Portrait looted by Nazis found in home of Dutch SS leader’s descendants

Portrait looted by Nazis found in home – A World War Two-era artwork, once part of a Jewish art dealer’s prized collection, has resurfaced in the possession of a family connected to a high-ranking Dutch Waffen-SS officer, according to an art detective. The painting, titled *Portrait of a Young Girl* by the Dutch artist Toon Kelder, had been hidden in the home of descendants of Hendrik Seyffardt for years. Arthur Brand, the investigator, revealed the discovery after being approached by a relative who felt “disgusted” to learn their ancestors had retained the piece, which was originally seized by Nazi forces during the war.

A legacy of stolen art

Jacques Goudstikker, a prominent Jewish art collector, had owned the painting before his death in 1940 while escaping the Nazi invasion of the Netherlands. His collection, which included over 1,000 works, was systematically looted by the Nazis, leaving behind a trail of cultural theft that would later be recovered by art detectives like Brand. The painting had been among these looted pieces, and its journey through the hands of various collectors and families has now been uncovered.

Brand’s investigation began after a family member, who traced their lineage to Seyffardt, shared the story of the artwork. Seyffardt, a Dutch general, was known for commanding a Waffen-SS unit on the Eastern Front before his assassination by resistance fighters in 1943. The family, who changed their name following the war, admitted to keeping the painting but claimed they were unaware of its origins. “We didn’t know it was stolen,” a relative told Dutch media. “It just became part of our home.”

Upon learning of the painting’s history, the family member sought Brand’s help, believing the only way to return it was to make the story public. “I feel ashamed,” they said to *De Telegraaf*. “The painting should be returned to the heirs of Goudstikker.” The grandmother, who had inherited the piece from her mother, added: “I received it during the war. Now that you confront me like this, I understand Goudstikker’s family wants it back. I didn’t know it was part of the looted collection.”

The hunt for lost heritage

Brand’s search for the painting led him to a crucial detail: a label on the back and the number 92 etched into its frame. This number matched an entry in the archives of a 1940 auction where Goudstikker’s collection was sold. The auction records listed *Portrait of a Young Girl* by Toon Kelder under the number 92, confirming its presence in the looted art database. Brand theorizes the painting was taken by Hermann Goering, a top Nazi figure, during Goudstikker’s flight to Britain in 1940. It then passed into Seyffardt’s hands before being handed down through his descendants.

Brand also contacted the legal representatives of Goudstikker’s heirs, who confirmed the collector had previously owned six works by Toon Kelder. These paintings, including *Portrait of a Young Girl*, were part of the 1940 auction, as per the records. The detective emphasized the significance of the find, calling it “the most bizarre case of my entire career.” “For decades, the family had the chance to return the artwork but chose not to,” he said, highlighting the moral dilemma of those who benefited from the Nazi plunder.

Historians note that the Goudstikker collection was one of the largest and most valuable art holdings to be seized during the war. It included works by renowned artists such as Picasso, Matisse, and Kelder, and its recovery has been a major focus of post-war restitution efforts. The rediscovery of *Portrait of a Young Girl* in the home of Seyffardt’s descendants adds a new layer to this story, revealing how even after the war, the legacy of Nazi looting could persist within families.

A parallel case in Argentina

The case echoes a previous discovery where a stolen painting from Goudstikker’s collection appeared in an unexpected location. In 2021, a portrait by Giuseppe Ghislandi, an Italian master, was found hanging in a Buenos Aires home listed for sale by an Argentine estate agent. The property had been owned by a senior Nazi official who fled to South America after the war. A photo of the painting above a sofa sparked a police raid, though the artwork had already been moved by the time authorities arrived.

Brand’s findings suggest a pattern in which looted art from the Goudstikker collection was quietly integrated into private collections or homes. The current discovery in the Netherlands demonstrates how such artworks can remain in the possession of descendants of collaborators, sometimes without knowledge of their origins. “This painting was part of a larger narrative of cultural theft and family legacy,” Brand remarked, underscoring the importance of uncovering these hidden histories.

The case also raises questions about the role of families in post-war restitution. Seyffardt’s descendants, while not personally guilty of wartime crimes, had the opportunity to return the artwork once they learned of its origins. “It’s a matter of responsibility,” Brand stated. “Even if they weren’t aware of its history, they now have the chance to make amends.” The painting’s return would not only correct a historical injustice but also serve as a symbolic gesture of reconciliation.

Historical records show that Goudstikker’s collection was seized by the Nazis in 1940, with many works later sold at auctions in Germany. The painting’s journey from Goudstikker to Seyffardt highlights the complex web of art theft and repatriation. Brand’s investigation has not only identified the painting’s provenance but also illuminated the ongoing impact of Nazi plunder on both art and family heritage. The detective’s work exemplifies the dedication required to track down and restore cultural treasures lost during the war.

The discovery has reignited discussions about the accountability of those who benefited from Nazi looting. While Seyffardt’s family has admitted to possessing the artwork, they emphasize their lack of knowledge about its origins. “We were just a family, not the villains of the war,” the grandmother said. “But we now understand the weight of what we kept.” Brand’s efforts have brought this case to light, offering a chance to rectify the past and return the painting to its rightful heirs.

As the story unfolds, it serves as a reminder of the enduring consequences of historical events. The *Portrait of a Young Girl* is more than a piece of art; it is a symbol of the Jewish community’s resilience and the moral responsibilities of those who came after. With its return, the painting may find a new home in a museum or gallery, ensuring its story is preserved for future generations.