A museum in Basel, Switzerland, said on Thursday it will compensate the heirs of the late German-Jewish textile entrepreneur Richard Semmel for a Camille Pissarro painting he was forced to sell due to Nazi persecution.

Kunstmuseum Basel said that, together with Semmel’s heirs, they decided upon the compensation payment as a “just and fair solution” regarding Pissarro’s “La Maison Rondest, l’Hermitage, Pontoise” (1875). The painting will remain a part of the museum’s permanent collection in its main building and will be displayed alongside a sign that explains the origins and history of the artwork. The exact amount of the compensation payment was not revealed.

“The Kunstmuseum is delighted to be able to retain the work in its collection and the heirs are satisfied with the solution,” the museum stated in a press release.

The Pissarro artwork was donated to the museum in early 2021. It was part of the collection of the late Dr. Klaus von Berlepsch and was set to appear as a loan in an exhibition at the museum about the famed artist. However, even before the exhibition opened, von Berlepsch decided to donate the work to the Kunstmuseum Basel. The museum and von Berlepsch were both unaware of the painting’s provenance at the time of the donation. The Swiss institution researched the painting’s provenance only after it joined the museum’s collection and “prior ownership by the Jewish entrepreneur Richard Semmel was quickly revealed,” the museum said.

Semmel owned a Berlin-based linens manufacturing company called Arthur Samulon, which he led as sole shareholder starting in 1919. In June 1933, Semmel he and his wife emigrated to the Netherlands, which was not yet under Nazi occupation. The couple had no children. Semmel himself said that he left Germany not only due to “racial” persecution by the Nazis, but also because he was accused of having ties to the Social Democratic party.

He managed to transport a large portion of his art collection of more than 100 works to the Netherlands and the Pissarro painting was sold at auction in Amsterdam in June 1933. In October of that same year, it was displayed at a gallery in Basel, where it was quickly sold to the collector Walther Hanhart. Around 1974, Hanhart passed the painting on to his daughter, who was married to von Berlepsch.

Proceeds from the sale of his art were used by Semmel to mitigate financial difficulties his linens company faced in Berlin and was also spent on salaries, debt repayments, and taxes. The Kunstmuseum Basel explained that the National Socialist Factory Cell Organization, which was a worker’s union controlled by the Nazi Party, ordered that despite a decrease in orders from Semmel’s company, no employees could be dismissed, so Semmel was forced to continue paying them and keeping the business afloat from abroad.

“From the point of view of Semmel’s heirs, the sales [of his art] were a direct consequence of Richard Semmel’s persecution, regardless of where they took place, and thus represent a loss of assets due to Nazi persecution,” according to the Kunstmuseum Basel. “Richard Semmel could not remain in Germany or could do so only at great risk to his life. He used the proceeds from the sale of his paintings to try to keep the linens business in Berlin operational. The art sale proceeds therefore flowed into the German Reich.”

“Semmel thus fought for economic control of his companies in Germany while on the run and outside the Nazis’ immediate sphere of influence, albeit in vain and most likely with no chance of success to begin with. For this reason, the Kunstmuseum and the Kunstkommission [Art Commission] agree that the heirs’ claim to the work is justified.”

In June 1939, Semmel and his wife fled again but this time to New York via Chile. They lived in the US in poverty and with poor health. After his wife’s death in 1945, Semmel was taken care of by an acquaintance from Berlin, Grete Gross née Eisenstaedt (1887-1958). As thanks, he appointed her as his sole heir. When she died in 1958, her daughter Ilse Kauffmann became Semmel’s heir. Kauffmann is now deceased and her two daughters will receive the compensation payment from the Kunstmuseum Basel.

The Swiss institution said several museums  have also determined that Semmel was forced to sell his art collection due to Nazi persecution. Some have restituted arworks to Semmel’s heirs — such as The National Gallery of Victoria, in Melbourne, Australia — and others have paid his heirs compensation for the artwork, including a Dutch museum in 2021. Kunstmuseum said that privately, there have been “numerous” out-of-court settlements with Semmel’s heirs about artwork that he formerly owned.

In 2022, a landscape painting by Claude Monet was auctioned by Christie’s for $25.5 million and portions of the sale were divided between Semmel’s heirs and a French family who are the painting’s current owners.

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