495:(Kunstmuseum Bern) in Switzerland as his sole heir. People close to Gurlitt told an American newspaper that he decided to give the collection to a foreign institution because he felt that Germany had treated him and his father badly. The legacy included the paintings Cornelius had kept in Salzburg, which German authorities had not confiscated because their remit did not extend to property held in Austria. His decision created further controversy over the appropriateness of the museum accepting this bequest. The will stipulated that the museum would be required to research the provenance of the paintings and make restitution as appropriate. The museum decided to initially accept only those works for which original legal ownership by the Gurlitts could be established, including items acquired from the "degenerate art" collection and those passed down from other family members, and has entered into a joint agreement with German and Swiss authorities about the further researching of items in this bequest.
194:, among many others, as well as works by family members who were themselves artists. A considerable portion of the collection is in the form of prints and other "dealer stock" in addition to a smaller, but still noteworthy number of unique and more valuable works; initial sensationalist claims of the value of the collection being "in excess of 1 billion dollars" based on its size alone have proved to be unfounded, though the collection is certainly worth tens of millions of dollars. Legally, Cornelius was the owner of all the works upon their discovery, because in Germany, legal claims on potential looted works expire after 30 years; however, from 2012 he agreed to voluntarily return any works that were shown to be looted to the heirs of the families concerned, a provision that has been carried on by the new custodians of the collection. By May 2020, 14 works had been returned, with a further 7 stated in 2021 as to be returned shortly including works by Henri Matisse, Max Liebermann,
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when he became a dealer he often exhibited their works for sale, and on occasion purchased items he particularly liked for his own collection. From the mid 1930s onwards, he also purchased and, in some cases, sold on artworks, often bought for low prices, from private individuals including Jewish owners who were under duress to pay extortionate taxes, or were otherwise liquidating assets in order to flee the country. On the one hand he claimed he was helping the owners in their predicament, since there were few dealers who were prepared to undertake such transactions, but on the other he was not averse to enriching himself in the process, as well as providing no cooperation to post-war claimants seeking to reclaim or obtain compensation for such works sold under duress.
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Gurlitt also told Edel about the additional artworks stored at his
Salzburg address; Edel was given permission by Gurlitt to remove these for safe keeping, a task which was carried out in February 2014. This portion of the collection, numbering 254 items, contained works by Monet, Renoir, Gauguin, Liebermann, Toulouse-Lautrec, Courbet, CĂ©zanne, Munch and Manet, some of extremely high quality, and were removed to a secure location where their provenance could be investigated further; the Augsburg Prosecutor's Office would not have access to them. Access to the Salzburg works was provided, in a "secret location", to BBC reporter Stephen Evans, who showed some of them in a brief video segment made available by the BBC in March 2014. One painting,
335:; some of the works also went to swell Göring's personal art collection. Gurlitt, who had already embarked on purchasing trips to Paris on behalf of German museums, purchased around 200 works in Paris and the Netherlands between 1943 and 1944, not including works acquired for his own collection, of which 168 were intended for the FĂŒhrermuseum. Gurlitt undoubtedly used his thus "officially sanctioned" purchasing trips to Paris â which was at that time awash with artworks, including old masters of dubious provenance and including many items now recognised as being looted â to further enrich his own holdings, and also became very wealthy from commissions on the enormous amounts of money being paid by Hitler's regime for artworks at that time.
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413:, Munich, to see if they could find any evidence to support their suspicion. On 28 February 2012 officials of the Augsburg Prosecutor's Office entered his apartment and found not records of past sales, but a reported 121 framed and 1,258 unframed works, the major part of the collection inherited from his father, with an initial reported worth of âŹ1 billion (approx. $ 1.3 billion), although this value eventually proved to be a significant overestimate. The collection was confiscated, under a process that was subsequently challenged in court since Cornelius had committed no crime under German law; it was also subsequently claimed that the scale of the action was disproportionate to any supposed tax irregularities.
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82:, investigating Gurlitt on suspicion (later shown to be unfounded) of possible tax evasion. German authorities seized the entire collection, although Gurlitt was not detained. Gurlitt repeatedly requested the return of the collection on the grounds that he had committed no crime, but eventually agreed that the collection could remain with the Prosecutor's office for evaluation in case any Nazi-era looted works could be identified. In 2014, a new agreement was reached that the collection would be returned to Gurlitt, but he died shortly thereafter, leaving all his property â including two Munich apartments plus a house and additional works stored at his residence in
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768:, possibly the most prestigious in the entire trove, which was known to have been in the CĂ©zanne family in 1940, and appeared in Gurlitt's holdings some time between then and 1947, when Gurlitt mentions the painting in a letter; however, its status as a looted item could not be unequivocally established. In 2018, in what has been described as a "historic agreement", CĂ©zanne's great-grandson has acknowledged the Bern museum's ownership of the work in exchange for the ability to exhibit it in the artist's hometown; exhibition rights to the painting will thus be shared between the Kunstmuseum Bern and the
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Details of these works have not been released except that they included four medieval paintings which belonged to
Cornelius, which were then added to his estate. Benita had also consigned some items for sale at a previous date, including four drawings, originally the property of the Jewish Deutsch de la Meurthe family in Paris, which were voluntarily returned to representatives of the family in 2018 by the unnamed present owner (see above section "Works identified for return to original owners"). Benita's husband Nikolaus also consigned Max Liebermann's pastel drawing
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753:, purchased by Hildebrand Gurlitt in Paris in the 1940s, had also been identified as Nazi-confiscated art, having been seized in 1940 by German soldiers from the apartment of French real estate broker Gaston Prosper LĂ©vy, and that "a claim has been registered for the return of the painting". The work was eventually handed back in July 2019. By May 2020, 14 artworks had been returned, with a further 7 identified for additional return to heirs of their original owners, including two 1922 watercolors by Otto Dix entitled
584:, Germany agreed that all of its public institutions would check their inventories for Nazi-looted goods and return them if found. However, this is on a strictly voluntary basis and, 15 years later, very few museums and libraries have done so. Individuals are under no legal requirement whatsoever to return Nazi-looted art. A failure on the part of the German government to return the rightful possessions of Cornelius Gurlitt might have been a violation of his property rights as guaranteed in the German constitution.
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and beyond his premature death at age 61 in a car crash in 1956. On his death, the collection passed to his wife Helene, and on her death in 1964, mainly to their son
Cornelius, with some items also passed to Cornelius' sister. Knowledge of the collection appears to have persisted in the minds of his contemporaries in the German art dealing world, and in some cases with their successors in business, but eventually â particularly with the passage of more than four decades â faded from public awareness.
911:, held by Hildebrand Gurlitt since at least 1945, was examined by the Comité Chagall, the definitive authority on the artist's work, in 2015 and was determined to be a forgery ("counterfeit work"); it is included in the list below with authorship as "Unknown". The Gurlitt Provenance Research Project was unable to document the painting's ownership prior to its acquisition by Hildebrand during the war years; however, according to a 2013 newspaper report, the painting had originally been seized by the
483:, either because they could be assigned to additional works known to originate from German museums (22 items), be commercially mass produced goods (2 items), or have a reasonable explanation for their presence in Gurlitt family holdings, for example being created by family members, and/or created after 1945 (18 items). These "traffic light" categorizations are carried through to the complete lists of items as published on the Kunstmuseum Bern website.
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lawfully. Gurlitt successfully presented himself to his assessors as a victim of Nazi persecution due to his Jewish heritage, and negotiated the release of his possessions. Whether or not portions of his collection and records of business transactions were destroyed in
Dresden as Gurlitt claimed, additional portions apparently had been successfully hidden in Franconia, Saxony and Paris, from which they were retrieved after the war.
886:, which was sold in 2007 for âŹ2.4 million and (according to Hickley) was most likely consigned by Benita. The eleven works sold by Cornelius in 1988 included a Degas pastel and items by Otto Dix, Erich Heckel, Christian Rohlfs, Max Pechstein and Otto MĂŒller; according to gallery owner Eberhard Kornfeld, Cornelius also sold four other works on paper via him in 1990, originally from the 1937 "degenerate art" holdings. Paul Klee's
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family at that time, if not previously; according to his papers (later found not to be entirely trustworthy), Monet's painting of
Waterloo Bridge, subsequently one of the most valuable in the collection, was purchased by his father as a gift to his mother at some point from 1914 onwards, and had passed already to Hildebrand in 1923 as a wedding present. He continued to purchase works for his own collection, including Courbet's
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Foundation concluded that "Looking at the art trove as a whole, it becomes clear that it is not so much a collection of highly valuable artworks worth billions as was initially assumed, but rather a mixture of family heirlooms and dealer stock. It does contain some very high quality, outstanding pieces, but most of it consists of works on paper, including a large number of serial graphic works."
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provenance reports on only five items from the collection; under a flood of criticism, the taskforce was disbanded in
December 2015. "We are disappointed," said Ronald Lauder, president of the World Jewish Congress. Its activities and some of its personnel were passed to a new "Centre for Lost Cultural Property", project name "Gurlitt Provenance Research", under the direction of Dr.
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heirs; however this claim was rejected by relevant authorities. Around 590 pieces remain in
Germany pending further investigation to determine whether they were confiscated from individuals under the Nazi regime, and a further 380 have been definitively identified as removed from museums by the Nazis as "degenerate art" so will pass to Bern without further obstruction.
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tax authorities; under questioning, he explained that it was proceeds from the sale of a painting. Since
Cornelius had no occupation and no obvious means of income, the tax office suspected that he might be involved in the illegal transfer of artworks across the border without paying the relevant taxes, and obtained a warrant in 2011 to search his apartment in
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complete, are available online, one for the items originally in the Munich apartment (approximately 1,350 records) and one for the
Salzburg items (254 records). The lists are described as "works in progress" and are subject to update or amendment as new information is available. The Munich list runs to 196 pages, and the Salzburg list runs to 95 pages.
479:" (28 items); yellow for "provenance during the period between 1933 and 1945 is not entirely clear; there are gaps in the provenance", i.e., requiring further investigation (650 items); and red for works "proven or highly likely to be Nazi-looted art" (4 items). A further 42 works were not reviewed, but also believed not to represent
958:, in order to raise funds to safeguard the others; Hildebrand Gurlitt had acquired it in Paris in the 1940s. The Tokyo National Museum of Western Art was "thrilled to announce the purchase of "... since it was part of the focus of "a great effort to reunite the collection" originally belonging to Matsukata, under a single roof.
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whose individual value may be in the order of no more than âŹ1,000 per item, or possibly even less. Nevertheless, the collection does contain a number of significant, high value items including, among others, a Claude Monet painting "valued at $ 12 million", a
Matisse painting ("$ 20 million"), a major CĂ©zanne 1897 painting
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exhibition. Concurrently, an exhibition of some 250 works whose status was uncertain was displayed in Bonn, Germany, entitled "Gurlitt: Status Report â An Art Dealer in Nazi Germany", including works from DĂŒrer to Monet and from Cranach to Kirchner and Rodin; both shows were then scheduled to travel to be displayed at the
355: 90,000 to Cornelius after auctioneer's fees (the same painting later re-sold at Sotheby's in London for ÂŁ1.2 million). Beckmann's family did not dispute the distribution of the sale proceeds and considered that the original purchase by Gurlitt had been legitimate, albeit under reduced circumstances of the artist.
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The first public display of pieces from the Gurlitt Collection took place at an exhibition curated by the Bern Fine Art Museum, running from November 2017 to March 2018, which featured 160 works from the Cornelius Gurlitt bequest, which had previously formed part of the original 1937 "degenerate art"
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On 22 September 2010, German customs officials at the GermanâSwiss border stopped Cornelius on the return leg of one of his visits to Switzerland and found him to be carrying âŹ9,000 in cash, within the legal limit for cash transfers across the border but which was notified as suspicious to the German
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with her husband. Apart from any monies inherited after his parents' deaths, Cornelius survived by selling a small number of items from the collection, notably in 1988 and 1990, with the proceeds paid into a Swiss bank account which he would visit at four- to six- week intervals to withdraw money for
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Initial media reports that the collection was worth in excess of $ 1 billion, based apparently on its size alone plus descriptions of one or two contained works, have proved to be an over-estimate, bearing in mind that a substantial component of the collection contains printed graphic works on paper
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Cornelius' family (cousins) also entered the discussion, raising questions about the legality of the will, based on his state of mind at the time. His cousin, Uta Werner, filed a claim of inheritance on the artwork. Werner's lawyer, Wolfgang Seybold, argued that Gurlitt's relatives were the rightful
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Gurlitt repeatedly requested the return of his collection but did not obtain legal representation until December 2013 when a Munich court appointed an official "Custodian" on his behalf, Christoph Edel, who initiated action against the Prosecutor's Office for the return of the collection to Gurlitt.
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magazine in November 2013, Cornelius insisted that his father had obtained the works legally and stated that he would not voluntarily return any of them to previous owners, although subsequently he said that in respect of the latter statement he was misquoted. Feeling threatened by the intense media
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German museums are accordingly, albeit rather hesitantly, searching for looted art in their collections, and from time to time works are returned. This is cumbersome, mostly unspectacular and takes far too long, but it is still the right way. But Cornelius Gurlitt is a private person, and therefore
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In addition to the works owned by Cornelius, his sister Benita inherited some works from the collection; reportedly, in 2013, 22 of these were voluntarily surrendered to police for "safe keeping" by the by-then deceased Benita's husband, Nikolaus FrÀssle, previously kept at their home in Stuttgart.
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The content of the collection previously in the possession of Cornelius Gurlitt has been gradually documented over the several years since its rediscovery, especially since November 2014 when the Museum of Fine Arts in Bern legally accepted the Gurlitt estate. Two listings, which are believed to be
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By December 2018, the Gurlitt Provenance Research project reported that it had completed its activities, with the results being presented on the German Lost Art Foundation website. 1,039 items were investigated; of these, 315 were identified as confiscated from German museums during the "degenerate
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to research the provenance of the paintings in the Gurlitt trove. However, after several years of operations it was widely criticized for having few results and little visibility. The taskforce initially identified around 590 works as "possibly looted", but after two years of research had published
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for which he paid the then very large sum of 480,000 French Francs, and lent works from his collection for several travelling exhibitions: one such show, "German Watercolors, Drawings and Prints: A Mid-Century Review" included 23 works from Hildebrand's collection and toured the United States up to
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In his first interview about the reclusive Gurlitt â who died in 2014, a year after his secret trove of art first seized headlines - Kornfeld told Swiss Public Television, SRF, that he paid Gurlitt in cash or by cheque for the artworks he sold. Gurlitt, who had never had a job, needed the money to
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By 1947, Gurlitt had resumed trading in art works and also took up a position as Director of the Art Association for the Rhineland and Westphalia, based in DĂŒsseldorf. In 1949 his mother died (his father, Cornelius senior, having died in 1938) and he may have inherited additional works held by the
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In April 2014, Edel obtained an agreement with the Augsburg prosecutor whereby the collection confiscated in Munich was to be returned to Gurlitt in exchange for his co-operation with a government-led task force charged with returning any stolen pieces to the rightful owners which Gurlitt signed.
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Hildebrand Gurlitt was an art historian, museum director and art dealer in Germany during the 1930s who became an official art dealer for the Nazis. He was particularly interested in modern art of the day, befriended a number of artists and purchased their works for the museums under his control;
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Other works in the collection are by Gurlitt family members, which include 90 by Cornelius' great-grandfather, the landscape painter Louis Gurlitt, and 130 by Cornelia Gurlitt, Cornelius' aunt, a talented but relatively unknown artist who died in tragic circumstances in 1919. A page of putative
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The bulk of Hildebrand's collection survived with his son Cornelius, who lived a quiet, virtually reclusive life with the artworks inherited from his father for over forty years, with portions of the collection kept at his two addresses in Munich, Germany and Salzburg, Austria; additional items
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took longer to be returned to Hinrichsen's descendants as the family tree was more complex and there were more legal issues to be overcome, but was eventually restituted in 2021 and consigned to the auction house Christie's, by whom it is expected to be sold. In 2017, it was announced that the
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in Switzerland, which agreed to accept the collection (minus any works suspected of being looted) in November 2014. Hildebrand Gurlitt, who had assembled the collection, was suspected of incorporating a number of looted items and, potentially, works acquired in dubious circumstances during the
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of February 1945 much of his collection and his documentation of art transactions had been destroyed at his home in Kaitzer Strasse. One hundred and fifteen pieces were taken from him by American and German authorities, but returned to him after he had convinced them that he had acquired them
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for sale via a Berlin auction house in 2000, where it sold to a private Israeli collector for DM 130,000 (around US$ 70,000), more than double its pre-sale estimate. Following a 2016 legal action against the auction house to reveal the identity of the purchaser, that person (a Holocaust
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Authorities initially banned reporting on the raid, which only came to light in 2013. Initial media hysteria with sensational headlines such as "Artworks Worth $ 1.6 Billion, Stolen by Nazis, Discovered in German Apartment" proved to be an overstatement; writing in 2017, the German Lost Art
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sculpture, along with some Roman, Greek, Egyptian and Asian objects, which had been missed when the apartment was originally searched in 2012. In September, an early pastel landscape by Claude Monet was discovered in a suitcase Gurlitt had left in the last hospital where he had stayed.
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On 24 November 2014, the Museum of Fine Arts Bern agreed to accept the Gurlitt estate. Museum officials stated that no art looted by the Nazis would be permitted to enter the museum's collection. Some 500 works were to remain in Germany until their rightful owners could be identified.
890:, purchased by Hildebrand from the "degenerate art" holdings, was still in his possession at his death and then sold some time between 1956 and 1962 (when it appeared at auction), probably by his widow; after several changes of ownership, this work ended up in Munich's
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in Hamburg; from there the drawing entered the confiscated, "degenerate art" exhibition and was subsequently purchased by Hildebrand Gurlitt in 1940, remaining undocumented to curators of Moore's legacy until its emergence in the holdings of Cornelius Gurlitt in 2012.
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was set up where some of these pieces were displayed to the public to show their so-called "degenerate" nature. The Nazis set up a system to raise cash by selling as confiscated items abroad. The Nazis authorized four dealers, Hildebrand Gurlitt, Karl Buchholz,
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art" campaign, and thus not subject to suspicion of looting, so their responsibility could be passed directly to the Kunstmuseum Bern. The remaining 724 were assessed according to a "traffic light" system: green for works "proven or highly likely not to be
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The overall value of the collection as held by Cornelius Gurlitt in 2012 may thus conservatively be stated to have been in the order of at least several tens of millions of dollars, although no official valuation has ever been publicly released.
580:) regulates the return of Nazi-looted art, there is no law in effect in Germany requiring the return of Nazi-looted art, as long as the items in question can be proven to have been, at any point in time, legally acquired. As signatories of the
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survivor) was traced and agreed to sell the painting back to David Toren, heir of the original owner from whom it was stolen by the Nazis, for the original auction price paid, and the work has subsequently been on display at the New York
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German newspapers questioned the prosecutor's right to seize the collection. Property rights in cases of works of art acquired during the Nazi period are highly complex. After the war the Nazi law legalizing possession of stolen works of
1963:(Press release). The Bavarian State Ministry of Justice, the Bavarian State Ministry of Education, Science and the Arts, the Federal Ministry of Finance, and the Federal Government Commissioner for Culture and the Media. 11 November 2013
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which Gurlitt retained for himself. After Gurlitt's death the painting was offered for sale by both his widow (unsuccessfully) and subsequently by his son Cornelius, when at auction by Ketterer in Stuttgart in 1972 it realised
398:, was sold at auction in 2011, most likely to cover medical bills; Cornelius had already agreed to share the around âŹ800,000 proceeds equally with the heir to the Jewish family that had originally possessed the painting.
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for its restitution. An agreement was finally reached in 2017 for the Museum to retain the painting but for compensation (estimated at âŹ2â4 million, or $ 2.33â4.65 million) to be paid to the heirs of the original owner.
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before the second world war, who left the painting in Europe under the safe keeping of KĂŽsaburĂŽ Hioki, a retired Japanese navy officer. Hioki subsequently sold a number of paintings from the collection, including
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the principles of the Washington Agreement do not apply to his artworks. He cannot be forced, and it appears the government wants to seize the works, which is hardly possible in the face of the constitution.
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which subsequently realised almost 1.9 million pounds at auction (see below), and others including original works by Manet, Degas, Renoir and more; in 2019 it was also reported that the Manet painting,
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that were among items previously sold by Benita Gurlitt were identified as originally stolen and would also be returned by their new owner. In March 2019, it was announced that the painting
717:, found in Gurlitt's Salzburg house had been restituted to the heirs of Max Heilbronn, a Paris businessman from whom it had been confiscated in 1942, and that a drawing by Adolph von Menzel
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approved dealers, including Gurlitt, to acquire French art assets â mainly comprising works looted from museums and from the previously wealthy collectors of the day â for Hitler's planned
46:(alternatively known as the "Gurlitt Trove", "Gurlitt Hoard", "Munich Art Hoard", "Schwabing Art Trove", "Schwabing Art Find", etc.) was a collection of around 1,500 art works inherited by
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and Bernhard Böhmer to trade such pieces, seeking overseas buyers in return for an agent's commission. Gurlitt's name appears against many of the entries on a listing compiled by the
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In order to defray some of the ongoing costs associated with managing the collection, in 2019 it was reported that the Bern Museum of Fine Art had agreed to sell the Manet painting,
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2473:"German Lost Art Foundation - News - Federal Government Commissioner for Culture and the Media restitutes more Nazi-confiscated property from the Gurlitt art trove"
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99:, in addition to works acquired legitimately and/or passed down through his family; the provenance of a significant subset of items is still under investigation.
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and found to be not only genuine, but also to have been legitimately purchased from a London exhibition by the artist in 1931 by Dr Max Sauerlandt, head of the
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Prantl, Heribert; Vahland, Kia (20 November 2014). "Ein Bild lÀsst sich abhangen, Schuld nicht" [A picture may be taken down, but not the guilt].
541:, which had been returned to the heirs of the original owner, had been consigned for auction and was estimated to sell for up to ÂŁ800,000 ($ 1 million).
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597:, demanding the immediate return of the complete collection to Gurlitt. However, she had looked at the works very briefly and had not researched their
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1163:"Entartete" Kunst: digital reproduction of a typescript inventory prepared by the Reichsministerium fĂŒr VolksaufklĂ€rung und Propaganda, ca. 1941/1942
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because, as she stated in the interview, "Cornelius Gurlitt commissioned neither myself nor anyone else" to perform such research. Chief Prosecutor
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German watercolors, drawings and prints . A midcentury review, with loans from German museums and galleries and from the collection Dr. H. Gurlitt
1961:"'Schwabing art trove': Provenance of treasures to be researched alongside criminal proceedings â suspicious works being publicised at lostart.de"
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newspaper that the Bavarian "State Prosecutor used an incorrect application of the tax liability law to seize" the artworks of Cornelius Gurlitt.
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Ronald, Susan. "Hitler's Art Thief: Hildebrand Gurlitt, the Nazis, and the Looting of Europe's Treasures." St. Martin's Press, New York, 400 pp.
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1036:"Less Than a Month After the Louvre Hired a Nazi Loot Expert to Investigate Its Collection, She Found 10 Ill-Gotten Works Hiding in Plain Sight"
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Kunstmuseum Bern, 2018. "Gurlitt Status Report Part 2: Nazi Art Theft and its Consequences (Exhibition Guide)" (PDF). Bern: Kunstmuseum Bern.
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However, Gurlitt was by then very ill and died on 6 May 2014, never seeing the paintings again. His will bequeathed all his property to the
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2798:"Fateful Choices: Art from the Gurlitt Trove at the Israel Museum Presents Some 100 Significant Works Amassed by Dr. Hildebrand Gurlitt."
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1827:"5 January 2016: Germany's Lost Art Foundation has announced it will take over the provenance research into the Gurlitt collection"
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by Gustave Courbet, 1850, one of the works found in the Salzburg portion of the collection; location previously unknown since 1914.
2576:"German Lost Art Foundation - Press releases - Gurlitt Provenance Research project identifies four works of Nazi-confiscated art"
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who by 1944 was living in exile in the Netherlands, prior to departing for the United States in 1947. Gurlitt and his associate
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821:, one of the oil paintings from Cornelius' Salzburg house; subsequently (2019) sold by the Bern Museum of Fine Arts to Tokyo's
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An entity called the Schwabinger Kunstfund (Schwabing Art Trove) Task Force was set up in November 2013 under the direction of
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Hickley, Catherine. "The Munich Art Hoard: Hitler's Dealer and his Secret Legacy." Thames & Hudson, London, 2015, 272 pp.
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had been identified as a looted work and would be returned to the descendants of the original owner, Jewish French politician
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2451:"A Drawing Believed to Be the Final Nazi-Looted Artwork in the Gurlitt Collection Has Been Returned to Its Rightful Owners"
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Art objects continued to surface after Cornelius' death. In July 2014, a new discovery was made in his Munich apartment: a
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2521:"German Lost Art Foundation - Press releases - Project Gurlitt identifies painting by Thomas Couture as Nazi-looted art"
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2142:âExceptionalâ Nazi-Looted Impressionist Masterworks Reclaimed From the MusĂ©e dâOrsay Could Fetch $ 25 Million at Auction
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2632:"German Lost Art Foundation - Press releases - Gurlitt provenance research identifies new case of Nazi-confiscated art"
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2688:"CĂ©zanne's Heirs and the Kunstmuseum Bern Reach a Historic Agreement Over a Mysterious CĂ©zanne in the Gurlitt Trove"
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by Gustave Courbet, had disappeared in 1914 and had previously been believed to have been lost during World War II.
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Gurlitt also purchased paintings on his own behalf from artists who were being persecuted by the Nazis, among them
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591:, who was one of the first experts to view the artworks in the spring of 2012, gave an interview in the newspaper
346:, local buyer for Hitler's planned FĂŒhrermuseum, purchased five works from Beckmann in September 1944, including
284:" (not fitting to be called art in Hitler's view) and confiscated it from museums all over Germany. A travelling
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by Paul Klee, in the Collection at Hildebrand's death, subsequently sold (presumed by Helene) in or before 1962
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2988:"'26 Years Is Too Long!': Settlement Finally Reached in Battle Over Paul Klee From Nazi 'Degenerate Art' Show"
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Other paintings which had previously been in the collection but sold prior to its 2012 rediscovery included a
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had been returned to the descendants of Elsa Helene Cohen. In October 2017 it was announced that the painting
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exhibition hall in Berlin. In September 2019, a selection of 110 items from the Collection were displayed in
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is the only library in Germany to have full-time staff devoted to the search for Nazi-looted cultural goods.
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discovery" by the media as a result of actions by officials of Augsburg in Cornelius Gurlitt's apartment in
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3301:
2550:
677:
491:
Cornelius Gurlitt died on 6 May 2014. In his will, written shortly before his death, Cornelius named the
301:
that provides details of the fate of each object, including whether it was exchanged, sold or destroyed.
2912:
874:
and two items by Rudolf Schlichter and Georg Schrimpf sold by Helene in 1960 as noted above, Beckmann's
605:
vehemently denied her appeal, yet apparently failed to cite any concrete legal grounds for the seizure.
3576:
427:
attention, Gurlitt's brother-in-law offered 22 works in his possession to the police for safe keeping.
298:
3485:
3785:
3696:
3663:
3331:
2244:
844:
733:(the actual return taking place in January 2019), and in September 2018 four drawings by the artists
285:
147:
70:
The collection attracted international interest in 2013 when it was announced as a sensational 2012 "
2663:"Germany Hands Back the Sixth Nazi-Looted Painting Found in the Gurlitt Trove to Its Rightful Heirs"
304:
3887:
3676:
3601:
492:
451:
87:
2278:
1758:"Task force investigating art trove inherited from Nazi collector achieved 'embarrassing' results"
708:, London in June 2015, where it fetched the unexpectedly high price of almost 1.9 million pounds;
3294:
738:
230:
2358:"The Notorious Gurlitt Trove of Nazi-Tainted Art Makes Its First Appearance at Kunstmuseum Bern"
3336:
654:
559:
1384:
614:
3777:
3555:
3445:
950:
612:, the head of the Limbach Commission on Nazi-looted art, confirmed the opinion of the German
593:
202:, while a profit-sharing agreement was reached with the heir of another family for a work by
123:
3395:
640:
3877:
3817:
3643:
3435:
2194:
742:
315:
in the Gurlitt collection and now passed on to the descendants of the original Jewish owner
389:
appear to have been held by Cornelius' sister Benita, who later married and moved away to
8:
3659:
2871:
2427:
2400:
2017:
1982:
38:), one of the artworks discovered in the Gurlitt collection (probably 1911, watercolour).
34:
290:
139:
3591:
3410:
2913:"Holocaust Survivor Sues German Auction House to Locate Family's Nazi Looted Paintings"
1413:
786:
454:, Switzerland, after all legitimate claims of ownership against it had been evaluated.
368:
51:
1775:
894:, where in 2015 it was under protracted legal action from the heirs of original owner
3809:
3793:
3550:
3475:
3440:
3195:
3185:
3164:
3145:
3126:
3119:
1179:
1128:"How 1,280 Artworks Stolen by the Nazis were Hidden in a Munich Apartment Until 2012"
929:
187:
21:
3460:
3276:
Gurlitt Status Report Part 2: Nazi Art Theft and its Consequences (Exhibition Guide)
3113:, Catalogue of the exhibition in New York City, San Francisco and Cambridge MA, 1956
3037:"Marc Chagall work in German art trove was Nazi-looted: reports German tabloid Bild"
3013:"Gurlitt Provenance Research Project: Object record excerpt for Lost Art ID: 477889"
895:
320:
3535:
1881:
1565:
1510:
1355:[Investigators discover 1500 works of Picasso, Chagall and other artists].
949:, for US $ 4 million. This painting was previously owned by Japanese industrialist
697:
581:
163:
92:
2937:
818:
364:
159:
3560:
3545:
3510:
3470:
3455:
3400:
3262:
Gurlitt Status Report: "Degenerate Art" - Confiscated and Sold (Exhibition Guide)
2382:
2265:
1705:
927:, also in the collection, was investigated in an episode of the BBC TV programme
773:
179:
3670:
3243:- short documentary, c. 2017 by Mounia El Aboudi / University of the Arts London
1538:"Interview with a Phantom: Cornelius Gurlitt Shares the Secrets of His Pictures"
1257:"Lost Art-Database: Waterloo Bridge, temps gris (Waterloo Bridge, Grey Weather)"
769:
635:
343:
328:
127:
3836:
3801:
3686:
3505:
3500:
3480:
3405:
3317:
3235:
3121:
The Lost Museum: The Nazi Conspiracy to Steal the World's Greatest Works of Art
2204:
2105:"Inside the Deathbed Deal With Cornelius Gurlitt to Return Art Looted by Nazis"
1653:
1468:"Artworks Worth $ 1.6 Billion, Stolen by Nazis, Discovered in German Apartment"
1382:[The salvager and his son: collection with Nazi looted art in Munich].
730:
726:
662:
555:
533:("Ships at Sea in Stormy Weather") had been sold for US $ 4 million to Tokyo's
308:
281:
183:
3246:
3240:
2776:
2754:
832:
3861:
3530:
3525:
3380:
3365:
1601:
982:
794:
689:
669:
609:
503:
367:) in June 1945. Under interrogation after capture, Gurlitt and his wife told
352:
195:
167:
135:
115:
107:
2755:"Nazi art trove goes on display at Swiss museum, heir to Gurlitt collection"
1852:"German Lost Art Foundation â Gurlitt Provenance Research â Results to date"
1222:
3702:
3540:
3515:
3490:
3465:
3425:
3420:
3415:
3375:
3370:
3360:
1444:
972:
705:
476:
363:
Hildebrand was captured with his wife and twenty boxes of art in Aschbach (
339:
203:
175:
155:
131:
119:
96:
71:
59:
55:
1353:"Fahnder entdecken 1500 Werke von Picasso, Chagall und weiteren KĂŒnstlern"
3355:
1826:
924:
891:
750:
648:
507:
422:
199:
143:
103:
2777:"Art trove known as Gurlitt collection goes on display at German museum"
1811:[Will Bern let the great Gurlitt exhibition be snatched away?].
764:
A slightly different case was presented by Paul CĂ©zanne's 1897 painting
3612:
3520:
3495:
3430:
2319:"Augsburger Staatsanwaltschaft weist VorwĂŒrfe der Kunstexpertin zurĂŒck"
1256:
967:
598:
480:
244: in this section. Unsourced material may be challenged and removed.
151:
25:
3253:
BBC Arts: Nazi art dealer's secret hoard revealed after half a century
3249:- 2017 video, 25 mins, based around the 2017 Bonn and Bern exhibitions
1628:"Return of the Prodigal Painting: Rethinking Courbet's 'Jean Journet'"
1440:"German police recover 1,500 modernist masterpieces 'looted by Nazis'"
1166:
3450:
3390:
2551:"Germany returns Nazi-looted work to French Jewish collector's heirs"
1649:"Gurlitt reaches deal with German authorities over vast trove of art"
1010:"The mysterious Munich recluse who hoarded âŹ1bn of Nazis' stolen art"
867:
790:
410:
390:
191:
75:
3142:
Ein HÀndler "entarteter" Kunst: Bernhard A. Böhmer und sein Nachlass
2217:(Act on the Confiscation of Works of Degenerate Art) of 31 May 1938.
1627:
855:
219:
54:(1895â1956), and which was found to have contained several artworks
3385:
2301:"Interview: Kunstexpertin fordert RĂŒckgabe aller Bilder an Gurlitt"
2130:
Bern Museum Sells $ 4 M. Manet Owned by Notorious Cornelius Gurlitt
171:
83:
1380:"Der Verwerter und sein Sohn: Depot mit Nazi-Raubkunst in MĂŒnchen"
3286:
2503:"Germany returns 1874 Menzel drawing sold under Nazi persecution"
2098:
2096:
912:
457:
2867:"Art dealer paid Nazis just 4,000 Swiss Francs for masterpieces"
1792:[Museum of Fine Arts Bern accepts Gurlitt inheritance].
209:
3218:
2157:[Munich art trove: What happened to the rule of law?].
907:
A supposedly signed, but previously unknown, Marc Chagall work
797:
under the title "Fateful Choices: Art from the Gurlitt Trove".
277:
111:
79:
2093:
1809:"LĂ€sst sich Bern die grosse Gurlitt-Ausstellung wegschnappen?"
636:
Nazi-looted artworks identified for return to original owners
537:. In 2020, it was reported that Paul Signac's 1887 painting
3741:
Monuments, Fine Arts, and Archives program ("Monuments Men")
3208:". Undergraduate Thesis, University of Vermont, 2016, 54 pp.
1669:
1167:
London: Victoria and Albert Museum. (V&A NAL MSL/1996/7)
916:
870:
landscape painting sold by Hildebrand in 1950, the Picasso
833:
Works held (and in some cases sold) by other family members
684:
to the great-nephew of the industrialist and art collector
403:
332:
2606:"Signac painting in Gurlitt hoard identified as Nazi loot"
2423:"Nazi-looted painting sells for ÂŁ1.9 million at Sotheby's"
2018:"Cornelius Gurlitt: Monet found in art hoarder's suitcase"
1493:"German Lost Art Foundation â Gurlitt Provenance Research"
2213:), whose confiscation had been formalized by a Nazi law,
2067:
2041:"Report of Nazi-Looted Trove Puts Art World in an Uproar"
2032:
1706:"'Nazi art' hoarder Gurlitt makes Swiss museum sole heir"
1511:"Nazi-looted art: German collector says he owns pictures"
1090:
Kunstmuseum Bern to Return Seven Works from Gurlitt Trove
2979:
2904:
2401:"First painting to be sold from Cornelius Gurlitt trove"
2215:
Gesetz ĂŒber Einziehung von Erzeugnissen entarteter Kunst
486:
2740:"Gurlitt: Status Report. An Art Dealer in Nazi Germany"
1648:
1983:"Possible Rodin and Degas works found at Gurlitt home"
1409:"German Officials Provide Details on Looted Art Trove"
394:
his living expenses. Another painting, Max Beckmann's
3091:"Gurlitt sale of Ădouard Manet Marine, Temps d'orage"
3072:"Fake or Fortune: A Henry Moore in the Gurlitt Hoard"
2930:
1319:"Gurlitt's Swiss dealer breaks silence on his client"
1062:"Gurlitt's Swiss dealer breaks silence on his client"
668:
Three pieces were singled out for immediate return:
562:
in order that the trade in artworks could continue.
118:
paintings, drawings and prints by artists including
3161:
The Faustian Bargain: The Art World in Nazi Germany
2774:Excerpts of the Berlin exhibition can be viewed at
2124:
2122:
2076:"The Void at the Heart of 'Gurlitt: Status Report'"
1953:
1909:"Swiss Museum Close to Accepting Trove of Nazi Art"
1733:"Will Germany Keep Gurlitt's Trove from the Swiss?"
587:On 4 December 2013, prominent German art historian
50:, the son of one of Hitler's official art dealers,
3247:Video: "Bestandsaufnahme Gurlitt â Behind the Art"
3118:
2235:[The problems surrounding ownership rights to
1084:
1082:
978:List of claims for restitution for Nazi-looted art
2203:. This article refers in particular to works of "
1943:"Gurlitt art collection can finally head to Bern"
1700:
1698:
1566:"German police check new art haul near Stuttgart"
1529:
1177:
3873:Art and cultural repatriation after World War II
3859:
3272:
3258:
2714:"Gurlitt exhibition attracts droves of visitors"
2355:
2155:"MĂŒnchner Kunstfund: Wo bleibt der Rechtsstaat?"
2119:
1882:"'Nazi art' hoarder Cornelius Gurlitt, 81, dies"
3206:The Gurlitt Trove: Its Past, Present and Future
3116:
2752:Portions of the Bern exhibition can be seen at
2103:Lane, Mary M.; Benoit, Bertrand (14 May 2014).
1560:
1558:
1079:
1695:
945:("Ships at Sea in Stormy Weather") to Tokyo's
850:
458:Schwabing Art Trove Task Force, and successors
3756:Washington Principles on Nazi-Confiscated Art
3628:
3302:
3231:German Lost Art Foundation: Gurlitt Art Trove
2393:
2335:
1641:
210:Role of Hildebrand Gurlitt, Cornelius' father
3088:
2858:
2351:
2349:
2347:
2208:
1555:
1377:
1345:
715:La Seine vue du Pont-Neuf, au fond le Louvre
676:to the descendants of the Jewish art dealer
621:
3158:
2383:"Swiss museum to accept Gurlitt 'Nazi art'"
1433:
1431:
1371:
1103:"The Nazi art hoard that shocked the world"
3635:
3621:
3309:
3295:
2102:
1975:
1602:"One lonely man and his hoard of Nazi art"
1503:
1459:
626:
198:, Camille Pissarro, Adolph von Menzel and
3708:Art theft and looting during World War II
3117:Feliciano, Hector; Vernay, Alain (1998).
2838:"Nachlass Gurlitt â Salzburger Kunstfund"
2344:
2229:"Die eigentumsrechtliche Problematik der
2073:
1437:
1340:live on and to pay for medical treatment.
1007:
260:Learn how and when to remove this message
3642:
3139:
2010:
1790:"Kunstmuseum Bern tritt Gurlitt-Erbe an"
1428:
854:
809:
653:
639:
429:
404:2012 discovery by German tax authorities
303:
20:
2985:
2910:
2864:
2192:
2074:Kimmelman, Michael (19 November 2017).
1400:
1316:
1059:
1003:
1001:
999:
997:
909:Allegorical scene with embracing lovers
608:On 20 November 2014, the German jurist
3860:
3069:
2967:Hickley, 2015, pp. 150, 151, 156, 165.
2266:Central and Regional Library of Berlin
2178:[Political criminal justice].
2173:
1730:
1317:Hickley, Catherine (12 October 2017).
1171:
1060:Hickley, Catherine (12 October 2017).
3616:
3290:
3163:. New York: Oxford University Press.
2660:
2038:
1806:
1599:
1535:
1465:
1438:Oltermann, Philip (3 November 2013).
1008:Oltermann, Philip (4 November 2013).
487:Death of Cornelius Gurlitt, and after
2940:. Leo Baeck Institute. 19 March 2018
2865:Barnett, Louise (10 November 2013).
2152:
1906:
1625:
1406:
1223:"Collection: Gurlitt âș Page 29"
994:
915:from the Jewish Blumstein family in
902:
242:adding citations to reliable sources
213:
2174:Rieble, Volker (25 November 2013).
1161:Victoria and Albert Museum (2014).
1033:
13:
3316:
3104:
2193:Dittmar, Peter (7 November 2013).
1907:Lane, Mary M. (20 November 2014).
1152:Hickley, 2015: pp. 46-47, 128-129.
872:Portrait of a Woman with Two Noses
779:
14:
3904:
3212:
3060:Hickley, 2015, pp. 191, 192, 241.
2796:Israel Museum, 4 September 2019:
2356:Neuendorf, Henri (10 July 2017).
2281:[Curse of the Treasure].
2226:
2039:Smale, Alison (4 November 2013).
1807:Meier, Oliver (23 October 2015).
1536:Gezer, Ăzlem (17 November 2013).
1407:Eddy, Melissa (5 November 2013).
1100:
700:, who was murdered at Auschwitz.
558:" was deliberately upheld by the
444:Portrait de Monsieur Jean Journet
435:Portrait de Monsieur Jean Journet
3883:Cultural history of World War II
3682:Reichsleiter Rosenberg Taskforce
3217:
2153:Voss, Julia (17 November 2013).
1731:Forbes, Alexander (8 May 2014).
1600:Evans, Stephen (26 March 2014).
1378:Mazzoni, Ira (3 November 2013).
805:
696:to the heirs of music publisher
325:Reichsleiter Rosenberg Taskforce
218:
3178:
3082:
3063:
3054:
3029:
3005:
2986:Cascone, Sarah (26 July 2017).
2970:
2961:
2952:
2895:
2886:
2830:
2802:
2790:
2768:
2746:
2732:
2706:
2680:
2654:
2624:
2598:
2568:
2543:
2513:
2495:
2465:
2443:
2415:
2375:
2329:
2311:
2293:
2285:(in German). 21 November 2013.
2271:
2258:
2220:
2186:
2167:
2146:
2140:Artnet News, January 13, 2020:
2134:
2058:
2001:
1935:
1926:
1900:
1874:
1844:
1819:
1800:
1782:
1768:
1750:
1724:
1619:
1593:
1584:
1485:
1466:Pontz, Zach (3 November 2013).
1310:
1301:
1292:
1283:
1274:
1249:
1240:
1215:
1206:
1197:
548:
229:needs additional citations for
3845:Republic of Austria v. Altmann
3159:Petropoulos, Jonathan (2000).
2938:"Return of the Basket Weavers"
2911:Perlson, Hili (4 April 2016).
2180:Frankfurter Allgemeine Zeitung
2160:Frankfurter Allgemeine Zeitung
1677:"Cornelius Gurlitt â obituary"
1155:
1146:
1120:
1094:
1053:
1034:Rea, Naomi (22 January 2020).
1027:
947:National Museum of Western Art
823:National Museum of Western Art
735:Charles-Dominique-Joseph Eisen
704:was subsequently auctioned at
535:National Museum of Western Art
319:Following the fall of France,
65:
1:
3789:(1994 book, 2006 documentary)
3750:The Spoils of War (symposium)
3582:Racial policy of Nazi Germany
3144:. Berlin: Walter de Gruyter.
3140:Hoffmann, Meike, ed. (2010).
2453:. artnet.com. 13 January 2021
2325:(in German). 5 December 2012.
2307:(in German). 4 December 2012.
1212:Hickley, 2015, pp. 84â85, 151
988:
565:Unlike in Austria, where the
3241:Video: "Hitler's Art Dealer"
2810:"Nachlass Gurlitt â MĂŒnchen"
2786:– via www.youtube.com.
2764:– via www.youtube.com.
2020:. BBC News. 5 September 2014
1246:Hickley, 2015: pp. 112, 117.
1088:ArtNews, December 13, 2021:
935:Museum fĂŒr Kunst und Gewerbe
331:which he wanted to build in
276:In 1937, Nazi Germany under
7:
2976:Hickley, 2015, pp. 164-165.
2661:Brown, Kate (4 July 2019).
2128:ArtNews, November 7, 2019:
1590:Hickley, 2015, pp. 188â192.
1307:Hickley, 2015, pp. 153â154.
1298:Hickley, 2015: pp. 127â128.
1289:Hickley, 2015: pp. 125â127.
961:
851:Other works previously sold
800:
766:La Montagne Sainte-Victoire
719:Interior of a Gothic Church
522:La Montagne Sainte-Victoire
358:
206:prior to its sale in 2011.
10:
3909:
3868:Former private collections
3577:Censorship in Nazi Germany
1178:Feliciano, Hector (1998).
882:by Cornelius, and Macke's
723:Portrait of a Seated Woman
713:Camille Pissarro painting
659:Portrait of a Seated Woman
645:Quai de Clichy, Temps gris
539:Quai de Clichy. Temps Gris
524:, as well as Liebermann's
299:Victoria and Albert Museum
280:condemned modern art as "
3828:
3769:
3733:
3697:Degenerate Art Exhibition
3664:paintings by Adolf Hitler
3650:
3569:
3348:
3332:Degenerate Art Exhibition
3324:
3282:. Bern: Kunstmuseum Bern.
3273:Kunstmuseum Bern (2018).
3268:. Bern: Kunstmuseum Bern.
3259:Kunstmuseum Bern (2017).
3125:. New York: Basic Books.
3070:Foundation, Henry Moore.
2245:Free University of Berlin
2107:. The Wall Street Journal
1637:– via Academia.edu.
845:Center for Jewish History
622:November 2014 and onwards
582:1998 Washington Agreement
464:Ingeborg Berggreen-Merkel
286:Degenerate Art Exhibition
148:Henri de Toulouse-Lautrec
3677:Reich Chamber of Culture
3602:Museum of Fine Arts Bern
3255:Article, 9 November 2017
2636:www.kulturgutverluste.de
2580:www.kulturgutverluste.de
2525:www.kulturgutverluste.de
2477:www.kulturgutverluste.de
2340:(in German). p. 19.
2176:"Politische Strafjustiz"
1856:www.kulturgutverluste.de
1497:www.kulturgutverluste.de
1203:Hickley, 2015: pp. 78â85
896:Sophie Lissitzky-KĂŒppers
567:KunstrĂŒckgabegesetz 1998
514:
493:Museum of Fine Arts Bern
452:Museum of Fine Arts Bern
371:authorities that in the
102:The collection contains
95:and preceding period in
88:Museum of Fine Arts Bern
3653:and during World War II
3651:In Nazi Germany, before
3486:Elfriede Lohse-WĂ€chtler
2195:"Verbrechen lohnt sich"
1913:The Wall Street Journal
739:Augustin de Saint-Aubin
702:Two Riders on the Beach
682:Two Riders on the Beach
627:Swiss museum acceptance
526:Two Riders on the Beach
373:fire bombing of Dresden
313:Two Riders On The Beach
3337:Degenerate Art auction
3236:BBC inspects art stash
3095:www.kunstmuseumbern.ch
3076:Henry Moore Foundation
2958:Hickley, 2015, p. 127.
2901:Hickley, 2015: p. 157.
2892:Hickley, 2015, p. 181.
2209:
2064:Hickley, 2015, p. 159.
2007:Hickley, 2015, p. 231.
1778:. Taskforce Kunstfund.
863:
825:
665:
651:
560:Allied Control Council
438:
382:Village Girl with Goat
323:appointed a series of
316:
295:Ministry of Propaganda
39:
3556:Karl Schmidt-Rottluff
3446:Ernst Ludwig Kirchner
3226:at Wikimedia Commons
2323:Augsburger Allgemeine
2305:Augsburger Allgemeine
956:Marine, Temps d'Orage
943:Marine, Temps d'Orage
858:
817:(c.1864 - c.1868) by
815:Marine, Temps d'Orage
813:
657:
643:
594:Augsburger Allgemeine
531:Marine, Temps d'Orage
433:
307:
124:Pierre-Auguste Renoir
24:
3644:Art and World War II
3436:Alexej von Jawlensky
2279:"Fluch des Schatzes"
743:Anne Vallayer-Coster
469:Andrea Baresel-Brand
297:and now held by the
238:improve this article
30:Pferde in Landschaft
3893:Stolen works of art
3660:Art in Nazi Germany
3204:Collins, Jacob R. "
2872:The Daily Telegraph
2742:. Bundeskunsthalle.
2586:on 19 February 2019
2428:The Daily Telegraph
2389:. 24 November 2014.
2338:SĂŒddeutsche Zeitung
2254:on 2 December 2013.
2227:Heuer, Carl-Heinz.
2199:JĂŒdische Allgemeine
1949:. 15 December 2016.
1764:. 26 November 2015.
1385:SĂŒddeutsche Zeitung
884:Woman with a Parrot
680:; Max Liebermann's
615:SĂŒddeutsche Zeitung
571:Art Return Law 1998
86:, Austria â to the
35:Horses in Landscape
3805:(2007 documentary)
3786:The Rape of Europa
3770:In popular culture
3761:Gurlitt Collection
3718:Nazi storage sites
3592:Hildebrand Gurlitt
3587:Gurlitt Collection
3411:Ludwig Godenschweg
3396:Conrad FelixmĂŒller
3224:Gurlitt collection
3089:Kunstmuseum Bern.
2403:. BBC. 22 May 2015
2045:The New York Times
1626:Willette, Jeanne.
1572:. 12 November 2013
1517:. 17 November 2013
1414:The New York Times
892:Lenbachhaus Museum
864:
840:The Basket Weavers
826:
787:Martin-Gropius-Bau
666:
652:
589:Sibylle Ehringhaus
439:
369:United States Army
317:
52:Hildebrand Gurlitt
44:Gurlitt Collection
40:
3855:
3854:
3810:The Monuments Men
3794:Rescuing Da Vinci
3713:Looting of Poland
3610:
3609:
3597:Cornelius Gurlitt
3551:Rudolf Schlichter
3476:Wilhelm Lehmbruck
3441:Wassily Kandinsky
3222:Media related to
3151:978-3-05-004498-9
2610:The Art Newspaper
1831:www.lootedart.com
1606:BBC News Magazine
1359:. 3 November 2013
1180:"The Lost Museum"
903:Other information
710:Playing the Piano
694:Playing the Piano
270:
269:
262:
188:Wassily Kandinsky
48:Cornelius Gurlitt
3900:
3723:stolen paintings
3637:
3630:
3623:
3614:
3613:
3536:Christian Rohlfs
3311:
3304:
3297:
3288:
3287:
3283:
3281:
3269:
3267:
3221:
3174:
3155:
3136:
3124:
3099:
3098:
3086:
3080:
3079:
3067:
3061:
3058:
3052:
3051:
3049:
3047:
3033:
3027:
3026:
3024:
3022:
3017:
3009:
3003:
3002:
3000:
2998:
2983:
2977:
2974:
2968:
2965:
2959:
2956:
2950:
2949:
2947:
2945:
2934:
2928:
2927:
2925:
2923:
2908:
2902:
2899:
2893:
2890:
2884:
2883:
2881:
2879:
2862:
2856:
2855:
2853:
2851:
2845:Kunstmuseum Bern
2842:
2834:
2828:
2827:
2825:
2823:
2814:
2806:
2800:
2794:
2788:
2787:
2785:
2783:
2772:
2766:
2765:
2763:
2761:
2750:
2744:
2743:
2736:
2730:
2729:
2727:
2725:
2720:. 2 January 2018
2710:
2704:
2703:
2701:
2699:
2684:
2678:
2677:
2675:
2673:
2658:
2652:
2651:
2649:
2647:
2642:on 21 March 2019
2638:. Archived from
2628:
2622:
2621:
2619:
2617:
2602:
2596:
2595:
2593:
2591:
2582:. Archived from
2572:
2566:
2565:
2563:
2561:
2547:
2541:
2540:
2538:
2536:
2527:. Archived from
2517:
2511:
2510:
2499:
2493:
2492:
2490:
2488:
2479:. Archived from
2469:
2463:
2462:
2460:
2458:
2447:
2441:
2440:
2438:
2436:
2419:
2413:
2412:
2410:
2408:
2397:
2391:
2390:
2379:
2373:
2372:
2370:
2368:
2353:
2342:
2341:
2333:
2327:
2326:
2315:
2309:
2308:
2297:
2291:
2290:
2275:
2269:
2262:
2256:
2255:
2253:
2247:. Archived from
2242:
2224:
2218:
2212:
2202:
2190:
2184:
2183:
2171:
2165:
2164:
2150:
2144:
2138:
2132:
2126:
2117:
2116:
2114:
2112:
2100:
2091:
2090:
2088:
2086:
2071:
2065:
2062:
2056:
2055:
2053:
2051:
2036:
2030:
2029:
2027:
2025:
2014:
2008:
2005:
1999:
1998:
1996:
1994:
1979:
1973:
1972:
1970:
1968:
1957:
1951:
1950:
1939:
1933:
1930:
1924:
1923:
1921:
1919:
1904:
1898:
1897:
1895:
1893:
1878:
1872:
1871:
1869:
1867:
1858:. Archived from
1848:
1842:
1841:
1839:
1837:
1823:
1817:
1816:
1804:
1798:
1797:
1786:
1780:
1779:
1772:
1766:
1765:
1754:
1748:
1747:
1745:
1743:
1728:
1722:
1721:
1719:
1717:
1702:
1693:
1692:
1690:
1688:
1673:
1667:
1666:
1664:
1662:
1645:
1639:
1638:
1636:
1634:
1623:
1617:
1616:
1614:
1612:
1597:
1591:
1588:
1582:
1581:
1579:
1577:
1562:
1553:
1552:
1550:
1548:
1533:
1527:
1526:
1524:
1522:
1507:
1501:
1500:
1489:
1483:
1482:
1480:
1478:
1463:
1457:
1456:
1454:
1452:
1435:
1426:
1425:
1423:
1421:
1404:
1398:
1397:
1395:
1393:
1375:
1369:
1368:
1366:
1364:
1349:
1343:
1342:
1336:
1334:
1325:. Archived from
1323:SWI swissinfo.ch
1314:
1308:
1305:
1299:
1296:
1290:
1287:
1281:
1278:
1272:
1271:
1269:
1267:
1253:
1247:
1244:
1238:
1237:
1235:
1233:
1219:
1213:
1210:
1204:
1201:
1195:
1194:
1192:
1190:
1175:
1169:
1159:
1153:
1150:
1144:
1143:
1141:
1139:
1124:
1118:
1117:
1115:
1113:
1098:
1092:
1086:
1077:
1076:
1074:
1072:
1066:SWI swissinfo.ch
1057:
1051:
1050:
1048:
1046:
1031:
1025:
1024:
1022:
1020:
1005:
951:KĆjirĆ Matsukata
930:Fake or Fortune?
759:Dame in der Loge
698:Henri Hinrichsen
579:
291:Ferdinand Möller
265:
258:
254:
251:
245:
222:
214:
164:Camille Pissarro
140:EugĂšne Delacroix
93:Second World War
56:looted from Jews
3908:
3907:
3903:
3902:
3901:
3899:
3898:
3897:
3888:Nazi-looted art
3858:
3857:
3856:
3851:
3824:
3765:
3729:
3691:Entartete Kunst
3652:
3646:
3641:
3611:
3606:
3565:
3561:Lothar Schreyer
3546:Oskar Schlemmer
3511:Wilhelm Morgner
3471:Wilhelm Lachnit
3456:Oskar Kokoschka
3401:Otto Freundlich
3344:
3343:
3320:
3315:
3279:
3265:
3215:
3181:
3171:
3152:
3133:
3107:
3105:Further reading
3102:
3087:
3083:
3068:
3064:
3059:
3055:
3045:
3043:
3035:
3034:
3030:
3020:
3018:
3015:
3011:
3010:
3006:
2996:
2994:
2984:
2980:
2975:
2971:
2966:
2962:
2957:
2953:
2943:
2941:
2936:
2935:
2931:
2921:
2919:
2909:
2905:
2900:
2896:
2891:
2887:
2877:
2875:
2863:
2859:
2849:
2847:
2840:
2836:
2835:
2831:
2821:
2819:
2817:Kunstmusem Bern
2812:
2808:
2807:
2803:
2795:
2791:
2781:
2779:
2775:
2773:
2769:
2759:
2757:
2753:
2751:
2747:
2738:
2737:
2733:
2723:
2721:
2712:
2711:
2707:
2697:
2695:
2686:
2685:
2681:
2671:
2669:
2659:
2655:
2645:
2643:
2630:
2629:
2625:
2615:
2613:
2612:. 14 March 2019
2604:
2603:
2599:
2589:
2587:
2574:
2573:
2569:
2559:
2557:
2549:
2548:
2544:
2534:
2532:
2519:
2518:
2514:
2501:
2500:
2496:
2486:
2484:
2471:
2470:
2466:
2456:
2454:
2449:
2448:
2444:
2434:
2432:
2421:
2420:
2416:
2406:
2404:
2399:
2398:
2394:
2381:
2380:
2376:
2366:
2364:
2354:
2345:
2334:
2330:
2317:
2316:
2312:
2299:
2298:
2294:
2277:
2276:
2272:
2263:
2259:
2251:
2240:
2225:
2221:
2210:entartete Kunst
2191:
2187:
2172:
2168:
2151:
2147:
2139:
2135:
2127:
2120:
2110:
2108:
2101:
2094:
2084:
2082:
2072:
2068:
2063:
2059:
2049:
2047:
2037:
2033:
2023:
2021:
2016:
2015:
2011:
2006:
2002:
1992:
1990:
1981:
1980:
1976:
1966:
1964:
1959:
1958:
1954:
1941:
1940:
1936:
1931:
1927:
1917:
1915:
1905:
1901:
1891:
1889:
1880:
1879:
1875:
1865:
1863:
1850:
1849:
1845:
1835:
1833:
1825:
1824:
1820:
1805:
1801:
1788:
1787:
1783:
1774:
1773:
1769:
1756:
1755:
1751:
1741:
1739:
1729:
1725:
1715:
1713:
1704:
1703:
1696:
1686:
1684:
1675:
1674:
1670:
1660:
1658:
1647:
1646:
1642:
1632:
1630:
1624:
1620:
1610:
1608:
1598:
1594:
1589:
1585:
1575:
1573:
1564:
1563:
1556:
1546:
1544:
1534:
1530:
1520:
1518:
1509:
1508:
1504:
1491:
1490:
1486:
1476:
1474:
1464:
1460:
1450:
1448:
1436:
1429:
1419:
1417:
1405:
1401:
1391:
1389:
1376:
1372:
1362:
1360:
1351:
1350:
1346:
1332:
1330:
1315:
1311:
1306:
1302:
1297:
1293:
1288:
1284:
1279:
1275:
1265:
1263:
1255:
1254:
1250:
1245:
1241:
1231:
1229:
1221:
1220:
1216:
1211:
1207:
1202:
1198:
1188:
1186:
1176:
1172:
1160:
1156:
1151:
1147:
1137:
1135:
1134:. 19 March 2014
1126:
1125:
1121:
1111:
1109:
1099:
1095:
1087:
1080:
1070:
1068:
1058:
1054:
1044:
1042:
1032:
1028:
1018:
1016:
1006:
995:
991:
964:
905:
853:
835:
808:
803:
782:
780:Public displays
774:Aix-en-Provence
686:David Friedmann
638:
629:
624:
603:Reinhard Nemetz
573:
551:
517:
489:
481:looted artworks
477:Nazi-looted art
460:
406:
361:
266:
255:
249:
246:
235:
223:
212:
180:Gustave Courbet
68:
17:
12:
11:
5:
3906:
3896:
3895:
3890:
3885:
3880:
3875:
3870:
3853:
3852:
3850:
3849:
3841:
3837:Menzel v. List
3832:
3830:
3826:
3825:
3823:
3822:
3814:
3806:
3802:Stealing Klimt
3798:
3790:
3782:
3773:
3771:
3767:
3766:
3764:
3763:
3758:
3753:
3747:
3737:
3735:
3731:
3730:
3728:
3727:
3726:
3725:
3720:
3715:
3705:
3700:
3694:
3687:Degenerate art
3684:
3679:
3674:
3667:
3656:
3654:
3648:
3647:
3640:
3639:
3632:
3625:
3617:
3608:
3607:
3605:
3604:
3599:
3594:
3589:
3584:
3579:
3573:
3571:
3567:
3566:
3564:
3563:
3558:
3553:
3548:
3543:
3538:
3533:
3528:
3523:
3518:
3513:
3508:
3506:Jean Metzinger
3503:
3501:Ludwig Meidner
3498:
3493:
3488:
3483:
3481:Max Liebermann
3478:
3473:
3468:
3463:
3461:KĂ€the Kollwitz
3458:
3453:
3448:
3443:
3438:
3433:
3428:
3423:
3418:
3413:
3408:
3406:Albert Gleizes
3403:
3398:
3393:
3388:
3383:
3378:
3373:
3368:
3363:
3358:
3352:
3350:
3346:
3345:
3342:
3341:
3340:
3339:
3334:
3326:
3325:
3322:
3321:
3318:Degenerate art
3314:
3313:
3306:
3299:
3291:
3285:
3284:
3270:
3256:
3250:
3244:
3238:
3233:
3214:
3213:External links
3211:
3210:
3209:
3202:
3192:
3180:
3177:
3176:
3175:
3169:
3156:
3150:
3137:
3131:
3114:
3106:
3103:
3101:
3100:
3081:
3062:
3053:
3028:
3004:
2978:
2969:
2960:
2951:
2929:
2903:
2894:
2885:
2857:
2829:
2801:
2789:
2767:
2745:
2731:
2705:
2679:
2653:
2623:
2597:
2567:
2542:
2512:
2494:
2464:
2442:
2431:. 25 June 2015
2414:
2392:
2374:
2343:
2328:
2310:
2292:
2270:
2257:
2219:
2205:degenerate art
2185:
2166:
2145:
2133:
2118:
2092:
2080:New York Times
2066:
2057:
2031:
2009:
2000:
1989:. 24 July 2014
1974:
1952:
1934:
1925:
1899:
1873:
1843:
1818:
1799:
1781:
1767:
1762:Deutsche Welle
1749:
1723:
1694:
1668:
1657:. 7 April 2014
1654:Deutsche Welle
1640:
1618:
1592:
1583:
1554:
1528:
1502:
1484:
1472:the algemeiner
1458:
1427:
1399:
1370:
1344:
1329:on 12 May 2021
1309:
1300:
1291:
1282:
1273:
1261:www.lostart.de
1248:
1239:
1214:
1205:
1196:
1170:
1154:
1145:
1119:
1093:
1078:
1052:
1026:
992:
990:
987:
986:
985:
980:
975:
970:
963:
960:
904:
901:
880:The Lion Tamer
852:
849:
834:
831:
807:
804:
802:
799:
781:
778:
747:Quai de Clichy
731:Georges Mandel
727:Thomas Couture
678:Paul Rosenberg
663:Thomas Couture
637:
634:
628:
625:
623:
620:
556:degenerate art
550:
547:
516:
513:
488:
485:
459:
456:
405:
402:
396:The Lion Tamer
360:
357:
321:Hermann Göring
309:Max Liebermann
268:
267:
226:
224:
217:
211:
208:
184:Max Liebermann
67:
64:
16:Art collection
15:
9:
6:
4:
3:
2:
3905:
3894:
3891:
3889:
3886:
3884:
3881:
3879:
3876:
3874:
3871:
3869:
3866:
3865:
3863:
3847:
3846:
3842:
3839:
3838:
3834:
3833:
3831:
3827:
3820:
3819:
3818:Woman in Gold
3815:
3812:
3811:
3807:
3804:
3803:
3799:
3796:
3795:
3791:
3788:
3787:
3783:
3780:
3779:
3775:
3774:
3772:
3768:
3762:
3759:
3757:
3754:
3751:
3748:
3746:
3742:
3739:
3738:
3736:
3732:
3724:
3721:
3719:
3716:
3714:
3711:
3710:
3709:
3706:
3704:
3701:
3698:
3695:
3692:
3688:
3685:
3683:
3680:
3678:
3675:
3673:
3672:
3668:
3665:
3661:
3658:
3657:
3655:
3649:
3645:
3638:
3633:
3631:
3626:
3624:
3619:
3618:
3615:
3603:
3600:
3598:
3595:
3593:
3590:
3588:
3585:
3583:
3580:
3578:
3575:
3574:
3572:
3568:
3562:
3559:
3557:
3554:
3552:
3549:
3547:
3544:
3542:
3539:
3537:
3534:
3532:
3531:Pablo Picasso
3529:
3527:
3526:Max Pechstein
3524:
3522:
3519:
3517:
3514:
3512:
3509:
3507:
3504:
3502:
3499:
3497:
3494:
3492:
3489:
3487:
3484:
3482:
3479:
3477:
3474:
3472:
3469:
3467:
3464:
3462:
3459:
3457:
3454:
3452:
3449:
3447:
3444:
3442:
3439:
3437:
3434:
3432:
3429:
3427:
3424:
3422:
3419:
3417:
3414:
3412:
3409:
3407:
3404:
3402:
3399:
3397:
3394:
3392:
3389:
3387:
3384:
3382:
3381:Lovis Corinth
3379:
3377:
3374:
3372:
3369:
3367:
3366:Ernst Barlach
3364:
3362:
3359:
3357:
3354:
3353:
3351:
3347:
3338:
3335:
3333:
3330:
3329:
3328:
3327:
3323:
3319:
3312:
3307:
3305:
3300:
3298:
3293:
3292:
3289:
3278:
3277:
3271:
3264:
3263:
3257:
3254:
3251:
3248:
3245:
3242:
3239:
3237:
3234:
3232:
3229:
3228:
3227:
3225:
3220:
3207:
3203:
3201:
3200:9781250061096
3197:
3193:
3191:
3190:9780500292570
3187:
3183:
3182:
3172:
3170:0-19-512964-4
3166:
3162:
3157:
3153:
3147:
3143:
3138:
3134:
3132:0-465-04191-4
3128:
3123:
3122:
3115:
3112:
3109:
3108:
3096:
3092:
3085:
3077:
3073:
3066:
3057:
3042:
3038:
3032:
3014:
3008:
2993:
2989:
2982:
2973:
2964:
2955:
2939:
2933:
2918:
2914:
2907:
2898:
2889:
2874:
2873:
2868:
2861:
2846:
2839:
2833:
2818:
2811:
2805:
2799:
2793:
2778:
2771:
2756:
2749:
2741:
2735:
2719:
2715:
2709:
2694:. 3 July 2018
2693:
2689:
2683:
2668:
2664:
2657:
2641:
2637:
2633:
2627:
2611:
2607:
2601:
2585:
2581:
2577:
2571:
2556:
2552:
2546:
2531:on 9 May 2019
2530:
2526:
2522:
2516:
2508:
2504:
2498:
2483:on 9 May 2019
2482:
2478:
2474:
2468:
2452:
2446:
2430:
2429:
2424:
2418:
2402:
2396:
2388:
2384:
2378:
2363:
2359:
2352:
2350:
2348:
2339:
2332:
2324:
2320:
2314:
2306:
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2917:artnet news
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2024:5 September
1967:19 November
1737:Artnet News
1576:13 November
1547:18 November
1542:Der Spiegel
1521:17 November
1388:(in German)
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1266:1 September
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1132:Vanity Fair
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200:Paul Signac
144:Edgar Degas
106:as well as
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3496:Franz Marc
3431:Karl Hofer
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2237:degenerate
2231:entarteten
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1477:3 November
1451:3 November
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1232:27 October
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2283:Der Zeit
1987:BBC News
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1866:3 August
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1570:BBC News
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