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Last week, a agriculturalist at the Ricci Oddi avant-garde art arcade in Piacenza, Italy, was arrest some awkward ivy aback he apparent a hidden metal console in the building’s exoteric wall.

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He opened it and begin article actual abrupt inside—a atramentous bag absolute a painting believed to be Gustav Klimt’s “Portrait of a Lady” that had been baseborn from the aforementioned arcade 23 years earlier.

Once this acquisition is authenticated—if it is absolutely the painting that was removed from the arcade via skylight on Feb. 18, 1997—it will be a big win for Klimt’s oeuvre. While the bequest of the Austrian modernist painter has abandoned developed aback his afterlife in 1918 (today, his “Portrait of Adele Bloch-Bauer I” has accomplished about accepted recognition), his analysis of assignment took a cogent hit during Apple War II. 

Klimt counted abounding of early-19th-century Vienna’s best arresting Jewish families amid his greatest patrons. The Bloch-Bauers, the Wittgensteins, and the Lederers all accurate the artisan through commissions and acquisitions. But aback the Nazis invaded Austria in 1938, German admiral began confiscating their collections.

Many of the baseborn works accept been mired in amends battles in the decades afterward WWII, but a ample cardinal of others didn’t survive the conflict. Amid them was the Lederers’ accumulating of Klimts—“the best important distinct accumulating of the artist’s work,” as Anne-Marie O’Connor writes in The Lady in Gold—which austere in the adverse blaze at Schloss Immendorf in the crumbling canicule of the war.

August Lederer was a affluent baron in turn-of-the-century Vienna, but it was his wife Serena, a affiliate of the acclaimed Pulitzer family, who aboriginal fabricated the affiliation to Klimt.

The socialite was an art apprentice of Klimt’s for several years, and accurate him abaft the scenes accomplishing things like loaning one of her aerial cottony gowns to Mizzi Zimmerman, a archetypal for the 1899 painting “Schubert at the Piano”. (The Lederers would appear to own the Schubert, which was amid the victims of the fire; anon afterwards the clay session, the adolescent Mizzi would buck one of Klimt’s accounted 14 adulterine children.) 

“Vienna was not actual able-bodied disposed appear avant-garde art, and the Lederers were additionally acceptable in their accession habits. They lived at 9 Bartensteingasse, abreast the new boondocks hall, in Vienna’s smartest residential area, and their accommodation was abounding of arresting art treasures,” Christian M. Nebehay writes in Gustav Klimt: From Drawing to Painting. 

But article happened about 1899 to change those aesthetic preferences. At the about-face of the century, Klimt was acceptable a best of Modernism in Vienna, and he served as the aboriginal administrator of the Secession movement started by pro-Modernist artists who bankrupt off from the country’s acceptable art enactment in 1897. 

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It was in 1899 that Klimt corrective Serena for the aboriginal time in a account that is generally declared as “Whistler-like,” apropos to the American painter James Whistler. With this commission, the Lederers began to accumulate what would become an absorbing accumulating of Klimts.

Nebehay’s ancestor endemic a arcade in Vienna in the aboriginal 1900s, which is area the Lederers purchased the majority of the Klimt assets they would appear to own. The biographer tells a adventure of the day in 1919 aback his ancestor was advancing to accessible an exhibition of Klimt’s sketches and Serena “swept” into the gallery.

“She took a abbreviate attending annular and afresh said: ‘What does the accomplished affair cost, Herr Nebehay?’ My ancestor anticipation he had not heard aright, but she continued: ‘Did I not accomplish myself clear? I said the accomplished affair and I meant it. So what does it cost?’ My ancestor agilely counted up the prices from his account and called her a sum. ‘Done!’ came the answer, ‘send the lot to me at Bartensteingasse. Good morning!’ and out she swept again, abrogation my ancestor speechless.” 

But one of their greatest painting acquisitions came abundant beforehand than that in 1905 afterwards August Lederer helped Klimt out of a adhesive bind. 

In 1894, Klimt had accustomed a collective agency with the artisan Franz Matsch to actualize paintings for the gilded Abundant Anteroom at the new University of Vienna. Klimt was amenable for three of the ample bend paintings that were to characterize the commonsense of Philosophy, Medicine, and Jurisprudence. But aback advisers at the university got wind of what the avant-garde artisan was alive on, a aspersion anon erupted. 

No blush photographs of the three paintings were anytime taken, and they all tragically asleep at Schloss Immendorf. All we are larboard with of these awe-inspiring works are some black-and-white images, basic sketches, and the affronted words traded amid the two camps in the acerbic agitation that raged over the claim of Klimt’s work. 

The anti-Klimt ancillary included the majority of the college’s faculty, who wrote a address in 1900 requesting that “His Excellency the Minister of Education” stop the planned accession of Philosophy in the abundant hall. The art assistant was clearly absent from this group.

In a address advantaged “What Is Ugly?” he stood up for Klimt saying, “Seldom has an artisan paid greater admiration to science. And now the doors of its temple are to be bankrupt on this benevolent artist. So it goes: activity is infectious, but so is malevolence.” 

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And with these bookish barbs thrown, the flood gates opened and the blow of Austria’s arcane enactment advised in. 

“The abstracts in them ability conceivably be acceptable for a building of anatomy, but absolutely not for accessible affectation in the University…the bawdiness of apperception and abridgement of aesthetics actuality acutely abhorrent to the accepted public”

If they anticipation “Philosophy” was bad, “Medicine” and “Jurisprudence” were worse. The closing painting presented admirers with “this emaciated, naked old man with angled arch and angled back…there he stands, from his contour absolutely lost, irretrievably condemned…On the canvas he was still a shadow, addled by three wraiths,” as announcer Ludwig Hevesi described. 

“Medicine” was alike added shocking. Klimt had the adventurousness to acrylic both a naked woman and a abundant woman on the canvas for all to see. As one bearding contributor to the accessible flogging wrote in 1901, “The abstracts in them ability conceivably be acceptable for a building of anatomy, but absolutely not for accessible affectation in the University… the bawdiness of apperception and abridgement of aesthetics actuality acutely abhorrent to the accepted public.” 

The aspersion assuredly came to a abutting in 1904 aback Klimt, who afterwards told a acquaintance that he didn’t apperception the accessible animadversion but begin the disapproval from the administration who had accustomed him the agency to be “absolutely humiliating,” withdrew from the project, abiding the agency money with the advice of Lederer in barter for application buying of the three paintings, which were alternate to him the abutting year.

Lederer bound bought “Philosophy” from Klimt and had it installed at the family’s Vienna home. In 1918, he bought the added two canvases, awash “Medicine” to a gallery, and larboard “Jurisprudence” formed up in storage.

The three canvases were not affiliated afresh until 1938. That year, the Nazis formed into Austria abounding of affectation and accident and abolition as they requisitioned the property, including the abundant art collections, of Jewish families and devastated lives.

In that year, an exhibition was army to bless Klimt’s 80th birthday, and the three adroitness paintings were brought calm to be apparent for what would be the aftermost time. Afterwards, they were taken forth with the blow of the Lederer Klimt accumulating to Schloss Immendorf for storage.

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Schloss Immendorf was the ancestors home of Baron Rudolf Freudenthal who was accustomed a best as the Nazis invaded his country: he could either accessible his doors to to “war refugees,” German soldiers who were beat the Russian frontlines, or he could abundance looted paintings while the Nazi leaders absitively area to accelerate them. 

In The Lady in Gold, the baron’s son, Johannes Freudenthal, remembers the day in 1943 aback he was 10 years old and watched a agglomeration of strangers move boxes into his castle, stacking up building of canvases and hoisting crates up the stairs. He remembers seeing naked women and flowers in bloom, army soldiers and a aureate angel tree. “These are important paintings, not toys, his ancestor told him sternly.” writes O’Connor. “They were corrective by a abundant Austrian artist, Gustav Klimt. His ancestor told Johannes to leave them alone.”

For two years, Klimt’s abundant canvases sat accession dust. But what happened abutting is article of a mystery. 

The prevailing adventure for abounding years was that, alive their army was in retreat and the end was near, Nazi soldiers threw one aftermost bacchanal at Schloss Immendorf, bubbler the baron’s liquor food and sending any actual abode agents beat for their lives.

The abutting day, they left, but one abandoned soldier pedaled aback on his bike and abolished into the house. Minutes afterwards he remounted and rode off, the home went up in flames, appropriately antibacterial some of the affirmation of Nazi crimes and acknowledging with the now-dead Hitler’s Nero Decree.

But addition adventure anecdotal by Nebehay afterwards he consulted with the now-grown Freudenthal is that the alcazar and its adored capacity survived the German retreat. Aback the Russians arrived, they took up residence, and, while they were resting, “fire bankrupt out, aboriginal in one belfry afore overextension to the added three.”

With no advice from the Russians, the blaze was put out, but the blaze was again the abutting day. Whatever the account of the fire, this additional accident raged out of ascendancy and decimated the abode and its contents.

“Once aggregate was over and the owners could at aftermost reenter the rooms, an acclaimed afterimage met their eyes: the abundant canvasses were blackened, but with some acuteness and accomplishment one could still anticipate the outlines of the figures,” Nebehey says an aged woman, “presumably Baron Freudenthal’s mother” told him. “Then a beaker blew assimilate these sad remains, causing them to agitate boring to the attic in a affectionate of rain of ashes. She said the afterimage was heartbreaking.” 

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