COLLECTING AND PROVENANCE
USAGE, AUTHENTICITY, AND OWNERSHIP
November 13th–16th, 2016 at The Israel Museum, Jerusalem

Preliminary Program
(may be subject to change)
For any queries in connection with the conference (general information, overseas booking) and to receive
a registration form, please contact conference.imj@gmail.com.
Please note that some sessions and workshops run in parallel!

Day 1 Sunday, November 13th, 2016
Welcome and registration at the Israel Museum
Highlight tour at the Israel Museum

Workshops: Run in parallel, please register for one of the following options:
Tania Coen-Uzzielli (The Israel Museum, Jerusalem) – The Torah Crown of Semuel Coen Nasi:
The Story of an Object Intersects with the Story of an Entire Jewish Community
Carmella Rubin (Rubin Museum, Tel Aviv) – On Painting, Collections, and Collectors:
Provenance as a Tool for Examining a Work of Art
Orly Maiberg (artist, Israel) – The Joseph Stieglitz Collection at The Israel Museum,
Jerusalem

Coffee Break

Opening Lecture
Prof. Dror Wahrman (Dean of Humanities, The Hebrew University of Jerusalem)

Conference Dinner (reserved for speakers)

Day 2 Monday, November 14th, 2016

Early-bird workshop
Sivan Eran-Levian (The Israel Museum, Jerusalem) – The Harry Rosenthal Collection
at The Israel Museum, Jerusalem

Morning Panel
Provenance and archaeology
Patrick Hunt (Stanford University, California) – Provenance, Probity, and Legal Challenges
in Archaeology and Art
Eran Arie (The Israel Museum, Jerusalem) – Thirty Years Later: The Dayan Collection at
The Israel Museum, Jerusalem
Gerald Finkielsztejn (Israel Antiquities Authority) – Looting, Provenance Research, Forgery,
and Connoisseurship vs. Technology: Hellenistic Levantine Scale Weights as a Case-study

Coffee Break

Late-Morning Panel Run in parallel, please register for one of the following options:

Provenance studies and methodology
Sara Angel (University of Toronto, Canada) – Redefining the Rules of Nazi-Era Art
Restitution: Methodologies of Provenance Studies in the Max Stern Recoveries Case
Christel H. Force (Metropolitan Museum of Art, New York) – Expanding the scope of
provenance research
Avraham Weber (Ministry of Social Equality, Israel) – Non-binding Best Practice
Guidelines: Stock-taking from the Washington Principles to Our Day

Methodology: from theory to practice
Mary Kate Cleary and Alice Farren-Bradley (Art Recovery Group, New York and London) –
Teaching the Practice of Provenance Research
Humphrey Wine (National Gallery, London) – “Data! Data! Data! I cannot make
bricks without clay.” (Sherlock Holmes, The Adventure of the Copper Beeches, 1892)
Stephan Klingen, Meike Hopp, Christian Fuhrmeister (Zentralinstitut für
Kunstgeschichte, Münich) – Private Collections: The Hidden Obstacle
Lunch Break

Workshops: Run in parallel, please register for one of the following:
I. Miriam Malachi (The Israel Museum, Jerusalem) – The Vision of Us: National Museums
and Japanese Art Exhibitions in Meiji Japan (late 19th – early 20th century)
II. Ariel Tishby (The Israel Museum, Jerusalem) – Claudio Duchetti’s Rare Map of the
Holy Land, 1572/1602
III. Gioia Perugia and Efrat Assaf-Shapira (The Israel Museum, Jerusalem) – A Libyan
memorial lamp and Dutch childhood objects: The Personal and the Historical in the
Collection of the Wing for Jewish Art and Life
IV. Orna Granot (The Israel Museum, Jerusalem, Bezalel Academy of Art and Design,
Jerusalem, and Shenkar College of Engineering and Design, Ramat Gan) – The
Provenance of Childhood Objects

Coffee Break

Afternoon Panel
The impact of provenance on museums and wwii restitution
Shlomit Steinberg (The Israel Museum, Jerusalem) – The Ultimate Nazi Wishlist:
Otto Kümmel and the Kümmel report (1939-1941)
Daniel Dratwa (Jewish Museum of Belgium, Brussles) – Looted Art and Provenance
Research: An Unfinished Journey in Belgium
Miriam Apfeldorf and Ruth Apter Gabriel (The Israel Museum, Jerusalem) –
Provenance Research on Looted Art at The Israel Museum, Jerusalem
Iris Schmeisser (Städel Museum in Frankfurt) – The Städel Museum in Frankfurt
and its Collection and Acquisitions during the Nazi Era

Day 3 Tuesday, November 15th, 2016

Early-bird workshop
Dorit Shafir (The Israel Museum, Jerusalem), Marion Melk-Koch (Ethnographic State
Collections of Saxonia), Hermione Waterfield (Independent Consultant in Traditional
Art of Africa and Oceania) – African and Oceanic Art

Morning Panel
Provenance, perception, and reception of art
Jennifer McComas (Sidney and Lois Eskenazi Museum of Art, Indiana University) –
Rediscovering Lost Histories: The Role of Provenance Research in the Study of
German Art’s American Reception
Inês Fialho Brandão (National University of Ireland, Maynooth) – Karl Buchholz and
the Introduction of Entartete Kunst in Portugal
Meike Hoffmann (Free University of Berlin) – The Intersection of Degenerate and
Looted Art: A Double Challenge of Provenance
Shalom Sabar (The Hebrew University of Jerusalem) – From Barcelona to Sarajevo:
The Curious Fate and Wanderings of the Sarajevo Haggadah over Six Centuries

Coffee Break

Late Morning Panels: Run in parallel, please register for one of the following:

Provenance, restitution, and the law
Imke Gielen (von Trott zu Solz Lammek Law Firm, Berlin) – Restitution of Looted Art:
Law, Reality, and the Need for a Global Restitution Law
Guiora Debel (Hacohen-Debel-Sparber Law Firm, Jerusalem) – Franz Kafka
Stephen Kellner and Sebastian Peters (Bavarian State Library, Munich) – Searching for
Looted Books at the Bavarian State Library, Munich: The Karl Süßheim Collection
(1878– 1947)

The economics of provenance
Hadas Kedar (Bezalel Academy of Art and Design, Jerusalem) – Offshore Companies:
A Challenge to the 21st-century Art World
Lynn Rother (Museum of Modern Art, New York) – Provenance: Can You Bank on It?
Art as Collateral
Roni Amir (Bezalel Academy of Art and Design, Jerusalem) – Blood Antiquities

Lunch Break

Afternoon Panel, Run in parallel, please register for one of the following:

Authorship and authenticity i
Noam Gal (The Israel Museum, Jerusalem, and The Hebrew University, Jerusalem) –
Uncomfortable with Sherrie Levine: Anxiety Disorders in Contemporary Art History
Tamar Mayer (University of Chicago, Illinois) – Fragonard’s Fake Drawings: Provenance,
Connoisseurship, and Conservation Tools
Daniel Unger (Ben-Gurion University of the Negev, Israel) – An Unknown St. John the
Baptist, by Guercino

Provenance and connoisseurship
Jeremy Wood (University of Nottingham) – Connoisseurship, Portraiture, and the Early
Collecting of Drawings: The Case of Jonathan Richardson and Rubens
Jochai Rosen (University of Haifa, Israel) – The Fictitious 17th-century Dutch Painter
Jan le Ducq and the Untying of his Vast Oeuvre
Jane Milosch and Jeffery Smith (Smithsonian Institution, Washington DC) – The Asian Art
Provenance Connections Project: Provenance as Process, from Research and Data to Public
Access and Collaboration

Coffee Break

Late Afternoon Panel

Authorship and authenticity ii
Ido Litmanovitch (Van Leer Insitute, Jerusalem) – “Send these, the homeless, tempest-tost
to me”
Shmuel Meiri (Bezalel Academy of Art and Design, Jerusalem) – Dinosaur Collections and
Displays: Provenance and Authenticity
Emily D. Bilski (Independent researcher and curator, Israel and Germany) – “Only Culture?”:
The Pringsheim Collection of Munich
Ruth Direktor (Tel Aviv Museum of Art) – Provenance as Incriminating Evidence: The Case
of a Bunch of Asparagus

Evening Lecture

Keynote
Edmund de Waal, author of The Hare with Amber Eyes

Day 4 Wednesday, November 16th, 2016
Tour of Jerusalem (please sign up in the registration form)
More details TBA