lunedì 25 maggio 2015


Umberto Joackim Barbera
(De Benedetti - Segre - Levi)

For twenty years I dedicate myself to art collecting researching the works that were downgraded by the government of Marshal Petain of France ( collaborator with the Nazis ) and then stored in a salt mine by General De Gaulle , that were not looted by Hermann ReichMarschall Goering. These works of modern art, saved from destruction or looting of the war, had a really extraordinary history.

ReichMarchall Hermann Goering

The war began (1942) was promised to the Jewish communities that had given their guarantees to Bankers Jews, in favor of the resistance movement ; then, after the war (1945), they were declared destroyed by André Malreaux, Minister of Culture of the French Republic under the General De Gaulle, who thus obtained from defeated Germany compensation for war damage to the cultural heritage of the French, with whom freed debt Resistance Movement.

The Jewish Community demanded the delivery of their promises and works after the Mossad was able to find evidence of their hidden existence, the works were delivered throughout Europe in the early 1960, i.e. 15 years after the end of World War II. So the more Jewish families received non-commercial works on the market, since it's not recognizable as genuine by the respective French Foundations which would not have been able to refute the statement of the Government.

The speculative mentality of Jewish produced the idea of transforming the financial certificates works. On the one hand the works would remain in private homes as "worthless" copies "(expert system), on the other hand, the" financial Certificate "obviously correlated to an accreditation examination of authenticity of the work, would be used as a guarantee of financial plans" relating to "closed" operations to profitability no risk (purchases of foodstuffs, grains, oil already sold).

 it was a present by Claude Monet ?

This system of financial high-use repetition, would generate a monetary base more than proportional to the value of the single artwork. Was later introduced a Variant even more lucrative business: a company asking for a loan online guaranteed by certificates of artwork, then created two companies turning to it part of the claim received, so that they could receive further funding, and so on down to be in some cases more than a thousand companies in a kind of "corporate chain letters". The best-known Italian businessmen resorted to this type of financing. This type of operation was outlawed in the European market about 20 years ago, while they are still viable in other areas of the world.

Claude Monet: "La belle ìle"

When the first batches of the guarantees issued since 1942 by Jewish families began to be returned (the loan was $ 50/70 years, so the first lots were returned since 1992), and financial plans were terminated or bandits, the works were returned to be unusable and sometimes embarrassing, they began their dispersal in secondary markets of small antiques and disarredi pickers ("brocantes").

Claude Monet: "The walking tour lovers"

                               Claude Monet: "View of Vetheuil"

Get to know about this silent dispersion, I purchased in the era prior to 2005 approximately one hundred works of art coming from more Jewish families (Italian and French), in the course of dispersion in the market of small antique dealers and "brocantes", which had been under warranty works selected and important: Chagall, Cezanne, Degas, Dufy, Gauguin, Goya, Monet, van Gogh, Lautrec, Matisse, Picasso and Giacometti's statues and Modigliani.

Amedeo Modigliani: "The Man"

         Amedeo Modigliani: "A joke to discover a cross, 1909"

This is the most extraordinary treasure trove of modern art works currently in a private collection. After five years from the date of purchase of the work, it became, ex-lege, of legitimate ownership of the possessor if not claimed meanwhile.

Each work is declared to the Italian Ministry of cultural heritage, and attach the photo, then reviewed by a panel of three experts silent, and finally asking and obtaining permission to export its final (never happened, because the respective Foundations refused to give up their right of seizure in case of missed their conviction about the authenticity of the work and also without being able to test the good faith of the Commission of experts appointed by the Foundation itself).

All works were examined, cleaned or restored by accredited laboratories serious including: Nicola srl of Aramengo, study by Baba and Prof. Thierry Radelet at laboratory Persano. Most of the works have been subjected to investigation photo-techniques (UV, IR, X) and multispectral. Some works were subjected to non-invasive extraction of human biological DNA taken from organic matter (hair, skin, saliva) or contemporary on fingerprints. The conflicting opinions or provocateurs of, liable to lawsuit by the owner, they were promptly clarified and all works are contemporary to the period attributed to the artist's life and, according to some experts and art experts and calligraphers, they are absolutely authentic.
Raoul Dufy: "Friendship in Ismérie" 
(the appearance of the face of Raoul Dufy at gas lamp)

To know and share the finds, I established a company web-publishing family (Newtel s.r.l. 1996, Turin CHAMBER of COMMERCE $ c.s.versato = 10100,00) that he edited a few copies of the book "Les Tableaux retrouvés" (the non-invasive analysis performed on 45 works) and a periodical newspaper "In the product" (authorized by the Prosecutor's Office to edit on the web and via ether) which was distributed free of charge not only embarrassed art critics and skeptics gallerists.

(the rare green period of Picasso)

I also edited like Blogger (about 800,000 hits recorded by Google) and on social networks Linkedin, Facebook: search key <umberto joackim barbera> and on Twitter: @joackinder
The presentation Menu of 45 blog is at: <>

To ensure a "follow up" and a profitable film business publishing company, Newtel, I deposited SIAE 10 "script" for Tv movie of "reality-fiction", where one imagines the return of the artist from the past in order to find and authenticate his paintings lost. See: http: <>

For lovers of reading, I totally posted on Google the "script" for the film back from the past of Henri de Toulouse Lautrec looking for two great designs purchased from me, recognized by his grandson the artist and impressed so much that the former ex General Manager of the Municipality of Turin, ing. Cesare Vaciago, now General Manager Italy's Pavilion at EXPO 2015:

a)-the portrait of the Acrobat "Cha-U-Kao" (the Clowness), pigments on cotton paper in cm. 64x84, glued on cardboard, signed by a Chinese ideogram and "broche": See:<>

b)-the big picture "La Tavernetta" with dancer Jeane Avril, pigments on cotton paper cm. 119x69 ("signed" with a drawing of two pictograms that reveal the secret behind game art, designed by the artists loyal to the royalist "cause").  See: <>

After this long introduction, which is necessary to illustrate the magnitude of this twenty-year research, I would like to propose to the Minister of culture and the Jewish community of Turin, to assess whether it can affect the culture town organize a simple VIEW OF LIGHT, i.e. consisting only in image projection of "JEWISH TREASURE FOUND" in a context of a historical building made available by the municipality or by a private individual.

A VIEW of LIGHT would avoid insurance costs and heavy surveillance to ensure more revenues, and may at the same time enjoy a multimedia presentation of individual works, visible even from "i phone" and then worldwide. As to the attractiveness of such a VIEW OF LIGHT, it could be made in the area of "recoverable La Cavallerizza" and addressed to all art critics in the world ("Knights of culture") who could comment on the authenticity of works of art, wielding as a spear or halberd studying photo-technician and each work that multispectral put to them both on the web and possibly even on a Pocket-size reproduction.

Thank you.
Umberto Joackim Barbera
Owner of the "Jewish treasure"

e-mail: <>