard
Inv. nr. 44.7:3

The characteristic boat-shaped headgear with nine points is called Siger. It is worn by brides at weddings but also at other ceremonies and performances of the Sigeh Pengunten dance. Siger can also be found on the coat of arms of Lampung Province and as a tourist attraction, such as the Siger Tower.

Provenance chain

[artist not documented], n. d., Sumatra| [provenance gap] | before 17.03.1944 Julius Konietzko, Amsterdam, circumstances of acquisition not documented | 1944, the then Hamburg Museum für Völkerkunde (today MARKK), purchase

Inventory cards

Inventory cards were created for many objects in the former Museum für Völkerkunde. These are kept in the museum for documentary purposes. They often contain handwritten information, drawings, or historical photographs.

[showcase on the right]

Provenance marks

Research into museum objects also includes the examination of so-called provenance marks. These include stamps, inscriptions and stickers. These markings may refer to previous owners of the objects, such as dealers or auction houses. They help to reconstruct the changing ownership history of the objects. Since the acquisition context in Amsterdam is precarious for both the Wayang maskand the headgear (Siger), such characteristics can be of particular importance.

Provenance markings Wayang mask

On the inside of the Wayang mask, there are remnants of a sticker and various inscriptions in pencil, which may have been left by previous owners, auction houses or trading companies. A comparison with other museums and databases has not yet revealed any further indications.

Provenance markings headgear (Siger)

On the inside of the headgear, fragments of names, sentences and letters can be read on the cardboard, including a company logo: HMY – RUBBER SHOES – MADE BY HMY&CO. The material appears to have been incorporated at the time of manufacture. The identification of the company could provide information about the manufacturing context and provenance in Sumatra.

The exhibition texts were written and translated from German to English by Julianne de Sousa ( julianne.desousa@markk-hamburg.de) and Annika Hüther (annika.huether@markk-hamburg.de).