00:00Alex, who is the videographer, who is the videographer, who is the videographer.
00:06Oh, but it's so cool.
00:09I don't know how it exists.
00:14I don't know how it exists.
00:16I don't know how it is.
00:27We have some elements of history for all these works, but we don't have the total of the
00:32history, otherwise it would be resolved.
00:35We know, for example, that the portrait of Madame Daudet by Renoir belonged to Madame
00:41Daudet until his death in 1940, then probably to his son, but we don't have the certainty.
00:46And after, we notice that she is sold.
00:49She is bought by a German merchant and she is in Germany.
00:52So there is a moment when she changes the proprietor and we don't know much about her story.
00:59It's there that we need to progress in order to determine if there was a spoliation or not,
01:04and in the case of a spoliation, we need to do that.
01:21And so, as long as we don't have established whether the portrait was spoiled or not,
01:27at which moment the transaction has happened, we can't resist it.
01:31However, if we can show that the portrait was still in the collection of Madame Daudet at the beginning of
01:37the war,
01:37but this painting will be completely restituable.
01:50We estimate that 100,000 works spolied during the conflict period, between 40 and 44,
01:57the number of works spolied by the Nazis to Jewish families.
02:01And among these 100,000 works, there are 60,000 who have been found at the end of the conflict
02:06and who have been sent to France.
02:09And in the immediate end of the war, 45,000 who have been sent to their proprietors légitimes.
02:34The act of the
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