August Lederer (3 May 1857 in Böhmisch Leipa (Austria-Hungary) – 30 April 1936 in Vienna), was an Austrian industrialist and art collector whose art collection was looted by Nazis. He helped promote the artists of the Vienna Secession, notably Gustav Klimt.
August Lederer | |
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![]() Egon Schiele, August Lederer, 1918. | |
Born | 3 May 1857 Česká Lípa (Austria-Hungary) |
Died | 30 April 1936 (1936-05-01) (aged 78) Vienna (Austria) |
Nationality | Austrian |
Occupation | art collector, businessman, philanthropist |
Known for | The collection of August and Serena Lederer was considered the most important private collection of the work of Gustav Klimt. Lederer's business empire and art collection was looted by Nazis |
Notable work | restitution claims for Beethoven Frieze and other important artworks |
In 1892 Lederer married Serena Pulitzer (1867–1943).
With a business empire built on distilleries, the Lederer family became the second wealthiest in Vienna, using their fortune to support artists and acquire art, notable of the Vienna Secession.[1]
In 1912 the Lederers met Egon Schiele, who that year spent with them in Gy euxr a memorable Christmas, and became particularly friends with their son Erich, whom he painted and drew several times.
The Lederer's art collection was the largest and most important private collection of Gustav Klimt.[2]
Lederer acquired the Beethoven Frieze from Carl Reininghaus in 1915.[3]
Their relationship with Klimt was very friendly, intimate to the point that Elisabeth Franziska Lederer, born in 1894, was able to affirm during the Nazi period to be the adulterous daughter of the painter and to receive in 1940 a certificate of filiation establishing that she was only "Half-Jewish", while her two brothers, Erich and Fritz, were considered full Jews.
Gustav Klimt painted Portrait of Elisabeth Lederer between 1914 and 1916 for the Lederer family.[4]
The Lederer's art collection was one of the first stolen by the Nazis in Austria.[5]
The Gestapo seized most of the Lederer's art collection. The "Zentralstelle für Denkmalschutz" or so-called "Monument protection" and Vugesta were involved.[6][7]
The Lederer collection, confiscated in 1938, was stored mainly at Immendorf Castle in Lower Austria, where it would have largely burned in early 1945 under poorly clarified circumstances - which seems to contradict the fact that Isolated paintings resurfaced after the war, which were returned to the heirs.
In 2013 the Lederer heirs initiated a lawsuit to claim restitution of the Beethoven Frieze.[8] Austria refused the claim.[9][10][11]
In 2018 a Swiss court in Geneva ordered that the Galerie Kornfeld respond to questions asked by the Lederer heirs concerning artworks by Klimt and Schiele.[12]
1938 wurde der Lederer-Konzern unter die kommissarische Verwaltung von Hermann Berchthold gestellt; 1939 Beschlagnahmung der Sammlung Lederer durch die Zentralstelle für Denkmalschutz; 1941 Beschlagnahmung des bei der Spedition Kirchner eingelagerten Übersiedlungslifts und Veräußerung über die VUGESTA.
A memo from the Central Office for Monument Protection (Zentralstelle für Denkmalschutz) of February 1939 indicates that because of unpaid debts that were "not large compared to the artworks" the Foreign Exchange Office (Devisenstelle) would seize Serena Lederer's assets only by agreement with the Central Office. A private claim against Serena Lederer of RM 36,000 was also noted. Attached to the memo is a list dated 14 February 1939 itemising twenty-eight works of art from the Lederer collection that "should in particular remain impounded". Item 21 on this list was the Beethoven Frieze with the addition "stored with Bäuml"
Le propriétaire de la célèbre galerie bernoise Kornfeld a été condamné par la Cour de justice genevoise à répondre à une liste de questions dans le cadre d'une succession. Cette demande de renseignements émane d'héritiers de la collection Lederer, composée avant-guerre de 600 à 700 dessins du célèbre peintre symboliste autrichien Gustav Klimt et de 380 dessins de son disciple Egon Schiele. Ils cherchaient à déterminer qui a mis aux enchères, vendu et acheté certaines œuvres, quels contrôles ont été effectués, et qui possède encore des œuvres de la succession. Une procédure similaire en cours à Genève les oppose à la maison de vente aux enchères viennoise Kinsky.
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