Provenance research in relation to works from army collections lost during the period 1939-1945
by Alexandra Etienne
The growing interest in provenance research and restitution issues relating to artworks looted during the Nazi period in France can be seen in initiatives such as the partnership between Sotheby's and the École du Louvre, which focuses on the traceability of items acquired between 1933 and 1945. In addition, the emblematic figure of French restitution, Rose Valland, has been the subject of numerous studies. Restitution of works looted during the Nazi period is now attracting the attention of a wide and varied range of specialists.
However, in the shadow of this spotlight, there is a less explored and documented facet: the fate of works of art stored in military structures such as Saint-Cyr l'École, the Prytanée Militaire and the Coëtquidan military base. Once home to the collections of the army and other institutions, these sites were often the victims of severe bombardment, as this poignant photograph of the chapel at Saint-Cyr l'École shows.
Other locations, such as the Prytanée National Militaire, were occupied by the German army. During these troubled times, the works of art originally intended to decorate these sites suffered a dramatic reversal of fortune. Some vanished without a trace, while others were stolen, altered or even completely destroyed.
But how can the provenance of these pieces be traced and their history reconstituted? Regardless of whether they have been destroyed or altered, they represent not only a national heritage, but also a testimony to one of the most significant conflicts in history: the Second World War. One of the most appropriate methods for tracing the history of these cultural assets is to research their provenance. However, this is a complex task, and tracing the fate of these works requires access to archives and sites still under the French army's authority.
The Second World War's impact on art and cultural heritage
The Second World War and the German occupation left an indelible mark on France's cultural heritage. Destruction, theft and deterioration took place on an unprecedented scale, leaving deep scars on national and military treasures. A notable gap in current academic discourse resides in the analysis of this damage inflicted on the artistic and architectural heritage of the French army. Whether in terms of architectural heritage, paintings or sculptures, the consequences of the war and the German occupation remain relatively underexplored. Consequently, gaps in research hinder a full understanding of the history of these works.
Tracking and recovering works of art: the challenges encountered
During the war, the theft and destruction of works of art took many forms, ranging from calculated looting to unplanned 'rescues', from deliberate destruction to collateral damage, and the sale at very low prices of works considered of questionable morality. The spectrum of these crimes against the cultural heritage of the time is vast, making it extremely complex to distinguish between what is true and what is false. Indeed, if an individual acted alone, without premeditation, how can it be determined years later whether it was a rescue or looting, especially when the person concerned is no longer with us?
On the other hand, the lack of documentation can also be a real obstacle to recovering or tracing these works. This archival void can partly be explained by archival annihilation, the difficulty of accessing non-digitised archives, incomplete or erroneous entries, and the absence of lost works in databases.
Regarding the archival destruction, the devastation caused by bombing during the war has clearly and irreversibly affected the archives of several sites. The Saint-Cyr-l'École site, for example, was more than 92% destroyed by bombardment, with only 25 buildings out of 1131 surviving the fire deluge the town suffered. As a result, many storage sites that once housed invaluable archives and documents were wiped out, considerably reducing the chances of finding works of art on the military sites. In the case of locations occupied by the Germans, such as the Prytanée Militaire and Coëtquidan, the occupation probably resulted in the intentional destruction of these assets.
In addition, the deliberate destruction or potential concealment of archives and photographs in these occupied spaces adds a further layer of complexity to the search for lost works of art. As a result, tracking down certain inventories and tracing the history of certain works that have passed through these places becomes an extremely arduous task.
Provenance research for these works goes beyond the databases and demands proactive collaboration between researchers and military officials present on certain sites. Discussions with these individuals should therefore not be neglected, transforming this research into a genuine investigation. Because of the limited availability of archives, it is sometimes necessary to rely on oral heritage to gain a better understanding of the circumstances surrounding these cases.
This investigative process becomes a veritable detective story, a meticulous quest that, unfortunately, often leads to impasses.
Challenges in identifying works of art
Some recovered items bear the scars of their tumultuous past, made unrecognisable or severely damaged, and can sometimes escape the eye of art historians. The lack of photographs, including those of the paintings’ back, further complicates the task, as it deprives researchers of precious evidence for their identification and traceability, such as labels, signatures, sales histories, etc.
It is also necessary not to underestimate the problem of forgeries, copies and illicit trafficking in cultural goods. These works could have found their way onto the black market in one way or another. So it is sometimes necessary to recognise the inexplicable and the enigmatic, while at the same time working through the complexities surrounding some pieces. This delicate process requires a balance between expertise and the quest for essential, sometimes elusive details. It is a journey full of potential revelations as well as frustrations, where each discovery can shed unexpected light on the destiny of a work, while leaving many others still a mystery.
The importance of the French army's collections inventory
After the Second World War, the meticulous process of « récolements » became a crucial task, serving a dual purpose: compiling inventories of missing works and rediscovering pieces presumed lost. However, this initiative is not without its challenges, requiring both time and careful preparation.
The essence of these inventories lies in their ability to systematically list works absent from their designated locations, simultaneously facilitating the relocation of pieces initially considered irrecoverable. However, this noble quest encounters barriers, particularly with regard to gaining access to certain locations that remain active military installations or living areas. The restrictions imposed by these operational sites represent a significant barrier, obstructing exhaustive research and requiring a specialised approach. Expeditions to these locations require not only organisation but also agility, as the opportunity may be brief. In some cases, the complexity of the task requires accompanied visits to ensure maximum efficiency in the mission.
As we delve into the complexities of post-war art recovery efforts, this article highlights the urgency, preparation and adaptability required for these missions. It highlights the challenges inherent in the quest to recover lost works and underlines the crucial role played by rapid and organised efforts in the preservation and restoration of our cultural heritage. The artistic recovery process becomes a veritable race against time, requiring precise coordination and an accurate understanding of the logistical and operational challenges encountered on the field.
Conclusion
The French Army has taken major steps to protect its cultural heritage, whether by creating dedicated museums or carrying out exhaustive inventories to fully identify the treasures in its collections. The commitments made by the French Army, notably through the Délégation au Patrimoine de l'Armée de Terre, stand out and can serve as an example to other nations wishing to protect their national heritage.
Preserving our culture and heritage is not only a means of maintaining a country's identity, but also fosters unity among its people. Isn't the looting and destruction of cultural heritage in occupied countries precisely designed to attack this common identity? Underestimating the importance of protecting this heritage from possible damage is a serious mistake, and raising awareness of this issue is of crucial importance at a time marked by numerous armed conflicts across different continents.
A crucial step forward would be to initiate more discussions at European and International state level on these issues and to facilitate more flexible restitutions of works looted during wartime (let's not forget the 1970 Convention, which was a giant step forward in the field of restitution as it was signed by more than 143 countries). Awareness of these issues is still in its earliest stages, and missing works lists are not easily accessible to the general public, hampering communities in providing potential information on works they may have discovered. While today's military staff are aware of heritage protection in conflict zones, the question arises: what was the position on heritage protection 90 years ago? Has our perception of heritage really evolved, or are we witnessing contemporary looting taking place before our own eyes, as is the current situation in Ukraine ?
Reflecting on the complex interaction between war and cultural heritage, this article calls for a collective commitment to protect the treasures that define our shared human history, highlighting the imperative for international collaboration, awareness-raising and the continued evolution of our approaches to heritage protection. It is a call to action, inviting nations to come together to preserve and protect our shared cultural heritage in the face of the enduring challenges of both time and war.
