Provenance research
Reconstruction of an artwork's succession of owners, gaps included, which conditions title, sale and the ability to insure without reserve.
As a painting passes from hand to hand, each owner leaves a trace: a label on the back, an estate inventory, a gallery letter, a sale catalog. Provenance research puts these pieces end to end. The years 1933 to 1945 have been the auction houses' checkpoint since the Washington Principles of 1998, which call for just solutions for looted art. The Gurlitt case is the reminder: in 2012, Augsburg prosecutors seized more than a thousand works from a collector's Munich apartment. A gap in provenance during that period does not prove looting, but it prevents anyone from ruling it out. For the insurer the issue is title. A fine art policy covers the object against damage and theft, generally not a third party's claim of ownership. When it is covered at all, it falls under title insurance, written only after proper research.
Textbook case: a Geneva dealer prepares to sell a landscape from 1912. His file shows a Viennese owner in 1930, then nothing until a Zurich gallery in 1951. He commissions research: the inventory of a forced sale in 1939 lists the picture. The sale is suspended and the file opened with the heirs.
artwork provenance check, provenance research, chain of ownership of a painting, ownership history of an artwork
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One letter a week. First, the week's underwriting note, when one is published: a dated, argued decision, signed by Paul Bernardski. Then what the observatory published on cyber risk, political risk and insurance. No account, no tracking.
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