dealer Wildenstein was phenomenally successful. A 1998 profile of the family in Vanity Fair magazine asserted that his wealth was estimated at more than $5 billion. "His fortune," the magazine stated, "was the only one of that magnitude ever made in the art market." Like his father, Daniel Wildenstein established a reputation as a scholar and art historian. He revised and enlarged the catalogues published by his father and began work on his own projects, investing in the acquisition of archival material and establishing the Wildenstein Institute to issue catalogues raisonné which became the authority for authenticating the works of major French artists. His five-volume catalogue raisonné of the work of Claude Monet was published between 1976 and 1992. His two-volumes on Édouard Manet appeared in 1976 and 1977, those on Gustave Courbet in 1977 and 1977, and a book on Paul Gauguin in 2001. He acted as editor-in-chief of the Gazette des Beaux-Arts from 1963 and in 1971 was elected a member of the Académie des Beaux-Arts. Although he officially retired in 1990, Wildenstein is reported to have maintained a close control over the running of the business. The number of Wildenstein galleries around the world shrank in his later years until it contained only two: Wildenstein & Co. and PaceWildenstein, both in New York. PaceWildenstein was established in 1993 as a joint venture with the Pace Gallery to deal in contemporary art. The collaboration came to an end in 2010. In 1999 Wildenstein published a series of his interviews entitled Marchand d’Art. Controversies Andre Malraux Wildenstein & Co reopened in Paris after the Second World War but they ended their operations there in the early 1960s after the French minister of culture, Andre Malraux, publicly accused Georges Wildenstein of bribing a ministry official to authorize the export and sale abroad of Georges de La Tour's painting The Fortune Teller. The case never went to court and Daniel Wildenstein subsequently accused Malraux of being motivated by malice. Nazi confiscations More recently Wildenstein & Co has become embroiled in a number of controversies connected with the Nazi confiscation of art works during the Second World War, and with the nature of Georges Wildenstein's relationship with the German regime at that time. In May 2000 the Wildensteins lost a court case they had brought in Paris against the art historian Héctor Feliciano, whose book, The Lost Museum: The Nazi Conspiracy to