Yesterday, a sumptuous portrait of a woman with a confident regard and rouged cheeks, porcelain skin, and a powdered up do reminiscent of cool whip, hit the block at Sotheby's auction house. Titled Portrait of a Lady as Pomona by the 18th century French artists Nicholas de Largilliere, the painting was less notable as a market event than for what it sale meant to its sellers. The sellers, in this case, being the twenty heirs of Jules Strauss, a pioneering German art collector.

In 2014, one of his great granddaughters Pauline Baer De Perignon began investigating the fate of his beloved artworks during World War II, including pieces by the likes of Renoir, Monet, Degas and Tiepolo. As a Jew living in Paris, Jules Strauss, like so many others of his religion faced persecution under the German occupation. While he avoided deportation, Strauss' forced to hand over a still unknown number of works to the Nazis, an ugly truth that Pauline's family chose to forget for decades.

Lady as Pomona, it so happens is the first painting from his collection to be restituted to the family. And that's thanks in large part to the tireless efforts of Pauline, detailed in her new book, The Vanished Collection. In the run-up to this week's auction, we were pleased to welcome Pauline to The Art Angle to talk to Artnet News senior writer, Sarah Cascone about the challenges of tracking downloaded art, sifting through archival records and what the quest for restitution and justice means to the families of those who lost everything during the Holocaust.