The TED-CIVS database lists the paintings and drawings (TED = tableau et dessin) mentioned in files submitted by families to the CIVS. The aim is to centralize information on the works contained in the files and make sure they are readily available.
The TED-CIVS database has been created in order to respond to the various requests addressed to the CIVS by researchers, lawyers, auction houses and other institutions. It is updated quarterly, in partnership with the Mission for Research and Restitution of Cultural Property Spoliated between 1933 and 1945.
The TED-CIVS database provides a summary of information on each work contained in a file.
All works mentioned in a file are entered in the database, including those that have already been returned. The aim is to provide the most comprehensive view possible of each spoliation.
The TED-CIVS database does not include sculptures, as there are no requests from researchers on this subject. It does not include engravings, which are numerous and not easily identifiable, except in specific cases: outstanding collections, distinctive features and rare pieces.
The TED-CIVS database does not cite the sources used. The information comes from CIVS files. To investigate further and identify the sources, it is necessary to consult the file. In the specific case of collections spoliated by the ERR or MNR works, the data in the files have been supplemented by information from the corresponding websites.
Information about the column headings
Possible typology: Painting (implied: oil painting), drawing, watercolour, gouache, pastel.
If nothing is specified in the file, the word [ Painting ] has been entered.
For a national School, the adjective is written in lower case; where schools for artists are concerned, the name appears in upper case.
Examples: École espagnole, or École de FRAGONARD.
Spellings of artists’ names used in the TED-CIVS database are taken from the website of the Bibliothèque Nationale de France (data.bnf.fr) and the Joconde database, maintained by the Ministry of Culture, which contains the collections of the Museums of France.
Can vary widely and be more or less descriptive, but is always quite short.
Example: Portrait of a Man, Mountain Landscape, Woman Standing against a Balustrade.
The century in Roman numerals, the exact year [ yyyy ], or the precise date [ dd/mm/yyyy ].
Example: 1885 or XVII (implied: century).
This is additional information concerning the description, the appearance of the work, the technique used and the frame.
Example: Woman in White in front of a Mirror from the Waist up; after a work by XXX; signed bottom left; drawing in charcoal and chalk; round drawing; antique gilded wooden frame.
Dimensions are given in centimeters, Height x Width where possible, Large format or Small format.
Concerns looted art galleries. These numbers are taken from documents provided by the looted galleries.
Photographs of works found in the file or provided by the family, in the RBS, BA-ERR if it is an ERR site, MNR or Linz site, in a catalogue, etc.
This indicates: the place where the spoliation took place and a date. The date of spoliation can be very broad (between June 1940 and the end of 1944), or specific. It also indicates the following additional information: the date of purchase, former collection X, the place and date of the spoliation, the date of restitution or the path the work followed during and after the war
The term used for the spoliation is [ Removed ]
Example: Purchased in 1932 from Galerie Dupont; removed from the home, 7 rue des Bûcherons, 78100 Saint-Germain-en-Laye, in June 1942; returned on 1948/07/23
Concerns collections spoliated by the ERR and the Möbel Aktion
See the Cultural Plunder - Database of Art Objects at the Jeu de Paume website, under the Browse Art Owners section.
The ERR inventory number is composed of the initials of the spoliation victim and a number.
Example: KRA 61
or the Linz number, which is composed of a single number but is distinguished by the prefix “Linz”
Example: Linz 3362.
Works found in occupied territory following the war are grouped and numbered. This number can be found on the ERR forms. It is preceded by the letter M for Munich, W for Wiesbaden, etc.
This directory was published by France after the war. It contains the lists of works sought by the victims of spoliation. This column shows the (unique) number, found in the row header, as well as the RBS volume. (Do not record the second number, the OBIP (Office of Private Property and Interests) file number.)
The RBS and information on its design and use can be found at:
At the end of the war, many works recovered in Germany were repatriated to France. Most of them were returned to their dispossessed owners. Some were sold by the Land Offices, while others were placed in the safekeeping of the national museums.
If the work claimed by the family is a MNR work, see the Rose-Valland site - Musées Nationaux Récupération (National Museums for Recovery). It provides information that can be used to complete the History column.
Terms used: Repatriated (In France, after the war), Returned (implied: by the State), Recovered (by the family, after investigation, arrangement with a museum, etc.). If the work appears to have been returned without a return form, or confirmation from the family, [ Returned?] is recorded.
Specific case: if the entry appears on a pale green background, this means that the restitution took place subsequent to compensation by the CIVS.
Details provided by the family. First enter the term [ OBS:]
OBS: the two works by Mané-Katz were given to the applicant’s parents by the artist.
OBS: Sonia and Robert Delaunay were friends of the family.
OBS: photograph of a similar painting in the file.
Reconciliations or research hypotheses contained in the file and for which the results are unclear or negative. First enter the term [ HYP:]
If there is a correspondence hypothesis between a work that is sought and a MNR, a hypothesis formulated by the family or the SMF (Museums of France department), it is recorded in the Hypothesis column.
Specific case concerning the HYP: working hypothesis formulated by the CIVS when creating TED.
Other Important Cultural Property.
Example: sculptures, books, engravings, pianos, violins, 1930s furniture or period furniture.