Through An Italian Looking Glass

Restituted paintings, particularly a stormy scene from the life of St Clare, light up Christie’s, as Dürer poses a riddle it is natural, I suppose, to

- Huon Mallalieu

It is natural, I suppose, to experience a little twinge of sadness on learning that the heirs to a restituted work of art have immediately put it on the market; natural, but unfair. One can know nothing of the family’s present circumstances, still less of motives or individual tastes. Indeed, they may have no personal relationship, as it were, with the object, having been separated from it two or more generations ago.

Harry Fuld (1872–1932) was perhaps lucky to die when he did, on a business trip to Switzerland. Descended from antique dealers, he had made his own fortune in what has become known as telecommunications and was a major collector of Modern and some older art. His widow and sons inherited the collections, which were confiscated and sold off by the Nazis. After the war, his heirs had only limited success in getting back what should have been theirs and it is only subsequent generations that have had their rights recognised. The two paintings that turned out to be the stars of Christie’s main London Old Master sale in December had been returned to the family earlier last year.

Peter Harry Fuld (1921–62), the younger of the two sons, was so affected by his experiences as an emigrant and refugee, which included a spell of internment on the Isle of Man, that he set up a foundation to support young emigrants in London and Germany who face racial and other discrimination. Perhaps some of the proceeds from the sale will be directed to this.

The two predella panels were painted in tempera and gold by a Sienese master, Giovanni di Paolo (about 1399–1482). A predella is a run of four or more small scenes below the main subjects of an altarpiece—in this case, an altar dedicated to St Clare, the companion of St Francis of Assisi.