Nazi plunder
Nazi plunder (
Jewish property was looted beginning in 1933 in Germany and was a key part of
Many of the artworks looted by the Nazis were recovered by the Allies' Monuments, Fine Arts, and Archives program (MFAA, also known as the Monuments Men), following the war; however many of them are still missing or were returned to countries but not to their original owners. An international effort to identify Nazi plunder which still remains unaccounted for is underway, with the ultimate aim of returning the items to their rightful owners, their families, or their respective countries.
Background
Plunder of Jews
The systematic dispossession of Jewish people and the transfer of their homes, businesses, artworks, financial assets, musical instruments,[8] books, and even home furnishings to the Reich was an integral component of the Holocaust.[9][10] In every country controlled by Nazis, Jews were stripped of their assets through a wide array of mechanisms[1][2][3] and Nazi looting organizations.[4][5][6][11]
Public auctions and private sales in Switzerland
The most notorious auction of Nazi
Nazi looting organizations
The Nazis plundered cultural property from Germany and every occupied territory, targeting Jewish property in particular[15] in a systematic manner with organizations specifically created for the purpose, to determine which public and private collections were most valuable. Some were earmarked for Hitler's never realized Führermuseum, some went to other high-ranking officials such as Hermann Göring, and others were traded to fund Nazi activities.
In 1940, an organization known as the Einsatzstab Reichsleiter Rosenberg für die Besetzten Gebiete (
Other Nazi looting organizations included the
Art collections from prominent Jewish families, including the Rothschilds, the Rosenbergs, the Wildensteins,[19] and the Schloss Family, were the targets of confiscations because of their significant value. Also, Jewish art dealers sold art to German organizations—often under duress, e.g., the art dealerships of Jacques Goudstikker, Benjamin and Nathan Katz,[20] and Kurt Walter Bachstitz. Also, non-Jewish art dealers sold art to the Germans, e.g., the art dealers De Boer[21] and Hoogendijk[21] in the Netherlands.
By the end of the war, the Third Reich amassed hundreds of thousands of cultural objects.
Art Looting Investigation Unit
On 21 November 1944, at the request of
ALIU reports and index
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.[24] 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.[22] The ALIU Reports form one of the key records in the US Government Archives of Nazi Era Assets[25]
Detailed Intelligence Reports (DIR)
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:
Consolidated Interrogation Reports (CIR)
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.
ALIU List of Red Flag Names
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.[23][27]
Soviet Union
After the initiation of
To investigate and estimate Nazi plunder in the
After the
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".[30] 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 Ribbentrop 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".[30]
Poland
After the occupation of Poland by German forces in September 1939, the Nazi regime committed genocide against Polish Jews[31] and attempted to exterminate the Polish upper classes as well as its culture.[32] 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.[33] 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.[34]
Austria
The
Führermuseum
After Hitler became Chancellor, he made plans to transform his home city of
Hermann Göring collection
The
Nazi storage of looted objects
The Third Reich amassed hundreds of thousands of objects from occupied nations and stored them in several key locations, such as
Plunder of Jewish books
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
Immediate aftermath
The Allies created special commissions, such as the
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
The Allies collected the artworks and stored them in collecting points, in particular the
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.
Later developments
Although most of the stolen artworks and antiques were documented, found, or recovered "by the victorious Allied armies [...] principally hidden away in salt mines, tunnels, and secluded castles",
Pieces of art looted by the Nazis can still be found in Russian/Soviet[49] and American institutions: the Metropolitan Museum of Art revealed a list of 393 paintings that have gaps in their provenance during the Nazi Era, the Art Institute of Chicago has posted a listing of more than 500 works "for which links in the chain of ownership for the years 1933–1945 are still unclear or not yet fully determined." The San Diego Museum of Art[50] and the Los Angeles County Museum of Art[51] provide lists on the internet to determine if art items within their collection were stolen by the Nazis.
After the conference, the
In 1979, two paintings, a Renoir, Tête de jeune fille, and a Pissarro, Rue de village, appeared on Interpol's "12 Most Wanted List", but, to date, no-one knows their whereabouts (ATA Newsletter, Nov. '79, vol. 1, no. 9, p. 1. '78, 326.1–2). The New Jersey owner has asked the International Foundation for Art Research (IFAR) to republish information about the theft, with the hope that someone will recognize the paintings. The owner wrote IFAR that, when his parents emigrated from Berlin in 1938, two of their paintings "mysteriously disappeared". All of their other possessions were shipped from Germany to the US via the Netherlands, and everything except the box containing these two paintings arrived intact. After World War II, the owner's father made a considerable effort to locate the paintings but was unsuccessful. Over the years, numerous efforts have been made to recover them, articles have been published, and an advertisement appeared in the German magazine, Die Weltkunst, 15 May 1959. A considerable reward has been offered, subject to usual conditions, but there has been no response.
However, restitution efforts initiated by German politicians have not been free of controversy, either. As the German law for restitution applies to "cultural assets lost as a result of Nazi persecution, "which includes paintings that Jews who emigrated from Germany sold to support themselves,
In 2010, as work began to extend an
From 2013 up to 2015, a committee researched the collection of the Dutch Royal family. The committee focussed on all objects acquired by the family since 1933 and which were made prior to 1945. In total, 1,300 artworks were studied. Dutch musea had already researched their collection in order to find objects stolen by the Nazis. It appeared that one painting of the forest near Huis ten Bosch by the Dutch painter Joris van der Haagen came from a Jewish collector. He was forced to hand the painting over to the former Jewish bank Lippmann, Rosenthal & Co. in Amsterdam,[62] which collected money and other possessions of the Jews in Amsterdam. The painting was bought by Queen Juliana in 1960. The family plans to return the painting to the heirs of the owner in 1942, a Jewish collector.[63]
Effects of Nazi looting today
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.[64] 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."[65]: 298 At 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."[65]: 298 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 Nazis have still not been located."[65]: 299
Some objects of great cultural significance remain missing, though how much has yet to be determined. This is a major issue for the
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.[67] IFAR, a not-for-profit educational and research organization, maintains a database of looted art.[68]
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.[69]
1992 International Archives for the Women's Movement discovery
On 14 January 1992, historian Marc Jansen reported in an article in
2012 Munich artworks discovery
In early 2012, roughly 1,500 pieces of art were discovered at the home of
2014 Nuremberg artworks discovery
In January 2014, researcher Dominik Radlmaier of the city of Nuremberg announced that eight objects had been identified as lost art with a further 11 being under strong suspicion. The city's research project was started in 2004 and Radlmaier has been investigating full-time since then.[74]
2015 Wałbrzych, Poland rumored armored train
In Wałbrzych, Poland two amateur explorers—Piotr Koper and Andreas Richter—claimed to have found a rumored armored train believed to be filled with gold, gems, and weapons. The train was rumored to be sealed in a tunnel in the closing days of World War II. Only 10% of the tunnel has been explored because much it has collapsed. Finding the train would be an expensive and complicated operation involving a lot of funding, digging, and drilling. However, to support their claims the explorers said experts have examined the site with ground-penetrating, thermal, and magnetic sensors that picked up signs of a railway tunnel with metal tracks. The explorers requested 10% of the value of whatever is within the train if their findings are correct. Poland's deputy culture minister, Piotr Zuchowski, said he was "99 percent convinced" that the train had finally been found, but scientists claim that the explorers' findings are false.[75]
Jewish Digital Cultural Recovery Project
The Jewish Digital Cultural Recovery Project (JDCRP) is a comprehensive database that focusses on the Jewish-owned art and cultural objects plundered by the Nazis and their allies from 1933 to 1945. The JDCRP was initiated in May 2016 by the Conference on Jewish Material Claims Against Germany in collaboration with the Commission for Art Recovery.[76] Their goal was to further expand on the existing database of objects stolen by the Reichsleiter Rosenberg Taskforce (Einsatzstab Reichsleiter Rosenberg), one of the primary Nazi agencies involved with the plunder of cultural artifacts in Nazi-occupied nations during World War II.[77]
This data on Jewish objects looted during WWII provides a deeper understanding of the looting agencies of the Nazis, the current whereabouts of individual artifacts, and details on persecuted Jewish artists. It can provide further guidance to families and heirs on art, museums, and the art market. Lastly, it can memorialize Jewish artists who were victims of the Nazi party, and celebrate their artistic legacies.[78] The goal of the JDCRP is not to replace existing databases and publications but to supplement the available information and build upon it with a focus on art plundered from Jews.[79] Furthermore, the mission of the JDCRP is also to develop a network of institutions to promote additional research on the topic.[78]
The JDCRP accumulates data from a variety of sources. A few examples include inventories of looted objects found by Allied forces, lists of stolen objects submitted by victims, and lists of looted and restituted cultural objects compiled by governments. Once data is gathered on a specific object, the JDCRP strives to exhibit the following pieces of information: details regarding the stolen object, background on the perpetrators and victims of the theft, information on those who profited from the thefts, and specifics on the locations at which the stolen object(s) were held.[78]
On 1 January 2020, the JDCRP launched its Pilot Project centered around the famous art collection of Adolphe Schloss. The purpose of this initial launch is to test the feasibility of a central database for stolen Jewish artifacts and to determine the manner in which the JDCRP database will be constructed and maintained. This venture is funded by the European Union and is intended to establish the framework necessary for the JDCRP.[76]
Other looted artworks
-
Le Chemin, Paysage à Meudon (Paysage avec personnage), oil on canvas, 146.4 cm × 114.4 cm (57.6 in × 45.0 in). Stolen by Nazi occupiers from the home of collector Alphonse Kannduring World War II, returned to its rightful owners in 1997.
-
Max Liebermann's Two Riders On The Beach discovered in the Gurlitt Collection and subsequently restituted to the descendants of the original Jewish owner
-
Franz Marc's Pferde in Landschaft, one of the artworks discovered in Munich in 2012
-
Portrait of Wally by Egon Schiele (1912)
-
Raphael's Portrait of a Young Man was looted by the Germans from the Czartoryski Museum in 1939. Although Polish officials state that it has been known "for years" that the painting survived the war,[80] its whereabouts remain unknown.[80]
See also
- Amber Room
- Arthur Seyss-Inquart
- Aryanization
- Berlinka (art collection)
- Evacuation of the Louvre museum art collection during World War II
- List of claims for restitution for Nazi-looted art
- List of missing treasures
- M-Aktion
- Menzel v. List
- The Monuments Men
- Nazi looting of artworks by Vincent van Gogh
- Vugesta
- Woman in Gold (film)
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[Rafael's "Portrait of a Young Man" was not destroyed, as has been known[…]for years]
Further reading
- Campbell, E. (2020). Claiming National Heritage: State Appropriation of Nazi Art Plunder in Postwar Western Europe. Journal of Contemporary History.
- ISBN 978-1-59995-149-2
- Edsel, Robert M. (2006). ISBN 0-9774349-0-7.
- ISBN 978-0-8050-7926-5
- Feliciano, Hector (1997). The Lost Museum. New York: HarperCollins.
- Hadden, R. L. (2008). "The Heringen Collection of the US Geological Survey Library, Reston, Virginia". Earth Sciences History Journal of the History of the Earth Sciences Society v.27, n.2, pp. 242–265.
- Harclerode, Peter and Pittaway, Brendan (1999). The Lost Masters: WWII and the Looting of Europe's Treasurehouses. London: Orion Books.
- Löhr, Hanns Christian (2005): Das Braune Haus der Kunst: Hitler und der Sonderauftrag Linz, ISBN 3-05-004156-0
- Löhr, Hanns Christian (2018): Kunst als Waffe – Der Einsatzstab Reichsleiter Rosenberg, Ideologie und Kunstraub im „Dritten Reich“, Gebr. Mann, ISBN 978-3-7861-2806-9.
- Nicholas, Lynn (1994). The Rape of Europa. London: Macmillan Publishers.
- O'Connor, Anne-Marie (2012). The Lady in Gold, The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer, Alfred A. Knopf, New York, ISBN 0-307-26564-1.
- OSS Report: Activity of the Einsatzstab Rosenberg in France, 15 August 1945
- Petropoulos, Jonathan (1996). Art as Politics in the Third Reich. Chapel Hill: University of North Carolina Press.
- Petropoulos, Jonathan (2000). The Faustian Bargain: The Art World in Nazi Germany. London: Penguin Press.
- Roxan, David; Wanstall, Ken (1965). The Rape of Art: The Story of Hitler's Plunder of the Great Masterpieces of Europe. New York: Coward-McCann. OCLC 846620.
- Schwarz, Birgit (2004). Hitler's Museum. Die Fotoalben Gemäldegalerie Linz, Wien, Böhlau Verlag. ISBN 3-205-77054-4
- Simpson, Elizabeth (1997). The Spoils of War – World War II and Its Aftermath: The Loss, Reappearance, and Recovery of Cultural Property. New York: Harry N. Abrams in association with the Bard Graduate Center.
- Slany, William Z. "U.S. Interagency Report on U.S. and Allied Wartime and Post Postwar Relations and Negotiations with Argentina, Portugal, Spain, Sweden, and Turkey on Looted Gold and German External Assets" American University International Law Review 14, no. 1 (1998): 147–153.
- ISBN 978-0-9774349-1-6 (Foreword by Robert M. Edsel)
External links
- New York Times, "Holocaust and the Nazi Era" (Archived)
- Nazi Plundering from Holocaust Survivors' Network—iSurvived.org
- Looted Art Recovery
- Department of National Heritage, Wartime losses
- Holocaust Claims Processing Office (HCPO) of the New York State Banking Department
- The Commission for the Compensation of Victims of Spoliation (Commission pour l'Indemnisation des Victimes de Spoliations), CIVS, France
- The Holocaust Victims' Information and Support Center (HVISC), Austria
- Washington Conference Principles On Nazi-Confiscated Art
- Council of Europe Resolution 1205
- Vilnius International Forum Declaration on Holocaust Era Looted Cultural Assets
- European Parliament Resolution and Report of Committee on Legal Affairs and the Internal Market
- Nazi Gold and Art – Hitler's Third Reich in the News Archived 19 February 2020 at the Wayback Machine
- Project for the Documentation of Wartime Cultural Losses – Website of the Cultural Property Research Foundation, Inc.
- Article The DIA does the Right Thing
- The Central Registry of Information on Looted Cultural Property 1933–1945
- International Foundation for Art Research
- Rape of Europa – documentary about the Nazi plunder of Europe.
- Greatest Theft in History – an educational program about Nazi plunder of Art (Unavailable)
- Records about Recovery of Holocaust-Era Assets available in the Archival Research Catalog of the National Archives and Records Administration
- Nazi Agencies Engaged in the Looting of Material Culture
- Database on the Sonderauftrag Linz (Special Commission: Linz)
- Cultural Plunder by the Einsatzstab Reichsleiter Rosenberg: Database of Art Objects at the Jeu de Paume
- The Central Registry of Information on Looted Cultural Property 1933-1945
- Looted Art Bibliography: National Archives