stanford-oval/wikipedia huggingface dataset:
霍亨索伦统治者列表
霍亨索伦伯爵

1379—1412：弗里德里希十世（英语：）  Friedrich X
1365—1401：弗里德里希十一世  Friedrich XI  弗里德里希十世的堂弟
1401—1426：弗里德里希十二世（英语：）  Friedrich XII  弗里德里希十一世的长子，1426年被弟弟废黜
1401—1439：埃特爾·弗里德里希一世  Eitel Friedrich I von Hohenzollern  弗里德里希十一世的次子
1439—1488：約布斯特·尼庫勞斯一世（英语：）  Jobst Nikolaus I
1488—1512：埃特爾·弗里德里希二世（英语：）  Eitel Friedrich II
1512—1517：沃爾夫岡 （德语 ： ） Wolfgang von Hohenzollern in Haigerloch 埃特尔·弗里德里希二世长子，在海格尔洛赫
1517—1536：克里斯托福·弗里德里希  Christoph Friedrich von Hohenzollern in Haigerloch  沃尔夫冈之子，在海格尔洛赫
1512—1538：约阿希姆 Joachim 埃特尔·弗里德里希二世次子，在黑钦根
1538—1558：约布斯特·尼库劳斯二世  Jobst Nikolaus II    约阿希姆之子
1512—1525：埃特爾·弗里德里希三世 Eitel Friedrich III 埃特尔·弗里德里希二世第三子
1525—1576：卡尔一世  Karl I    埃特尔·弗里德里希三世长子，1534年得到锡格马林根與凡林根，1552年統轄凡爾施泰因，1558年得到海格尔洛赫和黑钦根。
1576年，霍亨索伦分为霍亨索伦-黑钦根、霍亨索伦-锡格马林根和霍亨索伦-海格尔洛赫。
霍亨索伦伯爵 > 霍亨索伦-黑欽根伯爵

1576—1605：埃特爾·弗里德里希一世（英语：）  Eitel Friedrich I von Hohenzollern-Hechingen    卡尔一世第四子
1605—1623：約翰·格奧爾格（英语：）  Johann Georg    埃特尔·弗里德里希一世之子，1623年成为帝国侯爵
1623年，霍亨索伦-黑钦根成为侯国。
霍亨索伦伯爵 > 霍亨索伦-锡格马林根伯爵

1576—1606：卡尔二世 Karl II von Hohenzollern-Sigmaringen     卡尔一世第五子
1606—1623：约翰  Johann   卡尔二世长子，1623年成为帝国侯爵
1623年，霍亨索伦-锡格马林根升为侯国。
霍亨索伦伯爵 > 霍亨索伦-海格尔洛赫伯爵

1576—1592：克里斯托夫  Christof von Hohenzollern-Haigerloch    卡尔一世第六子
1592—1620：约翰·克里斯托夫  Johann Christoph    克里斯托夫长子，无嗣
1620—1634：卡尔  Karl    克里斯托夫次子，无嗣
1634年霍亨索伦-海格尔洛赫绝嗣，归于霍亨索伦-锡格马林根。
霍亨索伦-黑興根侯爵

1623年：约翰·格奥尔格
1623年—1661年：埃特爾·弗里德里希二世（英语：） Eitel Friedrich II 约翰·格奥尔格次子
1661年—1671年：菲利普·克里斯托夫·弗里德里希  Philipp Christoph Friedrich    约翰·格奥尔格第六子
1671年—1735年：弗里德里希·威廉  Friedrich Wilhelm   菲利普·克里斯托夫·弗里德里希之子
1735年—1750年：弗里德里希·路德维希（英语：）  Friedrich Ludwig    弗里德里希·威廉之子
1750年—1798年：約瑟夫·腓特烈·威廉  Josef Friedrich Wilhelm    弗里德里希·路德维希的堂弟
1798年—1810年：赫尔曼·玛利亚·弗里德里希·鄂圖  HERMANN Maria Friedrich Otto   约瑟夫·腓特烈·威廉的侄子
1810年—1838年：弗里德里希·赫爾曼·奧托  FRIEDRICH Hermann Otto  赫尔曼之子
1838年—1869年：腓特烈·威廉·康斯坦丁·赫爾曼·塔西洛  Friedrich Wilhelm KONSTANTIN Hermann Thassilo   腓特烈之子，无嗣
1849年12月7日，霍亨索伦-黑興根并入普鲁士王国，1869年，霍亨索伦-黑钦根绝嗣。
霍亨索伦-锡格马林根侯爵

1623年—1638年：约翰
1638年—1681年：邁因拉德一世  Meinrad I   约翰之子
1681年—1689年：馬克西米利安（英语：）  Maximilian   迈因拉德一世长子
1689年—1715年：邁因拉德二世·卡爾·安東（英语：）  Meinrad II Karl Anton  马克西米利安长子
1715年—1769年：约瑟夫·腓特烈·恩斯特·邁因拉德·卡爾·安東  Josef Franz Ernst Meinhard Karl Anton   迈因拉德二世长子
1769年—1785年：卡爾·腓特烈·利奥波德·约瑟夫  Karl Friedrich Leopold Joseph  约瑟夫·弗朗茨·恩斯特长子
1785年—1831年：安東·阿洛伊斯·邁因拉德·弗朗茨  Anton Alois Meinrad Franz   卡尔·弗里德里希第八子
1831年—1848年：卡爾·安東·腓特烈·邁因拉德·菲德里斯  KARL Anton Friedrich Meinrad Fidelis   安东·阿洛易斯的独子，1848年逊位
1848年—1869年：卡爾·安東·約阿希姆·澤菲林努斯·弗里德里希·邁因拉德  KARL ANTON Joachim Zephyrinus Friedrich Meinrad   卡尔的长子，1869年成为霍亨索伦亲王
1849年12月7日，霍亨索伦-锡格马林根并入普鲁士王国。1869年，霍亨索伦-黑钦根绝嗣，霍亨索伦-锡格马林根侯爵成为霍亨索伦亲王。
霍亨索伦-锡格马林根侯爵 > 霍亨索伦-海格尔洛赫伯爵（第二次分封）

1681—1702：弗朗茨·安东  Franz Anton    迈因拉德一世第九子
1702—1750：斐迪南·利奥波德·安东  Ferdinand Leopold Anton   弗朗茨·安东长子
1750—1767：弗朗茨·安东·克里斯托夫  Franz Anton Christoph   弗朗茨·安东次子
1767年霍亨索伦-海格尔洛赫归于锡格马林根。
霍亨索伦-锡格马林根侯爵 > 霍亨索伦亲王

1869年—1885年：卡尔·安东
1885年—1905年：利奥波德·施特凡·卡尔·安东·古斯塔夫·爱德华·塔西洛  LEOPOLD Stephan Karl Anton Gustav Eduard Tassilo  卡尔·安东长子，1869年成为西班牙王位的继承人，未登基。罗马尼亚国王卡罗尔一世是他的弟弟。罗马尼亚国王斐迪南是他的次子。
1905年—1927年：威廉·奥古斯特·卡尔·约瑟夫·彼得·斐迪南·本笃  WILHELM August Karl Joseph Peter Ferdinand Benedikt   利奥波德的长子，罗马尼亚国王斐迪南的长兄。
1927年—1965年：弗里德里希·维克多·庇护·亚历山大·利奥波德·卡尔·泰奥多尔·斐迪南  FRIEDRICH Viktor Pius Alexander Leopold Karl Theodor Ferdinand   威廉的长子
1965年—2010年：弗里德里希·威廉·斐迪南·约瑟夫·玛利亚·曼努埃尔·格奥尔格·迈因拉德·菲德里斯·本笃·米迦勒·胡贝尔特  FRIEDRICH WILHELM Ferdinand Joseph Maria Manuel Georg Meinrad Fidelis Benedikt Michael Hubert   弗里德里希的长子
2010年至今：卡尔·弗里德里希·埃米希·迈因拉德·本笃·菲德里斯·玛利亚·米迦勒·格洛尔德  KARL FRIEDRICH Emich Meinrad Benedikt Fidelis Maria Michael Gerold   弗里德里希·威廉的长子
卡尔·弗里德里希的继承人：亚历山大·弗里德里希·安东尼乌斯·约翰  ALEXANDER Friedrich Antonius Johann   卡尔·弗里德里希的长子
亚历山大的继承人：阿洛伊斯·玛利亚·弗里德里希·卡尔  ALOYS Maria Friedrich Karl   亚历山大的堂弟
相关条目

霍亨索伦王朝
霍亨索伦-锡格马林根
霍亨索伦城堡
纳粹劫掠

1944年，在羅馬威尼斯宫一德國士兵拿著一幅取自拿坡里國立考古博物館由喬瓦尼·保羅·帕尼尼（英语：）繪的《波旁王朝的查理三世在羅馬的奎里納萊咖啡館拜訪教皇本篤十四世》（Carlo III di Borbone che visita il papa Benedetto XIV nella coffee-house del Quirinale a Roma）畫作。
纳粹劫掠艺术品（德語：），是納粹德國盜竊藝術品及其他物品的有組織搶劫行為。特別是掠奪波蘭和猶太人的財產。掠奪從1933年開始，從沒收德國猶太人的財產開始，直到二戰結束。除了金銀外，還掠奪各重要文化物品，包括繪畫、陶瓷、書籍、宗教珍品，特別是被稱為「藝術保護（英语：）」的軍事單位「盜取」最多。
已隱藏部分未翻譯内容，歡迎參與。
背景

Adolf Hitler was an unsuccessful artist who was denied admission to the Vienna Academy of Fine Arts. Nonetheless, he thought of himself as a connoisseur of the arts, and, in Mein Kampf, he ferociously attacked modern art as degenerate, including Cubism, Futurism, and Dadaism, all of which he considered the product of a decadent 20th-century society. In 1933 when Hitler became Chancellor of Germany, he enforced his aesthetic ideal on the nation. The types of art that were favored among the Nazi party were classical portraits and landscapes by Old Masters, particularly those of Germanic origin. Modern art that did not match this was dubbed degenerate art by the Third Reich and all that was found in Germany's state museums was to be sold or destroyed. With the sums raised, the Führer's objective was to establish the European Art Museum in Linz. Other Nazi dignitaries, like Reichsmarschall Hermann Göring and Foreign Affairs minister von Ribbentrop, were also intent on taking advantage of German military conquests to increase their private art collections.
掠奪猶太人

The systematic dispossession of Jewish people and the transfer of their homes, businesses, artworks, financial assets, musical instruments, books, and even home furnishings to the Reich was an integral component of the Holocaust. In every country controlled by Nazis, Jews were stripped of their assets through a wide array of mechanisms and Nazi looting organizations.
出售從德國博物館沒收的藝術品

Art dealers Hildebrand Gurlitt, Karl Buchholz, Ferdinand Moeller, and Bernhard Boehmer set up shop in Schloss Niederschonhausen, just outside Berlin, to sell a cache of near-16,000 paintings and sculptures which Hitler and Göring removed from the walls of German museums in 1937–1938. They were first put on display in the Haus der Kunst in Munich on 19 July 1937, with the Nazi leaders inviting public mockery by two million visitors who came to view the condemned modern art in the Degenerate Art Exhibition. Propagandist Joseph Goebbels in a radio broadcast called Germany's degenerate artists "garbage". Hitler opened the Haus der Kunst exhibition with a speech. In it, he described German art as suffering "a great and fatal illness".
公開焚燒藝術品

Hildebrand Gurlitt and his colleagues did not have much success with their sales, mainly because art labeled "rubbish" had small appeal. So, on 20 March 1939, they set fire to 1,004 paintings and sculptures and 3,825 watercolors, drawings, and prints in the courtyard of the Berlin Fire Department, an act of infamy similar to their earlier well-known book burnings. The propaganda act raised the attention they hoped. The Basel Museum in Switzerland arrived with 50,000 Swiss francs to spend. Shocked art lovers came to buy. What is unknown after these sales is the number of paintings kept by Gurlitt, Buchholz, Moeller, Boehmer, and later sold by them to Switzerland and America—ships crossed the Atlantic from Lisbon—for personal gain.
瑞士的公開拍賣和私人拍賣

The most notorious auction of Nazi looted art was the "degenerate art" auction organized by Theodor Fischer on 30 June 1939 at the Grand Hotel National in Lucerne, Switzerland. The artworks on offer had been "de-accessioned" from German museums by the Nazis, yet many well known art dealers participated alongside proxies for major collectors and museums. In addition to public auctions, there were many private sales by art dealers. The Commission for Art Recovery has characterized Switzerland as "a magnet" for assets from the rise of Hitler until the end of World War II. Researching and documenting Switzerland's role "as an art-dealing centre and conduit for cultural assets in the Nazi period and in the immediate post-war period" was one of the missions of the Bergier Commission, under the directorship of Professor Georg Kreis.
藝術品盜竊調查組

On 21 November 1944, at the request of Owen Roberts, William J. Donovan created the Art Looting Investigation Unit​（德语） (ALIU) within the OSS to collect information on the looting, confiscation, and transfer of cultural objects by Nazi Germany, its allies and the various individuals and organizations involved; to prosecute war criminals and to restitute property. The ALIU compiled information on individuals believed to have participated in art looting, identifying a group of key suspects for capture and interrogation about their roles in carrying out Nazi policy. Interrogations were conducted in Bad Aussee, Austria.
藝術品盜竊調查組 > ALIU報告

The ALIU Reports detail the networks of Nazi officials, art dealers, and individuals involved in the Hitler's policy of spoliation of Jews in Nazi-occupied Europe. The ALIU's final report included 175 pages divided into three parts: Detailed Interrogation Reports (DIRs), which focused individuals who played pivotal roles in German spoliation; Consolidated Interrogations Reports (CIRs); and a "Red Flag list" of people involved in Nazi spoliation. The ALIU Reports form one of the key records in the US Government Archives of Nazi Era Assets
藝術品盜竊調查組 > ALIU報告 > 詳細情報報告

The first group of reports detailing the networks and relations between art dealers and other agents employed by Hitler, Göring, and Rosenberg are organized by name: Heinrich Hoffmann, Ernst Buchner, Gustav Rochlitz, Gunter Schiedlausky, Bruno Lohse, Gisela Limberger, Walter Andreas Hofer, Karl Kress, Walter Bornheim, Hermann Voss, and Karl Haberstock.
藝術品盜竊調查組 > ALIU報告 > 綜合審訊報告

A second set of reports detail the art looting activities of Göring (The Goering Collection), the art looting activities of the Einsatzstab Reichsleiter Rosenberg (ERR), and Hitler's Linz Museum.
藝術品盜竊調查組 > ALIU報告 > ALIU紅旗名稱列表

The Art Looting Intelligence Unit published a list of "Red Flag Names", organizing them by country: Germany, France, Switzerland, The Netherlands, Belgium, Italy, Spain, Portugal, Sweden, and Luxembourg. Each name is followed by a description of the person's activities, their relations with other people in the spoliation network and, in many cases, information concerning their arrest or imprisonment by Allied forces.
苏联

To investigate and estimate Nazi plunder in the USSR during 1941 through 1945, the Soviet State Extraordinary Commission for Ascertaining and Investigating the Crimes Committed by the German-Fascist Invaders and Their Accomplices was formed on 2 November 1942. During the Great Patriotic War and afterward, until 1991, the Commission collected materials on Nazi crimes in the USSR, including incidents of plunder. Immediately following the war, the Commission outlined damage in detail to 64 of the most valuable Soviet museums, out of 427 damaged ones. In the Russian SFSR, 173 museums were found to have been plundered by the Nazis, with looted items numbering in the hundreds of thousands.
After the dissolution of the USSR, the Government of the Russian Federation formed the State Commission for the Restitution of Cultural Valuables to replace the Soviet Commission. Experts from this Russian institution originally consulted the work of the Soviet Commission, yet continue to catalog artworks lost during the war museum by museum. 截至2008年 (2008-Missing required parameter 1=month!), lost artworks of 14 museums and the libraries of Voronezh Oblast, Kursk Oblast, Pskov Oblast, Rostov Oblast, Smolensk Oblast, Northern Caucasus, Gatchina, Peterhof Palace, Tsarskoye Selo (Pushkin), Novgorod, and Novgorod Oblast, as well as the bodies of the Russian State Archives and CPSU Archives, were cataloged in 15 volumes, all of which were made available online. They contain detailed information on 1,148,908 items of lost artworks. The total number of lost items is unknown so far, because cataloging work for other damaged Russian museums is ongoing.
Alfred Rosenberg commanded the so-called ERR, which was responsible for collecting art, books, and cultural objects from invaded countries, and also transferred their captured library collections back to Berlin during the retreat from Russia. "In their search for 'research materials' ERR teams and the Wehrmacht visited 375 archival institutions, 402 museums, 531 institutes, and 957 libraries in Eastern Europe alone". The ERR also operated in the early days of the blitzkrieg of the Low Countries. This caused some confusion about authority, priority, and the chain of command among the German Army, the von Rippentropp Battalion and the Gestapo, and as a result of personal looting among the Army officers and troops. These ERR teams were, however, very effective. One account estimates that from the Soviet Union alone: "one hundred thousand geographical maps were taken on ideological grounds, for academic research, as means for political, geographical and economic information on Soviet cities and regions, or as collector's items".
波蘭

条目：World War II looting of Poland
After the occupation of Poland by German forces in September 1939, the Nazi regime committed genocide against Polish Jews and attempted to exterminate its upper classes as well as its culture. Thousands of art objects were looted, as the Nazis systematically carried out a plan of looting prepared even before the start of hostilities. 25 museums and many other facilities were destroyed. The total cost of German Nazi theft and destruction of Polish art is estimated at 20 billion dollars, or an estimated 43 percent of Polish cultural heritage; over 516,000 individual art pieces were looted, including 2,800 paintings by European painters; 11,000 paintings by Polish painters; 1,400 sculptures; 75,000 manuscripts; 25,000 maps; 90,000 books, including over 20,000 printed before 1800; and hundreds of thousands of other items of artistic and historical value. Germany still has much Polish material looted during World War II. For decades, there have been negotiations between Poland and Germany concerning the return of the looted Polish property.
奥地利

条目：Nazi storage sites for art during World War II
The Anschluss (joining) of Austria and Germany began on 12 March 1938. Looting of Jewish properties began immediately.  Churches, monasteries, and museums were home to many pieces of art before the Nazis came but after, the majority of the artwork was taken. Ringstrasse, which was a residence for many people but as well as a community center, was confiscated and all of the art inside as well. Between the years 1943 and 1945, salt mines in Altaussee held the majority of Nazi looted art. Some from Austria and others from all around Europe. In 1944, around 4,700 pieces of art were then stored in the salt mines.
Führermuseum

条目：Führermuseum
After Hitler became Chancellor, he made plans to transform his home city of Linz, Austria, into the Third Reich's capital city for the arts. Hitler hired architects to work from his own designs to build several galleries and museums, which would collectively be known as the Führermuseum. Hitler wanted to fill his museum with the greatest art treasures in the world and believed that most of the world's finest art belonged to Germany after having been looted during the Napoleonic and First World wars.
Hermann Göring collection

The Hermann Göring collection, a personal collection of Reichsmarschall Hermann Göring, was another large collection including confiscated property, consisted of approximately 50 percent of works of art confiscated from the enemies of the Reich. Assembled in large measure by art dealer Bruno Lohse, Göring's adviser, and ERR representative in Paris, in 1945, the collection included over 2,000 individual pieces including more than 300 paintings. The US National Archives and Records Administration's Consolidated Interrogation Report No. 2 states that Göring never crudely looted, instead he always managed "to find a way of giving at least the appearance of honesty, by a token payment or promise thereof to the confiscation authorities. Although he and his agents never had an official connection with the German confiscation organizations, they nevertheless used them to the fullest extent possible."
納粹儲存的掠奪物品

The Third Reich amassed hundreds of thousands of objects from occupied nations and stored them in several key locations, such as Musée Jeu de Paume in Paris and the Nazi headquarters in Munich. As the Allied forces gained advantage in the war and bombed Germany's cities and historic institutions, Germany "began storing the artworks in salt mines and caves for protection from Allied bombing raids. These mines and caves offered the appropriate humidity and temperature conditions for artworks." Well known repositories of this kind were mines in Merkers, Altaussee, and Siegen. These mines were not only used for the storage of looted art but also of art that had been in Germany and Austria before the beginning of the Nazi rule. Degenerate art was legally banned by the Nazis from entering Germany, and so ones designated were held in what was called the Martyr's Room at the Jeu de Paume. Much of Paul Rosenberg's professional dealership and personal collection were so subsequently designated by the Nazis. Following Joseph Goebbels's earlier private decree to sell these degenerate works for foreign currency to fund the building of the Führermuseum and the wider war effort, Hermann Göring personally appointed a series of ERR approved dealers to liquidate these assets and then pass the funds to swell his personal art collection, including Hildebrand Gurlitt. With the looted degenerate art sold onward via Switzerland, Rosenberg's collection was scattered across Europe. Today, some 70 of his paintings are missing, including: the large Picasso watercolor Naked Woman on the Beach, painted in Provence in 1923; seven works by Matisse; and the Portrait of Gabrielle Diot by Degas.
掠奪猶太書籍

One of the things Nazis sought after during their invasion of European countries was Jewish books and writings. Their goal was to collect all of Europe's Jewish books and burn them. One of the first countries to be raided was France, where the Nazis took 50,000 books from the Alliance Israélite Universelle; 10,000 from L'Ecole Rabbinique, one of Paris's most significant rabbinic seminaries; and 4,000 volumes from the Federation of Jewish Societies of France, an umbrella group. From there, they went on to take a total of 20,000 books from the Lipschuetz Bookstore and another 28,000 from the Rothschild family's personal collection, before scouring the private homes of Paris and coming up with thousands of more books. After sweeping France for every Jewish book they could find, the Nazis moved on to the Netherlands where they would take millions more. They raided the house of Hans Furstenberg, a wealthy Jewish banker and stole his 16,000 volume collection; in Amsterdam, they took 25,000 volumes from the Bibliotheek van het Portugeesch Israelietisch Seminarium; 4,000 from Ashkenazic Beth ha- Midrasch Ets Haim; and 100,000 from Bibliotheca Rosenthaliana. In Italy, the central synagogue of Rome contained two libraries, one was owned by the Italian Rabbinic College and the other one was the Jewish community Library. In 1943, the Nazis came through Italy, packaged up every book from the synagogue, and sent them back to Germany.
掠奪猶太書籍 > 即時後果

更多：United States restitution to the Soviet Union
The Allies created special commissions, such as the MFAA organization to help protect famous European monuments from destruction and, after the war, to travel to formerly Nazi-occupied territories to find Nazi art repositories. In 1944 and 1945, one of the greatest challenges for the "Monuments Men" was to keep Allied forces from plundering and "taking artworks and sending them home to friends and family"; When "off-limits" warning signs failed to protect the artworks the "Monuments Men" started to mark the storage places with white tape, which was used by Allied troops as a warning sign for unexploded mines. They recovered thousands of objects, many of which had been pillaged by the Nazis.
The Allies found these artworks in over 1,050 repositories in Germany and Austria at the end of World War II. In summer 1945, Capt. Walter Farmer became the collecting point's first director. The first shipment of artworks arriving at Wiesbaden Collection Point included cases of antiquities, Egyptian art, Islamic artifacts, and paintings from the Kaiser Friedrich Museum. The collecting point also received materials from the Reichsbank and Nazi-looted, Polish, liturgical collections. At its height, Wiesbaden stored, identified, and restituted approximately 700,000 individual objects, including paintings and sculptures, mainly to keep them away from the Soviet Army and wartime reparations.
The Allies collected the artworks and stored them in collecting points, in particular the Central Collection Point in Munich until they could be returned. The identifiable works of art, that had been acquired by the Germans during the Nazi rule, were returned to the countries from which they were taken. It was up to the governments of each nation if and under which circumstances they would return the objects to the original owners.
When the Munich collection point was closed, the owners of many of the objects had not been found. Nations were also unable to find all the owners or to verify that they were dead. There are many organizations put in place to help return the stolen items taken from the Jewish people. For example: Project Heart, the World Jewish Restitution Organization, and the Conference on Jewish Material Claims Against Germany. Depending on the circumstances, these organizations may receive the art works in lieu of the heirs.
到今天的影響

Approximately 20 percent of the art in Europe was looted by the Nazis, and there are well over 100,000 items that have not been returned to their rightful owners. The majority of what is still missing includes everyday objects such as china, crystal, or silver. The extent to which looted art was taken was seen according to Spiegler as, "The Nazi art confiscation program has been called the greatest displacement of art in human history." the end of World War II, "The United States Government has estimated that German forces and other Nazi agents before and during World War II had seized or coerced the sale of one fifth of all Western art then in existence, approximately a quarter of a million pieces of art." Because of such wide displacement of Nazi looted art from all over Europe, "to this day, some tens of thousands of artworks stolen by the Nazi's have still not been located."
Some objects of great cultural significance remain missing, though how much has yet to be determined. This is a major issue for the art market, since legitimate organizations do not want to deal in objects with unclear ownership titles. Since the mid-1990s, after several books, magazines, and newspapers began exposing the subject to the general public, many dealers, auction houses, and museums have grown more careful about checking the provenance of objects that are available for purchase in case they are looted. Some museums in the US and elsewhere have agreed to check the provenance of works in their collections.
In addition to the role of courts in determining restitution or compensation, some states have created official bodies for the consideration and resolution of claims. In the UK, the Spoliation Advisory Panel advises the Department for Culture, Media and Sport on such claims. IFAR, a not-for-profit educational and research organization, maintains a database of looted art.
In 2013, the Canadian government created the Holocaust-era Provenance Research and Best-Practice Guidelines Project, through which they are investigating the holdings of six art galleries in Canada.