By Ethan Ashley
The decision to reject the appeal of an American couple rendered by the Paris court of appeals this past week represents the latest chapter in interpreting the laws surrounding art restitution, and illustrates the problems of blurry provenance and misconducted investigations.
The case involves the 1887 painting by French impressionist Camille Pissarro entitled La Cueillette des Pois or equally La Récolte des Pois (The Pea Harvest). The painting was seized by the French authorities in May of 2017 from the Musée Marmottan Monet, consigned at the Beaux-Arts Academy for the remainder of the trial, and subsequently restituted in November 2017 to the heirs of Simon Bauer (see our previous article on French art restitution law here).
Time to upgrade?
Thank you for your continued interest in our work. Support our efforts and become a premium member to enjoy unlimited access to the Center's articles and archived events!Already a premium member? Sign in
Or, become a premium member for unlimited access