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How a Quiet Dutch Retiree Helped Uncover Nazi-Stolen Art in Argentina

FILE PHOTO: Curator Ariel Bassano addresses the media next to a portrait of Contessa Colleoni, attributed to Italian artist Giuseppe Ghislandi, an iconic painting stolen decades ago by the Nazis, following its recovery by Argentine officials after it was spotted in a real estate photo, in Mar del Plata, Argentina September 3, 2025. Photo: REUTERS/Jose Scalzo/File Photo

Dutch systems specialist Paul Post had glimpsed the notebooks that contained his father’s Nazi-era diaries before, but when he rediscovered them in an attic 15 years ago, the recent retiree finally had time to closely examine them.

Post, 74, had no idea that they would ultimately lead to Argentina, where in September the daughter of a high-ranking Nazi official was charged with concealing an 18th-century painting looted during the Holocaust.

In his diaries, Post’s father described working in the Netherlands’ diamond bureau when it was taken over by the Nazis. As Post began researching the events, one name jumped out: the Nazi official Friedrich Kadgien.

Kadgien oversaw the Nazi looting of diamonds and gold from occupied countries. Post began to follow Kadgien’s wanderings after the war, hoping to solve the mystery of the diamonds that historians say are still missing. He learned by chance that Kadgien was believed to have also possessed looted art.

The hunt led him and Dutch journalists to the peaceful residential neighborhood home of Patricia Kadgien, 60, in the seaside town of Mar del Plata in Buenos Aires province, where “Portrait of a Lady” had been hanging prominently in her living room. The reporters spotted it in a real estate listing in August.

Her attorney, Carlos Murias, told Reuters that she did not know about claims the painting had been looted from the collection of Jewish art dealer Jacques Goudstikker and she has denied having hidden it.

Nazi-related discoveries like this occasionally pop up in Argentina, which after the war received both Holocaust survivors and dozens of Nazi war criminals, including Adolf Eichmann and Josef Mengele. In February, President Javier Milei met with representatives of the Simon Wiesenthal Center, who asked for help accessing materials to investigate Nazi banking activities in Argentina. And last May, the Supreme Court announced it had found thousands of Nazi labor organization membership booklets in its basement archive.

Post’s unlikely role in the painting’s discovery underscores the complexities of finding Nazi-looted art today. An estimated 600,000 pieces were stolen from Jewish families, and more than 100,000 have never been returned.

“I’m just an amateur, I’m not a historian, nothing at all,” said Post. “I knew I was right on Kadgien.”

A FATHER’S WAR DIARIES RESURFACE

In 2010, Post’s family was cleaning out his mother’s house in Driehuis, a town just outside of Amsterdam. In the attic, they found three diaries written by his father, who died in 1976 at age 60.

In the diaries, Wim Post recounted how in 1942 the Nazis ordered the country’s diamond traders to turn over their precious stones, confiscating about 71,000 carats at the Amsterdam Diamond Exchange.

Paul Post, then recently retired from Hewlett-Packard, began visiting the Netherlands’ national archives to research the diamond confiscation. There he came across Kadgien’s name.

Shortly before Germany’s surrender in May 1945, Kadgien fled to Switzerland, where officials received a tip that he had carried out large transfers of diamonds, according to Regula Bochsler, a historian in Zurich. But in 1950, Kadgien received a visa to travel to Brazil, ultimately making his way to Buenos Aires.

Post reached out to the Dutch newspaper Algemeen Dagblad to share his father’s account of the diamond raid, and in 2015, investigative reporter Cyril Rosman published a piece about the diaries. Post later published “The Diamond Heist,” a book on the subject.

In 2020, Post noticed that the Cultural Heritage Agency of the Netherlands listed Kadgien online as possibly having possessed “Portrait of a Lady” by the Italian artist Giuseppe Ghislandi — although art historians have said the painter was likely his contemporary Giacomo Ceruti — as well as an Abraham Mignon still life. He met with the agency’s researcher Perry Schrier, and told him he had tracked Kadgien’s family to Mar del Plata. But Schrier, who confirmed he had met with Post, couldn’t help him.

“I said, ‘I think I know the location, where it could be, and that is in Argentina,’” recalled Post. “But he said, ‘Yeah, ok, it could be possible, but how can we know that it is on the wall in their homes?’”

In June 2024, Post contacted Yael Weitz, an attorney for Goudstikker’s family. In an email exchange seen by Reuters, he offered to provide leads on the two missing paintings if she could provide him with information on Kadgien. She ultimately said that her team didn’t have anything to share.

Post then turned to journalists again. Last April, he reached out to Rosman with more information on Kadgien’s post-war travels. They had tried to contact Kadgien’s daughters in Argentina through the years and Rosman asked Peter Schouten, a freelance journalist in Buenos Aires, to try again.

“We were not looking for the paintings in particular,” said Rosman. “At that time we were mostly thinking about the diamonds that were looted, so we wanted to know what happened to that.”

When Schouten rang the bell at Patricia Kadgien’s home in August, there was no answer. But he saw a for-sale sign in her yard. The reporters checked the real-estate listing and spotted the painting in one of the photos of the property. They could barely believe their luck.

“I thought, ok, is it really this simple, a picture that’s missing for 80 years is here above a couch in the living room?” said Rosman.

The day after they published a story on the painting’s discovery, police raided the home. But in the painting’s place was a tapestry of horses. Eight days later, Kadgien’s attorney handed the painting over to authorities.

Federal prosecutors have charged Patricia Kadgien, who runs a small clothing business, and her husband, Juan Carlos Cortegoso, a go-kart mechanic, with aggravated concealment and are investigating more than 20 drawings and prints, as well as two portraits, also seized from their home and from the home of Patricia’s sister in Mar del Plata.

“The attitude was to hide the painting,” the case’s prosecutor, Carlos Martinez, told Reuters. “We think that isn’t indicative of someone that doesn’t know what they have.”

COMPETING CLAIMS TO THE PAINTING

Goudstikker’s family have fought for decades to get his paintings back.

The art collector died when he fell into the hold of a boat as he was fleeing the advancing Nazis with his family in May 1940. But in a small black book, he had listed “Portrait of a Lady” along with more than 1,000 pieces in his collection.

In what historians describe as a forced sale after his death, top Nazi official Hermann Goering purchased about 800 of Goudstikker’s paintings. Weitz, the attorney who represents Goudstikker’s family, said that Goering’s associate, Alois Miedl, sold “Portrait of a Lady” to Kadgien in 1944.

The family has recovered 300 to 350 works of art, including 200 that had been mostly hanging in museums that the Netherlands agreed to return in 2006.

Charlene von Saher, Goudstikker’s granddaughter who lives in Greenwich, Connecticut, said her family informed the Kadgiens of their claim to “Portrait of a Lady” after the journalists published their story. Paolo Plebani, curator at the Accademia Carrara in Bergamo, said it is worth upwards of $100,000, but attorneys for the Goudstikker family said it is impossible to determine the value before examining the condition and confirming the artist’s identity.

“I just hope that they would be people who would feel like doing the right thing and correcting a historical injustice,” von Saher told Reuters, saying that the discovery was “like a movie.”

But Patricia Kadgien hasn’t relented. She has filed a claim in civil court that says her father’s sister-in-law bought the painting from the Wallraf-Richartz Museum in Cologne in 1943. It said the painting was “legitimately possessed” by her father and that she inherited it after he died. The museum told Reuters the painting was never part of its collection.

The claim said that she removed the painting from her home “for security reasons,” thinking she was the victim of “a virtual scam” when she started receiving calls from a journalist in August.

As for Post, he still wants to know what happened to the diamonds that were tied to Kadgien. Martinez, the prosecutor, said authorities did not find jewels of value or from the war-period in the Mar del Plata home.

Saskia Coenen Snyder, a Dutch professor of modern Jewish history at the University of South Carolina, said it is very hard to prove that Nazis took diamonds with them to South America. “I’ll give him credit for at least spending years of his time pursuing, uncovering stories and truths that not everybody wants to do or has been able to,” she said of Post. “He’s a bit of a pit bull.”

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Why I’m vibing with the pope’s first big statement

I have long been obsessed with the Vatican and the inner workings of the papacy. (I majored and did my Master’s in religious studies.) But usually other people are not as tickled as I am by analyzing the newest theological statements from the Holy See.

Not this week. Pope Leo XIV just put out his first encyclical — the term used to refer to official statements outlining the church’s stance on a topic — and it has gone viral. “Spitting fire right out the gate,” said one of many similar trending posts, as though the encyclical was a rap song.

The topic is buzzy: AI, which the pope casts as one of the greatest threats to human flourishing and morality. (The encyclical is titled “Magnifica Humanitas,” or “Magnificent Humanity” in English, if that gives you the gist.) “Humanity, created by God in all its grandeur,” it opens, “ is today facing a pivotal choice: either to construct a new Tower of Babel or to build the city in which God and humanity dwell together.”

The document notes many of the concrete risks of AI — sexual abuse, distortion of facts, job loss — and calls for pragmatic solutions. But it is, at its heart, a testament to what makes humans human, written with palpable adoration for the people of the world: our creativity, our empathy, even our weaknesses. It’s a declaration that machines can never have the ineffable qualities of God’s children.

Structuring our world around technology, Leo writes, reduces “creation to an object of exploitation and human beings to mere cogs in a system driven toward ever greater efficiency.”

Later, in a paean to the importance of deep thought over easy answers, he goes on: “The speed and ease with which answers or summaries can be obtained risk extinguishing the desire to ask questions,” he writes, calling on the world “to protect our young people from the promise of the perfect machine” and warning against rendering “human thought seemingly superfluous precisely when it is most needed.”

“Magnificatus Humanitas” is a major statement, both in length — more than 43,000 words — and in symbolism. A pope’s first encyclical indicates the issues they believe are most important to the church, and signals the likely direction of their papacy.

That direction, for Pope Leo, is to be a voice for moral leadership, writ large. He addressed the encyclical not only to Catholics or even Christians, but “to all men and women of goodwill,” and cited thinkers like Hannah Arendt and J.R.R. Tolkien alongside the Bible.

It’s a declaration of a new — or, arguably, very old — relevance for religious leaders. As people rush through our increasingly fast-paced, frantic world, striving to keep up with the newest technology or geopolitical shift affecting markets and jobs, the slow-moving, zoomed-out perspective of religious leaders seems to be more and more important.

The Vatican held massive authority both moral and military for much of Western history. But its sway faded in the modern age. As democracy rose, Christianity broke into factions and religion’s prominence weakened, leaving the Church without the same ability to bestow a divine mandate on nations and rulers.

So many modern popes have kept their sights more narrowly focused on the theological. Even Pope Francis, who was a liberal, modernizing force for the church, and spoke out strongly on topics like the environment and immigration, focused three of his four encyclicals on Christian theological concepts like the Sacred Heart and Christianity as the world’s guiding light.

Pope Leo, however, seems to have found his way to modern, secular relevance by speaking out clearly on major issues of the day. He notes that he drew inspiration for “Magnificatus Humanitas” from Pope Leo XIII, an influential pope in the late 1800s and the inspiration for the modern Leo’s own papal moniker, whose 1891 encyclical “Rerum Novarum,” on the economy and conditions of the working class, was criticized for insufficient focus on the Gospel. The current pope’s own document is remarkably concrete and political.

Making political statements isn’t new for Leo, but the encyclical canonizes his boldness into an official form. In the past few months I’ve written about the ways in which Pope Leo has used sermons and statements to directly counter those made by U.S. leaders. After Pete Hegseth made a speech implying the U.S. military is doing God’s will, the pope gave a homily saying that prayers for war cannot be heard by God. He has made strongly worded comments about the rights of immigrants as Trump announced increased ICE raids, and made a point of appointing foreign bishops in American parishes. He has refused to visit the U.S. despite the fact that he is American and has been invited numerous times, including for the nation’s 250th birthday; he is instead planning to visit an island that serves as a refugee landing point in the Mediterranean.

It’s not all that surprising that Leo is making pronouncements on the justness of wars; popes have always given commentary on the world, albeit often less pointedly. Of course, Catholics have always looked to the pope for moral leadership — though that is increasingly under question, as renegade Catholics doubt the pope. (Even J.D. Vance, a Catholic convert with a book coming out about his conversion, has warned the pope to be “careful” with his theological interpretations — a near heretical statement. That’s how Protestantism came about.) The difference today is that everybody is listening.

I think the reason is that there is a certain ineffable quality that can’t be accounted for in so much of modern-day discourse in our metrics-focused world. Everything needs to be provable with a statistical analysis or some quantifiable indicator, or it needs to be as profitable as possible to extract value. But so much of what is most valuable in the human experience is intuitive — experiences and emotions like love, joy, transcendence. Connection with each other. Religious leaders have been honing the language to talk about these qualities for centuries, and they guard one of the only arenas in which the intangible remains central.

Of course, there are also plenty of issues with religious institutions, and the Vatican in particular is famous as a site where abuses of power were hidden and protected. But “Magnifica Humanitas,” and its virality, points toward a new relationship with religion, and a newly important role for it to play.

Or maybe that’s just wishful thinking, a hope for my own increased importance as a religion reporter.

The post Why I’m vibing with the pope’s first big statement appeared first on The Forward.

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How can I live freely as a Jew in a world where strangers rip my mezuzah off my doorframe?

Twice, the mezuzah on my front door was ripped off.

The first time, I was shocked. The second time, I made a decision that still pains me. I did not put it back up.

This was before the Hamas attack of Oct. 7, 2023.

That is the part I keep coming back to. The fear did not begin after the Hamas attacks. It was already there, intruding with the quiet calculation of whether a small Jewish symbol on my home made me less safe.

A mezuzah is not a political statement. It makes no argument about a government or a war. It is a sacred object, a marker of memory, a tiny declaration that says: Jews live here. I thought about that mezuzah again recently when the Anti-Defamation League released its annual audit showing that antisemitic physical assaults in the United States reached record highs in 2025. That increase reflects something many Jews already feel in daily life: the slow erosion of ease, the daily calculation of whether to speak up or stay quiet — things I have felt since the first time my mezuzah was violently torn off my doorframe.

Since then, the realm in which I feel safe as a visibly Jewish person has been shrinking from all directions.

After the Oct. 7 attack, the bulletin boards in my apartment building began filling with calls to boycott Israel. Campaign flyers for a Jewish political candidate who came to speak there were defaced with Hitler mustaches. I learned to scan the walls before I scanned my mail.

This was not happening on a campus quad or in some distant place. It was happening where I live.

Then, among my mother’s things, I found a Star of David necklace from the 1930s — marcasite set against black onyx, delicate and old. A boyfriend had given it to her when they were both 14.

I put it on in Florida, where I spend much of my time caring for my mother. I loved wearing it. It felt like more than jewelry. It felt like inheritance, memory, and a small way of carrying my family with me.

But when my mother knew I was going back to New York, she told me to take it off.

My mother is 102. She is not easily frightened. She has lived long enough to know when the temperature in the room has changed. She was not making a political argument. She was trying to protect her daughter.

I still wear that Star of David. But I admit I am selective. In New York, there are moments when I leave it visible and moments when I tuck it under my shirt. That calculation itself tells me something about the world I am moving through.

Recently, in a private Facebook group for women essayists, I shared a personal piece I had written for the United Kingdom-based Jewish Chronicle about how Oct. 7 changed life for my mother and me. It was not a political manifesto. It was a reflection on fear, Jewish identity, aging and visibility.

And still, I was attacked by other writers.“What about Gaza?” I was asked. The message was clear: even my personal Jewish pain had to pass a political test before it could be acknowledged.

That is the narrowing.

This ugliness is coming from more than one direction now. It stems from old conspiracy theories on the right and newer moral certainties in some of the progressive spaces where I once felt most at home. Different language brings about the same result: Jews become less human, less particular, less entitled to fear.

That collapse is what frightens me most: the definitional collapse between Jew and Israeli; Israeli and Israel’s government; Jewish symbol and political provocation; mezuzah and target.

As Jews like me reckon with that collapse, we must reckon with how much we’ll go along with it.

Right now, too often, Jews are being asked to choose between our own safety and our compassion for others. We should be able to prioritize both. I am a Zionist. I believe in the right of the Jewish people to a homeland. I also believe Palestinians are human beings who deserve freedom, dignity, and protection from suffering.

These beliefs should not cancel each other out. They should make us more careful, more humane, more committed to truth.

Yet now we must choose between speaking about antisemitism and being accused of indifference to other hatreds. That is no way to live.

Since Oct. 7, I have found myself going to synagogue on Shabbat, something I never did before. I was a High Holiday Jew. Now I seek out rooms where I do not have to explain why this moment feels frightening. I have learned where I feel seen. I have learned who can hold my fear without turning it into an argument.

The mezuzah I did not put back up is small. It fits in the palm of my hand.

But what it represents is not small: memory, faith, survival, home, and the right to be visibly Jewish without fear.

When I did not put it back up, I told myself I was being practical. But now — after Oct. 7, the bulletin boards, my mother’s warning, and the explosive allegations I’ve seen travel through respected media without sufficient care or verification — I understand it differently.

I was not just protecting a doorframe. I was learning to shrink.

The post How can I live freely as a Jew in a world where strangers rip my mezuzah off my doorframe? appeared first on The Forward.

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Podcast: A lively conversation in Yiddish with actress Lea Koenig

ס׳איז לעצטנס אַרויס אַ פּאָדקאַסט מיט דער באַליבטער אַקטריסע אין ישׂראל, ליאַ קעניג, וועלכע איז הײַנט צום בעסטן באַקאַנט ווי די ייִדיש־רעדנדיקע באָבע פֿונעם פּערסאָנאַזש שלום שטיסל אין דער ישׂראלדיקער טעלעוויזיע־סעריע „שטיסל“.

אינעם שמועס באַטייליקן זיך אויך יניבֿ גאָלדבערג — דער מחבר פֿון אַ נײַער ביאָגראַפֿיע וועגן איר אויף ענגליש; דער איבערזעצער און דראַמאַטורג מיכל יאַשינסקי, און דער ייִדישער זינגער און קולטור־טוער חיים וואָלף. דעם פּאָדקאַסט האָט טראַנסמיטירט די באָסטאָנער ראַדיאָ־פּראָגראַם „דאָס ייִדישע קול“.

ליאַ קעניג גיט איבער אירע זכרונות במשך פֿון איר לאַנגער קאַריערע אין ייִדישן טעאַטער, ווי אויך אינעם העברעיִשן טעאַטער, טעלעוויזיע און קינאָ. כּדי צו הערן דעם פּאָדקאַסט, גיט אַ קוועטש דאָ.

The post Podcast: A lively conversation in Yiddish with actress Lea Koenig appeared first on The Forward.

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