Despite efforts by a reunited Germany to regulate "pending property issues", cultural heritage institutions are still having to address questions of museum ethics: Is it right that nationalized property dating from 1945–1990 forms part of public collections? What kinds of dispossessions took place? Who were those involved? When and under what circumstances did the objects make their way into public collections? From where? These questions are of cross-border interest. Confiscated private collections and items of uncertain origin from the "Museumsfonds der DDR" (East Germany's museum stock), were exchanged for foreign currency on the international art market. One of the functions of the German Lost Art Foundation is to investigate the confiscations of cultural goods in the Soviet Occupation Zone and East Germany, an area of research it has been facilitating since 2017.

The aim of disputes over property looted during the National Socialist era is to find a 'just and fair solution'. But what are 'just and fair solutions'? And how do you investigate cases of Nazi-looted property? This new kind of publication presents approaches to such cases and the development of solutions. 'Alternate history' elements such as Leonardo da Vinci's " Formula of Invisibility" , Antonio Vivaldi's composition " The Five Seasons" , or a map from 5 , which mentions a new continent called " America" for the first time are starting points for examining and resolving the cases. The Venetian cases thus provide bridges between art, history, law and ethics. They are accompanied by aspects and models of solutions, as well as a sample restitution agreement.

The first volume in the Provenire publication series of the Deutsches Zentrum Kulturgutverluste (German Lost Art Foundation) presents the findings and experiences of provenance research on National Socialist looted assets in Germany. Supported by ten years of research funding, it is a compilation of materials collected by German institutions that preserve cultural heritage. The publication is arranged encyclopedically by location and by the individuals involved or affected by National Socialist plundering of cultural property. It shows provenance research’s investigative methods to be a dynamic field of research, focusing on the institutional histories of the organizations as well as on the activities and networks of the players. Various research approaches in museums, libraries and archives are represented, as well as the diversity of the "just and fair solutions" that have subsequently come about, as called for by the "Washington Principles."

Despite efforts by a reunited Germany to regulate "pending property issues", cultural heritage institutions are still having to address questions of museum ethics: Is it right that nationalized property dating from 1945–1990 forms part of public collections? What kinds of dispossessions took place? Who were those involved? When and under what circumstances did the objects make their way into public collections? From where? These questions are of cross-border interest. Confiscated private collections and items of uncertain origin from the "Museumsfonds der DDR" (East Germany's museum stock), were exchanged for foreign currency on the international art market. One of the functions of the German Lost Art Foundation is to investigate the confiscations of cultural goods in the Soviet Occupation Zone and East Germany, an area of research it has been facilitating since 2017.

The aim of disputes over property looted during the National Socialist era is to find a 'just and fair solution'. But what are 'just and fair solutions'? And how do you investigate cases of Nazi-looted property? This new kind of publication presents approaches to such cases and the development of solutions. 'Alternate history' elements such as Leonardo da Vinci's " Formula of Invisibility" , Antonio Vivaldi's composition " The Five Seasons" , or a map from 5 , which mentions a new continent called " America" for the first time are starting points for examining and resolving the cases. The Venetian cases thus provide bridges between art, history, law and ethics. They are accompanied by aspects and models of solutions, as well as a sample restitution agreement.

The first volume in the Provenire publication series of the Deutsches Zentrum Kulturgutverluste (German Lost Art Foundation) presents the findings and experiences of provenance research on National Socialist looted assets in Germany. Supported by ten years of research funding, it is a compilation of materials collected by German institutions that preserve cultural heritage. The publication is arranged encyclopedically by location and by the individuals involved or affected by National Socialist plundering of cultural property. It shows provenance research’s investigative methods to be a dynamic field of research, focusing on the institutional histories of the organizations as well as on the activities and networks of the players. Various research approaches in museums, libraries and archives are represented, as well as the diversity of the "just and fair solutions" that have subsequently come about, as called for by the "Washington Principles."