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              <text>[page 1]&#13;
&#13;
Récupération artistique en zone soviétique.&#13;
Visite à Karlshorst le 18 mai 1949&#13;
&#13;
En compagnie de Monsieur Barillot, Chef du Service français des Restitutions en zone soviétique, du Capitaine Verneau et de Mr. De Vojod, interprète de Russe, nous avons été reçu par le Colonel Ovtschimnikow qui dirige la Division Réparations &amp; Restitutions en zone soviétique, par Mr. Neditech, Chef des Services Restitutions &amp; Réparations soviétiques dans les zones alliées et par les Capitaines Ignatiew et Olendar appartenant à la même organisation.&#13;
Mon intention en allant à Karlshorst était de demander aux Soviétiques la restitution des différentes œuvres d'art que nous leur avions signalées comme étant d'origine française. Tous ces objets d'art avaient été nettement situés par nos recherches, soit à Berlin, soit en zone soviétique et les adresses de localisation étaient portées sur les « Claims » officiels adressés à Karlshorst.&#13;
&#13;
I. Affaire des œuvres d'art de la Reichsbank&#13;
&#13;
Mes premières questions portèrent sur les œuvres d'art enlevées de France par le Dr. Funk, ancien président de la Reichsbank. Il s'agissait d'une centaine de pièces importantes, statues, peintures, meubles, tapisseries, argenteries, qui avaient été mises à l'abri dans les caves blindées de cet important immeuble construit par Hitler dans la Kurstrabe et qui est devenu actuellement le siège du Stadtkontor, établissement financier sous Contrôle soviétique.&#13;
Un interrogatoire du Dr. Fuhl, directeur de la Reichsbank, m'avait apporté la confirmation que jusqu'à la bataille de Berlin les œuvres d'art étaient intactes et avaient été mises en sécurité dans les caves blindées de ce bâtiment.&#13;
&#13;
[page 2]&#13;
&#13;
D’après lui le pillage de ces chambres fortes, d’un système de sécurité, très moderne, était aussi impossible que leur destruction par bombardements.&#13;
Au cours d’une visite que je fis, il y a quelques mois, au Stadtkontor pour essayer d’obtenir l’autorisation de pénétrer jusqu’à des dépôts souterrains, je fus reçue par un officier soviétique qui, pris au dépourvu par mes questions, n’opposa aucun démenti. Au cours de la même entrevue, je constatai qu’il y avait sur le mur de son bureau, derrière son fauteuil, une des tapisseries que nous réclamions. Ce fut sans doute pour cette raison qu’il admit avec une certaine gène, mais très nettement, qu’il devait encore rester des tapisseries françaises dans cet immeuble. Seule réponse précise qui me fut faite d’ailleurs.&#13;
Malgré ces différentes certitudes que nous possédions sur la main mise des Soviétiques sur les œuvres d’art que nous recherchions à la Reichsbank, il nous fut répondu par Mr. Ignatiew à notre entretien du 18 mai, qu’en dépit des nombreuses recherches faites par son service, aucun des objets que nous réclamions n’avaient été retrouvés. Que les caves avaient été atteintes par les bombardements (ce qui est absolument inexact, les caves sont intactes) et que les fouilles entreprises dans les décombres avaient été très difficiles et n’avaient données aucun résultat.&#13;
Cette dernière excuse, inventée pour les besoins de leur cause montre la détermination des Soviétique de ne rien nous restituer de cet ensemble de grande valeur. Nous croyons savoir d’ailleurs que la plupart des objets précieux trouvés par les Russes à la Reichsbank ont été transportés à Karlshorst il y a quelques temps déjà et nous pouvons supposer que ce transport n’était qu’une première étape avant la Russie, où à l’heure actuelle doivent se trouver la plupart des œuvres d’art emportées de France par le Dr. Funk.&#13;
&#13;
[page 3]&#13;
&#13;
II. œuvres d'art de Göring à Karinhall&#13;
&#13;
Dans la conversation qui suivit notre première explication les Soviétiques parlèrent avec éloquence de la difficulté de retrouver les œuvres d'art spoliées dans leur pays ; ils me demandèrent de les aider à récupérer ce qui avait été pris chez eux et chez nous. Bien entendu, je leur répondis que je ferai de mon mieux.&#13;
Je profitai de cette proposition pour leur dire que je me rendrai volontiers à Karinhall où je pourrai les aider en leur désignant les œuvres d'art d'origine française qui s'y trouvaient encore.&#13;
Le ton de la conversation changea aussitôt et le Colonel Ovtsonimnikow ne répondit simplement qu'il examinerait les nouveaux claims que nous lui adressions. Il s'agit de quelques pièces très lourdes et de valeur secondaire que nous n'avons pu évacuer précédemment par nos propres moyens. – Cette façon d'éluder notre collaboration quand elle parait devoir arriver à des restitutions effectives éclaire une fois de plus le désir soviétique de nous tenir à l'écart de ces recherches et de ces restitutions d'œuvres d'art dans leur zone.&#13;
&#13;
III. Statues de Rodin prises en France par Breker et par Hitler&#13;
&#13;
J'attendais surtout de ces conversations de Karlshorst un éclaircissement sur le sort des statues de Rodin que nous savions depuis plusieurs mois emportées par les Soviétiques à Moscou.&#13;
On se souvient de cette affaire qui a fait l'objet d'un rapport confidentiel.&#13;
Ne pouvant ramener directement ces deux statues, Le Penseur et L'homme qui marche dans le secteur français de Berlin je les avais fait transporter dans le dépôt d'œuvres d'art de Potsdam où dès leur arrivée elles avaient été signalées aux Soviétiques par les allemands responsables comme été propriétés françaises. Au même moment nous remettions aux Services du Colonel Ovtschimnikow un claim officiel réclamant leur restitution.&#13;
&#13;
[page 4]&#13;
&#13;
Après cette démarche j’avais pu savoir que par deux fois des officiers soviétiques du Service Restitutions étaient allés les voir au dépôt de Potsdam et qu’enfin ces statues avaient été expédiées clandestinement à Moscou.&#13;
Nous attendions donc avec le plus grand intérêt les explications soviétiques. Voici ce qui nous fut répondus (sic) :&#13;
Tout d’abord que notre réclamation ne pouvait être exacte, le Penseur de Rodin étant à Paris. Je confirmai qu’il y avait bien en effet une fonte de cette statue au Musée Rodin ; mais que deux autres fontes n’en étaient pas moins authentiques et que les bronzes de Potsdam étaient des originaux.&#13;
Cette discussion esthétique terminée, M. Ignatiew repris la parole pour nous déclarer tout simplement que ces deux statues n’avaient pas été retrouvées.&#13;
L’histoire que ces deux Rodin que nous avons suivi avec attention depuis le moment où ils ont été déclarés à Karlshorst jusqu’à leur départ en Russie, me parait avoir une valeur symbolique pour illustrer les intentions des Soviétiques en matière de Restitutions d’œuvres d’art et leur sens très particulier de la propriété.&#13;
&#13;
IV. Drapeaux emportés de France par Blücher&#13;
&#13;
Après la discussion sur les deux Rodin j’espérai que connaissant eux-même (sic) la vérité et pouvant supposer que nous la connaissions également (puisque les sanctions avaient été prises contre des allemands et des officiers soviétiques sous le prétexte qu’ils avaient renseignés les français sur la présence de ces statues à Potsdam ; ce qui était d’ailleurs inexact pour les coupables désignés), les Soviétiques seraient amenés céder sur la demande suivante qui est pour nous de la plus grande importance. &#13;
Il s’agissait de récupérer quelques trois cents drapeaux que nous avions retrouvés le Colonel Druène et moi-même au cours de la mission que nous avions effectuée en zone soviétique au début de l’année 1946.&#13;
&#13;
[page 5]&#13;
&#13;
Là encore notre espoir s’est trouvé déçu et pourtant depuis le moment où ces trophées avaient été identifiés nous les avions réclamés constamment aux Soviétiques qui nous en avaient toujours promis la restitution.&#13;
&#13;
A notre demande renouvellée (sic) le 18 Mai, il nous fut répondu que le Capitaine Ignatiew, qui fut cependant présent à chacune des visites que je fis à Karlshorst où il fut régulièrement question de ces drapeaux.&#13;
« Nous regrettons beaucoup, mais ces drapeaux n’ont pas été retrouvés ! » je m’étonnai et j’insistai en disant que nous les avions découverts nous-même à Weidmannsheil au cours d’un mission officielle. « C’est sans doute », nous fut il répondu, « parce que ces drapeaux ont été détruits depuis cette époque, comme tout ce qui appartenait aux différents Musées de l’Armée et pouvait rappeler aux allemands leur passé militaire. Cette destruction fut effectuée en vertu d’accords quadripartites pris au Conseil de Contrôle ! »&#13;
Réponse tendancieuse qui montre tout d’abord la mauvaise volonté soviétique pour toute espèce de restitution à la France, même quand il s’agit d’objets sans valeur pour eux.&#13;
D’autre part les décisions du Conseil de Contrôle, telles que les Russes, comme les autres alliées, doivent les connaître portaient sur la destruction d’objets militaires non soumis à restitution. Mais surtout cette réponse est inexacte car nous savons de source sure, que contrairement aux affirmations soviétiques, les drapeaux n’ont pas été détruits à Weidmannsheil et qu’ils ont été transférés dans [un] autre dépôt que nous connaissons, mais dont [nous] n’avons j’amais mentionné le nom au cours de cette conversation, en faisant semblant de croire et d’accepter les explications données.&#13;
&#13;
Notre seul espoir de rentrer un jour en possession de ces précieux souvenirs militaires et que nous arrivions à les enlever clandestinement. Ce sera difficile car ils se trouvent fort éloignés à l’intérieur de la zone.&#13;
&#13;
[page 6 ]&#13;
&#13;
V. Restitutions de tapisseries&#13;
&#13;
La suite de notre entretien avec les Soviétiques porta sur la réclamation des 18 tapisseries que j'ai retrouvées au début de cette année dans le Secteur soviétique de Berlin. Elles sont détenues par l'ancienne galerie d'art Quantmeyer &amp; Eicke, devenue aujourd'hui propriété du peuple.&#13;
Les Soviétiques ont été alertés depuis plusieurs mois par un claim en demandant la restitution.&#13;
En réponse à notre appel le Capitaine Ignatiew insista à nouveau sur la difficulté qu'il y aurait à retrouver et à reprendre ces Gobelins. Je lui rétorquais encore une fois que ces tapisseries étaient bien à l'adresse indiquée et que l'acheteur lui-même avait reconnu leur origine française. – Des recherches, finit-il par dire seront entreprises.&#13;
Cependant malgré cette assurance verbale nous avons toutes raisons de craindre que ces dix huit tapisseries anciennes ne soient définitivement perdues.&#13;
Notre expérience des procédés soviétiques en matière de restitutions artistiques nous fait déplorer que ces tapisseries aient été signalées aux Services de Karlshorst. A la suite du rapt des deux Rodin, notre intention était de ne plus leur faire connaître aucun localisation d'œuvres d'art ; mais par le jeu normal de nos services administratifs cette découverte fut communiquée par la Commission de Récupération artistique à l'office des Biens et Intérêts privés qui crut devoir les réclamer officiellement.&#13;
&#13;
Ce qui est tout à fait regrettable car nous perdons ainsi l'espoir de les récupérer d'aucune manière. Jusqu'à ce jour aucune restitution officielle ne nous a été consentie par les Soviétiques et nous nous sommes malheureusement aperçu que leur réclamer une œuvre d'art servait uniquement à éveiller leur intérêt et à la leur désigner comme de bonne prise.&#13;
&#13;
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              <text>PAGE 1 : « Égalité  Tous les Français sont égaux devant la loi » Vérité paraît banale tant elle est naturelle. En effet, solidarité, impuissance des hommes isolés, Ce besoin les uns des autres, base de leur égalité. Existe d’homme à homme, non d’homme à femme Pourtant, Egalité de droits entre hommes basée, non sur une complète similitude de facultés physiques ou intellectuelles ; Mais sur l’équivalence des services rendus. Ce qui se dit de l’homme en particulier, peut-il se dire de l’être humain en général ? Si vraiment dans la variété humaine, la femme reçoit plus de services qu’elle n’en rend, l’inégalité de droits est justice, mais, si les services rendus valent les services reçus droits égaux nécessaire [sic]. Or qui oserait dire que la mission de la femme est moins grande, moins utile que celle de l’homme ? Ici, non la femme dans l’avenir ; non au point de vue de ce qu’elle pourrait apporter de forces nouvelles à la société ou dans l’état mais simplement dans la famille. Soins, éducation des enfants, souvent travail aussi long, aussi pénible que le mari, ajouté à ces occupations ; administration du ménage et ces mille [illisible] ; Ces soins de tous les instants pour le père, pliant sous le poids de la fatigue ou du souci, En un mot, il y a au moins égalité de charges et de services. L’égalité de devoirs appelle l’égalité de droits :  Pas de devoirs sans droits, pas de droits sans devoirs. PAGE 2 : « Division Dans notre revendication pour la femme nous la considérons comme personne humaine, comme membre du corps social, comme citoyenne. Et à tous ces points de vue, nous devons avoir l’appui des travailleurs car notre cause est la leur, leurs intérêts sont les nôtres. Instruction : Artisan, industriel, savant ou artiste, instruction nécessaire non seulement à la satisfaction personnelle ; mais, industrie, science, et arts bénéficiant de la supériorité de l’ouvrier : et la femme compagne de l’homme, éducation des enfants, ne recevrait pas cette instruction ? Egalité dans le bien-être – Femme recevant à travail égal salaire dérisoire. Code Inégalités de fortune, de facultés, de force physique disparaissent derrière la loi pour l’homme – femme assimilée aux interdits et aux fous Annihilée comme pers. politique Réserves sur cette question vu l’ignorance actuelle de la femme Ce n’est donc qu’au point de vue intellectuel et civil que nous revendiquons pour la femme l’égalité. PAGE 3 : « Egalité intellectuelle La femme y a-t-elle droit, lui est-elle utile, la demande-t-elle ? Le juste toujours utile, l’utile toujours juste. En effet comme fille, études élémentaires, activité Femme retenir au foyer le père de ses enfants : mère institutrice […] Mais j’ai surtout le droit de vous demander, Messieurs, sur quelles expériences vous basez vos opinions Deux graines semblables ; différence de culture ; différence de résultat. D’ailleurs, plus l’esprit de la femme serait différent de celui de l’homme plus il aurait besoin de l’instruction qui bien dirigée corrige l’inégalité des facultés au lieu de la fortifier comme les bonnes lois remédient à l’inégalité naturelle des moyens de subsistance. Pour moi, je crois assez volontiers à cette inégalité ; c’est à dire égalité synonyme d’équivalence, non de similitude, et je n’en demande pas moins l’éducation égale, car dit Legouvé, de même que d’aliments semblables l’homme et la femme tirent pour de les assimiler les substances qui lui viennent à leur nature particulière de même ils ne profiteront pas de la même manière d’une leçon dont ils profiteront tous deux. »</text>
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                <text>MUSEA_EX06_H09</text>
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        <src>https://musea-archive.univ-angers.fr/files/original/f73836894c522271ba46da3444c6748c.jpg</src>
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      <name>Still Image</name>
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          <name>Original Format</name>
          <description>The type of object, such as painting, sculpture, paper, photo, and additional data</description>
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              <text>Crayon de couleur et pastel</text>
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              <text>20 X 30 cm</text>
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          <name>Location</name>
          <description>The location of the interview</description>
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              <text>Mais-Encore – CESAME, Ste Gemmes sur Loire</text>
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        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Sans titre</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Sylvaine</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>2003</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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                <text>Droits réservés</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>Image</text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Illustration</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>image/jpeg </text>
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            <name>Abstract</name>
            <description>A summary of the resource.</description>
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                <text>Sans titre, Sylvaine, 2003, crayon de couleur et pastel, 20 x 30 (cm), Ste Gemmes sur Loire, Mais-Encore – CESAME, © droits réservés. </text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>MUSEA_EX06_H23</text>
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