{"id":5322,"date":"2013-11-08T18:47:14","date_gmt":"2013-11-08T17:47:14","guid":{"rendered":"http:\/\/soerenkern.com\/?p=5322"},"modified":"2014-05-10T19:12:35","modified_gmt":"2014-05-10T18:12:35","slug":"germany-greatest-double-robbery-history-art","status":"publish","type":"post","link":"https:\/\/soerenkern.com\/web\/2013\/11\/08\/germany-greatest-double-robbery-history-art\/","title":{"rendered":"Germany: The Greatest Double Robbery in the History of Art?"},"content":{"rendered":"

\"Kunstschatz<\/a><\/p>\n

Jewish groups in Germany and elsewhere, as well as the families of Holocaust survivors seeking to recover looted art, are asking why German authorities allowed two years to pass before disclosing the find.<\/em><\/p>\n

Germany: The Greatest Double Robbery in the History of Art?<\/strong><\/p>\n

Soeren Kern | Gatestone Institute<\/a> | November 8, 2013
\n<\/strong><\/p>\n

Anger is growing over the way the German government has handled information regarding a secret trove of some 1,400 works of art confiscated or fleeced by the Nazis and discovered in a Munich apartment nearly two years ago.<\/p>\n

German prosecutors confirmed on November 4 that they had discovered the trove\u2014by artists including Marc Chagall, Albrecht D\u00fcrer, Paul Klee, Henri Matisse, Pablo Picasso and Pierre-Auguste Renoir\u2014in early 2012 as part a tax-evasion investigation. But they concealed that fact from the public until they were forced to reveal it after the German newsmagazine Focus<\/em><\/a> revealed details about the discovery in an expos\u00e9 published on November 3.<\/p>\n

Jewish groups in Germany and elsewhere, as well as the families of Holocaust survivors seeking to recover looted art, are asking why German authorities allowed two years to pass before disclosing the find, and the U.S. State Department is calling on Germany to return the artworks to their rightful owners.<\/p>\n

The art trove\u2014estimated to be worth about \u20ac1 billion ($1.35 billion)\u2014was unearthed in a trash-filled apartment of an 80-year-old man named Cornelius Gurlitt. According to Focus <\/em>magazine, much of the art was bought at a pittance by Cornelius\u2019s father, Hildebrand Gurlitt, from Jews fleeing Germany during the Second World War.<\/p>\n

\"germany<\/a><\/p>\n

The trail leading to the artworks began in September 2010 aboard a German train from Switzerland to Munich. Customs officials carrying out a routine check on passengers asked Cornelius for his papers and became suspicious when they found he was carrying an envelope with \u20ac9,000 ($12,000) in cash inside, all in crisp \u20ac500 notes.<\/p>\n

The amount was within the legal limit of \u20ac10,000 for travel within Europe and Cornelius was allowed to go on his way, but the customs officials remained suspicious. In March 2012 (not in 2011, as Focus<\/em> had originally reported) police conducted a raid on his Munich apartment on charges of tax evasion and embezzlement. Once inside the flat, they discovered a stash of 121 framed and 1,285 unframed works of art works — sketches, oil paintings, charcoals, lithographs and watercolors — that were professionally stored behind mountains of canned food.<\/p>\n

According to Focus<\/em> magazine, at least 300 pieces in the Gurlitt collection are 20th century modern classics, so-called \u201cdegenerate art<\/a>,\u201d a term used by the Nazi regime to describe virtually all modern art. The trove also includes masterpieces and many previously unknown artworks of \u201camazing quality.\u201d The oldest painting dates back to the 16th century.<\/p>\n

Cornelius inherited the artwork from his father, an art dealer who, in the run-up to the Second World War, had been in charge of confiscating art for the Nazis. Some of the works were seized from museums, while others were stolen or bought at a fraction of their value from Jewish collectors who were forced to sell. The art was often sold outside of Germany in order to raise hard currency for the Nazi regime.<\/p>\n

Hildebrand Gurlitt — who evidently kept much of the artwork for himself — was detained and questioned by Americans investigating art looting after the war ended in May 1945. But Gurlitt, who had an apartment in Dresden during the war, told the authorities that his collection had burned in the bombing of that city in February 1945.<\/p>\n

Hildebrand Gurlitt died in a car accident in 1956; after the death of his wife, Helene, in 1967, the collection passed on to Cornelius, who — judging by the empty frames found in his house — apparently sold the art one piece at a time to provide himself money on which to live.<\/p>\n

\"germany<\/a><\/p>\n

In October 2011, for instance, Cornelius sold one painting — The Lion Tamer (L\u00f6wenb\u00e4ndiger) by the German Expressionist artist Max Beckmann — through the Cologne auction house Lempertz<\/a> for \u20ac864,000 ($1.2 million). Lempertz said Cornelius was \u201cfriendly and charming\u201d and had told them \u201chis mother had given him the work.\u201d No one, he said, \u201csuspected a thing.\u201d<\/p>\n

Officials at the auction house said they were surprised to learn from news reports that Gurlitt was under investigation. \u201cNo one from the government ever came to us or alerted us about him. What does it say about the federal prosecutors that they didn\u2019t feel the need to alert the auction houses?\u201d a spokesman said.<\/p>\n

According to art experts, however, Lempertz, which was established in 1845, has a long history of trafficking in art<\/a> confiscated from Jews, and it ought to have suspected the Beckmann painting was of potentially dubious provenance<\/a>.<\/p>\n

Meanwhile, the whereabouts of Cornelius, who has not been arrested, are unknown. \u201cWe currently have no contact with the suspect. But there is no urgent suspicion that would justify a warrant,\u201d according to Reinhard Nemetz<\/a>, head of the state prosecutor\u2019s office in the Bavarian city of Augsburg.<\/p>\n

Speaking at a hastily arranged news conference on November 5, two days after Focus<\/em> magazine published its story, a tight-lipped Nemetz defended the decision to keep the discovery of the artwork secret. He said Germany\u2019s privacy laws prevented his office from making any of the details of the investigation public.<\/p>\n

\u201cOur primary attention is on whether a crime has been committed,\u201d Nemetz said, stressing the \u201cexceedingly complex legal position\u201d of the case. He added that going public with the case would have been \u201ccounterproductive\u201d to the investigation and would have posed a security risk because of the value of the artwork, which is being stored at a government warehouse in Munich.<\/p>\n

\"gurlitt<\/a><\/p>\n

Nemetz also denied accusations that Germany was seeking to keep the artwork for itself. \u201cWe do not want to keep the pictures,\u201d he said at a press conference. \u201cThe pictures are not going to be put up in my office.\u201d<\/p>\n

A full list of the artworks, however, will not be published online — despite the growing number of calls to do so — because, Nemetz said, authorities do not want to be inundated with claims: \u201cWe prefer if people with a claim to lost artwork get in touch with us to say which picture they are missing, rather than the other way around.\u201d<\/p>\n

But many observers outside of Germany are baffled by Nemetz\u2019s lack of transparency. \u201cIt is a mystery to me, I have no idea what was behind it,\u201d Israeli art expert Joel Levi said in an interview with the Israeli newspaper Ha\u2019aretz<\/a>. \u201cI have no explanation as to why the German investigative authorities are adopting this method of \u2018Let\u2019s wait and see what happens.\u2019 I do not understand,\u201d he said, \u201cwhy it remained in the investigation rooms until it was revealed in the German newspaper.\u201d<\/p>\n

Art lawyer Lawrence Kaye<\/a> told the Wall Street Journal<\/em><\/a>, \u201cI find it shocking they won\u2019t list everything they\u2019ve found. Families don\u2019t always know exactly what they\u2019re looking for until they can see an image of it.\u201d<\/p>\n

Another art lawyer, David Rowland<\/a> of Rowland & Petroff in New York, called the German government\u2019s decision to withhold details or images of the recovered works a \u201chuge disservice\u201d to the families of Holocaust survivors. \u201cWithout a list, we can\u2019t do anything,\u201d he said<\/a>. \u201cThey should put a list on the Internet with photos.\u201d Rowland also called the process of mailing off letters \u201cjust about the most inefficient way a person could handle this situation.\u201d Going forward,\u201d he said, \u201cwe hope the German authorities will be as transparent as possible.\u201d<\/p>\n

The call for more transparency was echoed by Anne Webber, co-chair of the Commission for Looted Art in Europe<\/a>, a London-based organization that helps families recover art seized by the Nazis. \u201cAs important a story as this is — why have the Bavarian authorities been sitting on them for two years?\u201d she said<\/a>. \u201cBavaria needs to publish a list of these works as soon as possible.\u201d<\/p>\n

Chris Marinello, the director and founder of London-based Art Recovery International<\/a>, said Germany could accelerate restitution by making a list of the artworks available to the public.<\/p>\n

\u201cWhen you\u2019re dealing with Nazi-looted artwork that may belong to heirs in their 80s or 90s struggling to reconnect with their heritage, a detailed list of seized items should be posted online immediately,\u201d Marinello said<\/a>. \u201cThere are so many organizations that specialize in researching Nazi-looted art claims that would have been happy to step up and assist,\u201d he added.<\/p>\n

The U.S. State Department is now calling on the German government to accelerate restitution of artworks to American citizens and people in other countries.<\/p>\n

According to the Wall Street Journal<\/em><\/a>, the State Department believes that prosecutors in Germany violated the Washington Principles on Nazi-Confiscated Art<\/a> of 1998, international norms that govern the handling of claims to art seized or looted by the Nazis, The specific provision violated calls for a speedy publication of information regarding the discovery of stolen works.<\/p>\n

Others warn that legal ambiguity surrounding German property laws could make it difficult for heirs to the original owners to reclaim seized or looted works anytime soon. Even in the case of looted art, German law stipulates that the burden of proof is on the individual who files the claim to provide evidence that the artworks were acquired under duress.<\/p>\n

According to an opinion essay published by the Swiss newspaper Neue Z\u00fcrcher Zeitung<\/em><\/a>, Cornelius Gurlitt may be entitled to keep much of the artwork, regardless of how it came into his possession:<\/p>\n

\u201cAdolf Hitler\u2019s law on the confiscation of so-called degenerate art was the sovereign act of a sovereign state, hence all works that Hildebrand Gurlitt acquired as \u2018degenerate\u2019 are considered to be legally valid purchases. Therefore, Cornelius is not obliged to return at least 300 of the 1,500 artworks if he does not want to. Furthermore, the \u2018Washington Declaration\u2019 of 1998, in which over 40 countries committed themselves to search for Nazi-confiscated art in museums and archives and to negotiate fair solutions with the heirs, does not obligate Cornelius Gurlitt to do anything because the Washington Declaration does not involve privately owned artworks. We will have to wait and see what pressure German justice decides to use against him.\u201d<\/p>\n

Germany is now facing pressure to amend its laws to make it easier to restore stolen art. For example, the U.S. government reportedly plans to press Germany to change its 30-year statute of limitations for filing claims in cases where the artwork is found to have been held by a private individual.<\/p>\n

Pressure is also building from within Germany itself. In a front-page commentary published on November 5, the German newspaper Die Welt<\/em><\/a> called on the German Parliament to revoke the statute of limitations involving looted art and to declare that all sales contracts involving such works, even after 1945, to be null and void. \u201cThe greatest robbery in the history of art would, as far as possible, be completely reversed. It would be an overdue return to justice,\u201d the commentary said.<\/p>\n

The Nazis confiscated about 16,000 pieces of art during World War II, according to the US Holocaust Memorial Museum in Washington D.C. An estimated 10,000 pieces are still missing and many families around the world are still searching, but maybe not for much longer.<\/p>\n

Art experts expect much more Nazi-confiscated art to surface over the coming years. \u201cThis is not the end of it,\u201d according to Robert Edsel, author of the book \u201cThe Monuments Men<\/a>,\u201d an account of the taskforce assigned to rescue European cultural artifacts during World War II. (Edsel\u2019s book has been made into a film<\/a> by George Clooney to be released in February 2014.)<\/p>\n

\u201cAs the World War II generation passes over the next five years, we\u2019re going to see more of this stuff coming out: paintings on walls, in attics from World War II veterans of all sides. We\u2019re going to find more of these. I don\u2019t know necessarily of this sort of scale, but we\u2019re going to see more of it,\u201d according to Edsel.<\/p>\n

Soeren Kern<\/em><\/a> is a Senior Fellow at the New York-based <\/em>Gatestone Institute<\/em><\/a>. He is also Senior Fellow for European Politics at the Madrid-based Grupo de Estudios Estrat\u00e9gicos. Follow him on <\/em>Facebook<\/em><\/a> and on Twitter<\/a>.
\n<\/em><\/p>\n

Link to Original Article: http:\/\/www.gatestoneinstitute.org\/4048\/germany-stolen-art<\/a><\/p>\n

April 7, 2014 Update:<\/strong><\/p>\n

German Pledges to Return Nazi-Looted Art<\/a> | Soeren Kern | Gatestone Institute | April 7, 2014<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Jewish groups in Germany and elsewhere, as well as the families of Holocaust survivors seeking to recover looted art, are asking why German authorities allowed two years to pass before disclosing the find.<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","footnotes":""},"categories":[100,141],"tags":[179],"class_list":["post-5322","post","type-post","status-publish","format-standard","hentry","category-european-union","category-special-interest","tag-germany"],"yoast_head":"\nGermany: The Greatest Double Robbery in the History of Art? - Soeren Kern | Geopolitical Perspectives on Europe, America and the Middle East<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/soerenkern.com\/web\/2013\/11\/08\/germany-greatest-double-robbery-history-art\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Germany: The Greatest Double Robbery in the History of Art? 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