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Three Japanese sliding door paintings from the 1893 World's Columbian Exposition in Chicago were found in a park district storage facility, the city announced Wednesday.

The paintings, known as fusama, are attributed to Japanese artist Hashimoto Gaho. They were believed to be missing or destroyed after the fair.

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Its death sentence came down in a public courtroom, but the priceless estate of the Corcoran Gallery of Art is being divvied up under a cloak of secrecy.

Museum-goers who grew up with Rembrandt Peale’s portrait of George Washington and George Inness’s landscapes don’t know if these and other treasures from the city’s oldest private museum will hang on the walls of the National Gallery of Art or at one of the Smithsonian museums — or if they will be consigned to a storage facility.

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Five architectural firms are on the shortlist to design the Louvre’s new storage facility, planned to open near the museum’s satellite in Lens, northern France. Corinne Vezzoni & Assoc and Zig Zag architecture, both from France, Neutelings Riedijk Architecten from the Netherlands, Roger Stirk Harbour + Partners from the UK and Estudio Arquitectura Baeza from Spain were chosen from 173 applicants.

In September 2013, then-minister of culture Aurélie Filippetti announced that the Louvre would move works held in a basement storage area on the banks of the River Seine due to the risk of flooding.

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John Marciari first spotted the painting among hundreds of other works carefully filed in pullout racks in a soulless cube of a storage facility in New Haven, Connecticut. He was then, in 2004, a junior curator at Yale University’s renowned Art Gallery, reviewing holdings that had been warehoused during its expansion and renovation. In the midst of that task, he came upon an intriguing but damaged canvas, more than five feet tall and four feet wide, which depicted St. Anne teaching the young Virgin Mary to read. It was set aside, identified only as “Anonymous, Spanish School, seventeenth century.”

“I pulled it out, and I thought, ‘This is a good picture. Who did this?’” says Marciari, 39, now curator of European art and head of provenance research at the San Diego Museum of Art.
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