Portrait looted by Nazis found in home of Dutch SS leader’s descendants
Portrait looted by Nazis found in home of Dutch SS leader’s descendants
Portrait looted by Nazis found in home – A Dutch art detective has uncovered a painting once seized by the Nazis during World War Two, now reportedly residing in the home of a family connected to a prominent Waffen-SS general. The artwork, titled Portrait of a Young Girl and created by the artist Toon Kelder, was believed to have been displayed for years in the Seyffardt household, according to Arthur Brand. Brand, the art detective, revealed that the piece was originally part of the collection of Jacques Goudstikker, a Jewish art dealer who perished while escaping the Nazi invasion of the Netherlands in 1940. At the time of his death, Goudstikker’s collection included over 1,000 paintings, many of which were later plundered and sold by the Nazis.
The revelation came after a family member, who identified himself as a descendant of Seyffardt, approached Brand with knowledge of the painting’s history. The individual expressed discomfort with the fact that his ancestors had retained the artwork for decades without acknowledging its stolen origin. Seyffardt, a Dutch general, commanded a Waffen-SS unit on the eastern front before being killed by resistance fighters in 1943. His family, who changed their name following the war, have admitted possession of the painting but stated they were unaware of its true provenance, as per a statement shared with Dutch media.
Brand’s investigation began after the family member shared the painting’s story. He discovered a label affixed to the back of the artwork, along with the number 92 etched into its frame. This detail led him to trace the painting back to a 1940 auction where much of Goudstikker’s looted collection was sold. Within the auction records, an item numbered 92 was listed as Portrait of a Young Girl by Toon Kelder. This discovery confirmed the painting’s origin, though its journey from Goudstikker to the Seyffardt family remains a subject of intrigue.
Brand believes the artwork was taken by Hermann Goering, a high-ranking Nazi official, during Goudstikker’s flight to Britain in 1940. Goering, one of the most powerful figures in the Nazi Party, was known for his role in the looting of Jewish art collections. After being acquired by Goering, the painting was sold at auction to Seyffardt, who then passed it down through generations. The family member who contacted Brand claimed the painting had been in their possession for decades, but the truth of its theft had been overlooked.
Brand’s findings were corroborated by the lawyers representing Goudstikker’s heirs. These legal representatives confirmed that the collector had previously owned six other works by Toon Kelder, all of which were included in the 1940 auction. This alignment between the auction records and the family’s ownership suggests a clear link to the Nazi looting process. Brand described the case as “stunning,” emphasizing its unique nature. “This is the most bizarre case of my entire career,” he said, reflecting on the irony of the painting’s return to the Goudstikker family after years of hidden possession.
The discovery has sparked broader discussions about the legacy of Nazi collaborators in the Netherlands. Seyffardt’s family, though not personally responsible for the crimes of their ancestor, have faced scrutiny for keeping the artwork for decades. Brand noted that the family had ample opportunity to return the painting, yet they chose to conceal its history. “For decades, the family, who of course bear no personal guilt for Seyffardt’s own crimes, had the opportunity to do the right thing,” Brand said. “They chose not to.” This admission highlights the ongoing challenges in addressing historical injustices.
Brand’s investigation also drew parallels to another notable case involving the Goudstikker collection. In a previous instance, a stolen Italian masterpiece by Giuseppe Ghislandi was found on the website of an Argentine estate agent. The photo showed the painting hanging above a sofa in a home once owned by a senior Nazi official who relocated to South America after the war. The discovery prompted a police raid, though the painting had already been removed by the time authorities arrived. This case underscored the persistence of Nazi-looted art in private collections across the globe.
The return of Portrait of a Young Girl represents a significant step in reclaiming art from the Nazi era. Brand’s work has previously led to the recovery of pieces housed in major institutions such as the Louvre, the Dutch Royal Collection, and numerous museums. However, this particular case stands out due to its direct connection to a notorious SS figure and the family’s long-standing possession of the artwork. The painting’s journey from Goudstikker’s hands to Seyffardt’s family illustrates the complex web of looting, sale, and inheritance that characterized Nazi art confiscation.
Brand emphasized the importance of transparency in such cases. “It was then sold to Seyffardt at auction before being handed down to his descendant,” he explained, highlighting the role of post-war auctions in dispersing looted art. The number 92 on the painting’s frame, he noted, acted as a key identifier linking it to the original collection. This meticulous attention to detail has allowed Brand to piece together the painting’s history with remarkable precision. “I have recovered Nazi-looted art from World War Two before,” he said, “but this case truly tops everything.”
The Goudstikker collection, once a treasure trove of European art, was systematically dismantled by the Nazis. Jacques Goudstikker, who had fled to Britain, was among the many victims of this cultural theft. His collection, which included works by renowned artists, was seized by the Nazis in 1940 and later sold at auction. The Goudstikker family, now seeking restitution, has been at the center of several legal battles to reclaim their heritage. Brand’s latest find adds to this narrative, revealing a new chapter in the restitution of Nazi-looted art.
As the family member who contacted Brand stated, the painting’s presence in the Seyffardt household has evoked feelings of shame. “I feel ashamed,” he told Dutch outlet De Telegraaf. “The painting should be returned to the heirs of Goudstikker.” His grandmother, when questioned, acknowledged that the artwork had been passed down through generations but expressed surprise at its significance. “I received it from my mother,” she said. “Now that you confront me like this, I understand that Goudstikker’s heirs want the painting back. I didn’t know that.”
The case has reignited debates about accountability and historical memory. While Seyffardt’s descendants may not have personally participated in the looting, their possession of the artwork for decades has raised questions about how such pieces continue to circulate. Brand’s investigation has not only uncovered the painting’s origin but also shed light on the broader implications of its return. “This discovery is a reminder of how deeply the legacy of Nazi art theft permeates even the families of collaborators,” he remarked.
As the Goudstikker heirs work to reclaim their lost art, the Seyffardt family’s admission of possession marks a turning point in their relationship with the past. The painting’s journey from a Jewish art collector to a Waffen-SS descendant’s home exemplifies the intricate and often surprising paths that looted art can take. Brand’s efforts underscore the importance of persistent research in uncovering hidden histories and ensuring that stolen works are rightfully restored.