At Christie’s Paris, an entire gallery on the first floor has been dedicated to showcasing a single, discreetly illuminated painting, captivating art lovers and history enthusiasts alike.
Tucked away at the end of a dimly lit corridor, visitors have the rare opportunity to admire the gentle, luminous features and the enigmatic smile of an 18th-century woman, whose identity remains a mystery.
“We believe she is French. We don’t know who she is … but she has nonetheless become one of the faces of the 20th century,” stated Olivia Ghosh, a specialist in Old Master Paintings at Christie’s, emphasizing the painting’s significance in contemporary culture.
The artwork, a masterpiece by French artist Nicolas de Largillierre, is entitled “Portrait d’une femme, à mi-corps” (Portrait of a woman, mid-body) and is considered one of the main attractions at Christie’s prestigious Old Masters auction set for November 21. This painting not only boasts immense cultural value, but is also well-known for its connection to one of World War II’s most famous photographs.
A historic photo from May 1945 captures US soldier Anthony Terra Valim holding this remarkable painting at the bottom of a staircase within Germany’s enchanting Neuschwanstein Castle, underscoring its dramatic past.
Surrounding Valim are three other men in uniform, including Lieutenant James Rorimer, who would later become the director of New York’s esteemed Metropolitan Museum of Art. They were all members of the Monuments Men, a dedicated unit of the Allied forces tasked with recovering valuable works of art looted by the Nazis, highlighting their commitment to preserving cultural heritage during tumultuous times.
“It was thanks to this photo that this painting entered the public consciousness. It became a symbol [of Nazi-looted art],” Ghosh explained, illustrating how this singular image has had lasting cultural repercussions.
The ‘R437’ inscription on the back of the painting
The painting’s tumultuous journey began in France in the late 1930s, when it belonged to Baron Philippe de Rothschild, a notable Grand Prix driver and winegrower from a prominent family of German-Jewish bankers.
As European tensions escalated and Hitler rose to power in 1933, de Rothschild made the prudent decision to safely store several of his valuable artworks in the late 1930s, indicating foresight amidst impending turmoil.
“He entrusted several of them to the Société Générale bank in Arcachon [in southwest France], housed in two sealed boxes,” shared historian Ophélie Jouan, a recognized specialist in looted art. “Many great collectors had moved their works of art away from Paris in preparation for the war and the accompanying bombings,” she elaborated, illustrating the urgency of art preservation in that era.
After the Germans invaded France in May 1940, de Rothschild suffered significant personal loss when he was arrested by the Vichy government while in Algeria, subsequently stripped of his French citizenship. His valuable estate was placed under the control of a provisional administrator tasked with tracking the artwork sent to Arcachon. However, it wasn’t long before the Germans seized control of these artworks as well. A team from the ERR (Einsatzstab Reichsleiter Rosenberg), an agency designated to confiscate Jewish-owned cultural property, swiftly transferred the two boxes to its Paris depot at the Jeu de Paume museum.
“This is just one example where the Vichy regime tried to exercise its ‘right’ to sequestrate the cultural property of Jews who had lost their French nationality, but had to give in under pressure from the Nazis,” Jouan remarked, illustrating the complexities of art ownership during the occupation.
An inscription number on the back of de Largillierre’s painting bears witness to its dark history of being stolen by the Nazis, further corroborating the painting’s poignant backstory.
“Most people never look at the back of a painting. They think it’s of little interest, but that’s often where you discover its history,” Ghosh noted, pointing out the significance of the number on the back of the frame.
“The number ‘R437’ is what’s important. It’s the ERR number that the painting was given when it went through the Jeu de Paume depot. The R stands for Rothschild,” she explained, emphasizing its importance in provenance tracking.
Resistance fighter Rose Valland
During the Nazis’ occupation, the visit to the Jeu de Paume was closely monitored by Rose Valland, who served as the head of the museum—and played the role of a spy for the Allies.
Unbeknownst to the Nazis, Valland’s fluency in German allowed her to meticulously compile detailed lists of the artworks passing through the museum. In March 1941, she accurately noted the inventory number “R437”, and that “Portrait of a woman, half body” was being dispatched to Neuschwanstein Castle in Bavaria, reflecting her crucial role in documenting stolen art.
At war’s end, after enduring months of slow persuasion from Rorimer, she turned over her meticulously kept records to the Monuments Men.
“She played a key role in the discovery of the works at Neuschwanstein Castle by directing James Rorimer to the site as one of the ERR’s main depots,” Jouan recounted. “When Paris was liberated, she was the only person in possession of this information, which she obtained through careful deciphering and cross-checking data gathered during her clandestine surveillance on the ERR,” she added, underscoring Valland’s bravery and ingenuity.
More than 5,000 paintings and 20,000 objects stolen by the Nazis were successfully recovered from King Ludwig II of Bavaria’s fairytale castle, much to the satisfaction of the Monuments Men and Women, marking a significant victory in the fight against art theft.
De Largillierre’s portrait was finally returned to France in November 1945. Six months later, after being released from confinement by the Vichy regime, it was returned to de Rothschild, who had managed to join General de Gaulle’s Free French Forces. The painting then remained in the family’s private collection until 1978, when it was sold at auction to its current owner, who has chosen to remain anonymous.
“From a historical narrative perspective,” Jouan noted, “the painting has therefore had an ideal journey.”
“When you compare it to other works of art that were taken from France during the Occupation, it is particularly well known,” she pointed out. “This of course adds to its pedigree and therefore its value.
“So there’s a guarantee of impeccable provenance, while its tumultuous history adds an extra layer of intrigue that often resonates deeply with potential buyers,” she added.
Christie’s has experienced a surge of interest regarding the painting since it was announced for auction.
Estimated to fetch between €50,000 and €80,000, auctioneers believe the painting could even draw a significantly higher price.
“We have clients who are not usually interested in old paintings, but who are history enthusiasts,” Ghosh pointed out. “We’re not merely selling a painting by Largillierre, but also a piece of 20th-century history.”
The restitution process is far from over
Ghosh frequently encounters the reality of looted paintings in her work.
“At every auction sale, there are typically two or three paintings that may have been stolen. We have a dedicated restitution department that exclusively handles this issue,” she explained.
In December 1998, the US State Department and the Holocaust Memorial Museum hosted a landmark conference aimed at Nazi-confiscated art.
This conference led to an unprecedented wave of restitutions—a process that, according to Ghosh, is still very much ongoing.
“Often people are unaware that they own paintings that were looted during the war,” she remarked. “It’s those little numbers on the back of the paintings that tell us whether they have been stolen. We utilize internet databases to retrace the records of these artworks,” she elaborated.
One of these databases honors Valland’s name, reflecting her immense contributions to art recovery, a dedication recognized by Christie’s this year.
The sale of de Largillierre’s painting has been strategically timed to coincide with the upcoming English-language publication of Valland’s seminal 1961 book ‘The Art Front’.
Christie’s contributed to the financing of the English edition, which has been translated by Jouan and is set for launch in New York in early December.
Valland dedicates her book “to all those who fought during the last war to save a little of the beauty of the World,” paying tribute to the Monuments Men and Women, as Christie’s highlights in its introduction to the book.
It was thanks to Valland’s courage and ingenuity that de Largilliere’s portrait was ultimately saved from obscurity. Eighty years after World War II’s conclusion, the woman depicted in the portrait’s enigmatic smile continues to captivate historians and curators alike.
Ghosh expressed her belief that the portrait has yet to reveal all its secrets, asserting, “She is someone who has seen so much and who could tell extraordinary stories. You travel with her into the past, and that’s what’s so magical.”
What role did Rose Valland play in the recovery of looted artworks during World War II?
**Interview with Olivia Ghosh, Specialist in Old Master Paintings at Christie’s**
**Interviewer:** Thank you for joining us, Olivia. The portrait you’re showcasing at Christie’s has quite a fascinating history. Can you tell us a bit about the significance of “Portrait d’une femme, à mi-corps” by Nicolas de Largillierre?
**Olivia Ghosh:** Absolutely! This 18th-century painting not only captivates art lovers with its beauty but also holds pivotal historical importance. It’s become a symbol of art lost and recovered during World War II. The enigmatic subject remains unidentified, yet her presence has transcended time, making her a notable figure in 20th-century art history.
**Interviewer:** That is indeed remarkable. I hear that the painting has a connection to a historic photograph taken in May 1945, right?
**Olivia Ghosh:** Exactly! The photograph shows U.S. soldier Anthony Terra Valim holding the painting in Neuschwanstein Castle just after the war. This image underscores the dramatic context of its recovery and has played a significant role in raising awareness of Nazi-looted art.
**Interviewer:** Can you elaborate on the journey of this painting before it reached Christie’s?
**Olivia Ghosh:** Of course. The painting originally belonged to Baron Philippe de Rothschild, who managed to store it safely before the Nazi occupation. However, after the Germans invaded France, the artwork was seized. The ‘R437’ inscription on its back indicates that it was cataloged by the Nazis—a chilling marker of its tumultuous history.
**Interviewer:** The role of Rose Valland in this history is also pivotal, isn’t it?
**Olivia Ghosh:** Yes, indeed! Valland was instrumental in documenting artworks that passed through the Jeu de Paume museum. Her meticulous records helped recover many looted works, including this painting. Her efforts exemplify the bravery and determination of individuals who fought against the cultural loss during those dark times.
**Interviewer:** With such a rich history, what does the auction of this painting signify for potential buyers?
**Olivia Ghosh:** Buying this painting isn’t just an acquisition of an artwork; it’s about owning a piece of history. We’ve noticed renewed interest from collectors who may not typically focus on Old Masters, but are drawn to the story and the significance behind these artworks.
**Interviewer:** Lastly, what can you tell us about the current restitution process for looted art?
**Olivia Ghosh:** The restitution process is ongoing. At every auction, we often identify paintings that may have been stolen. We have a dedicated restitution team that works to handle these matters. The landmark conference at the Holocaust Memorial Museum in 1998 marked the beginning of renewed efforts for restitution, but there’s still a long way to go in reconciling these historical injustices.
**Interviewer:** Thank you, Olivia, for sharing these insights. It’s clear that art is not just about aesthetics but also a bearer of complex histories.
**Olivia Ghosh:** Thank you for having me! It’s vital to keep these histories alive through dialog and awareness.