627:) has resurfaced. Gurlitt had claimed that he had "saved" many of the works from destruction, either by the Nazis, by allied bombardment or confiscation, or by further looting by the Soviets following the Allied liberation of Europe; although there is an element of truth in this, another driver was clearly his own personal enrichment, as well as ensuring his and his family's survival during the Nazi era and a desire to avoid military service. For critic James McAuley, writing in "Even" magazine after viewing the two recent public exhibitions of selected works from the collection, Gurlitt was a morally bankrupt and "dreadfully mediocre art dealer whose animating principle seems to have been profit and professional advancement" who "made his career in the arts, but without any real distinction", "swindled them all" and went on to state: "The art in Bonn and Bern adds up to a collection of no particular distinction, larded with trite, second-tier works on paper by artists of middling distinction, and the real, unexpected achievement of 'Status Report' is that it exposes the truth about Hildebrand Gurlitt – his mediocrity, his uncomplicated interiority, his utter predictability", although other commentators are much less dismissive about the collection's quality (see note).
734:, Munich. On 28 February 2012 officials from the Augsburg Prosecutors Office found 1,406 artworks, the bulk of Hildebrand's original collection, with a reported estimated worth (subsequently found to be greatly exaggerated) of €1 billion (approx. $ 1.3 billion), which they then confiscated. Authorities initially banned reporting on the raid, which only came to light in 2013. Subsequently Cornelius' legally appointed custodian obtained an agreement that the collection be returned since there was no evidence that Cornelius had broken any German laws; however, nothing had been returned by the time of Cornelius' death. An additional portion of the collection was disclosed by Cornelius to his court-appointed lawyer to be stored at his residence in
635:
acquiring suitably völkisch art from Nazi-occupied countries for the planned Führer Museum in Linz. At the same time, Gurlitt made money siphoning off countless works for his own collection. Where the art came from, and the reason behind each individual sale – if the pieces were sold at all – did not really concern him. ... particular artworks are exhibited alongside case studies documenting their original owners, predominately Jewish people forced to sell their possessions, or whose homes were looted as they either fled or were murdered. These small family histories make fully apparent the horror on which
Gurlitt's successful career was founded.
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596:, which Gurlitt passed on to his son Cornelius. 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.
539:
intended for the FĂĽhrermuseum. Gurlitt undoubtedly used his thus "officially sanctioned" purchasing trips to Paris, which was at that time awash with artworks including old masters, of dubious provenance and including items now recognised as being looted, 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. Gurlitt was, according to Dr.
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to and beyond his premature death at age 61 in a car crash in 1956. A year before his death, he prepared a six page manuscript preface for an exhibition catalogue which was, however, never printed; with one crucial page missing (covering his work for the Nazis), it survives in a DĂĽsseldorf archive and provides a heavily sanitised personal review of his career to date and on some aspects of the history of his collection.
738:, Austria, where he officially resided and was registered for tax purposes; these items remained in Cornelius' possession since the German authorities had no jurisdiction there. Cornelius, apparently aggrieved at the treatment he had received from the German authorities, bequeathed the entire collection on his death in 2014 to a small museum in Switzerland, the
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and collector. Upon his death, he was celebrated in German newspaper articles and speeches for his championing of modern art and its creators, and even had a street named after him in DĂĽsseldorf. However, the declassification of military and intelligence archives beginning in the late 1990s and the discovery of a hoard of hidden artworks in the
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claimed he was helping the owners in their predicament since there were few dealers who were prepared to undertake such transactions. On the other hand, he was not averse to enriching himself in the process, nor was he averse to not supporting post-war claimants seeking to reclaim or obtain compensation for such works sold under duress.
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commentators were much less dismissive of the works contained, for example the artworks by his little known but talented sister
Cornelia, together with "unexpected delights" by artists such as Heinrich Campendonk, Rolf Grossman and Max Liebermann, in addition to the more significant items in the collection by major artists (see
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He was an anti-Nazi who became corrupted by the regime he professed to hate; whose fear and ambition combined led him to compromise his own beliefs and, in the process, forfeit his integrity. ... What is most regrettable in
Hildebrand's case is that despite his immense wealth, he never tried to make
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home of his son have led to a well-documented reappraisal. Gurlitt is now viewed as "Hitler's art dealer" and a Nazi collaborator and profiteer, with no empathy for the Jewish victims of the Nazi regime from whom many of the artworks originated, whether procured for himself, traded, or purchased for
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Gurlitt was generally successful at concealing his role in Nazi looting and ridding himself of Nazi-associated "taint" after the war. In postwar
Germany, along with other dealers of Nazi-looted art, Gurlitt built a respectable career as an art association director and exhibition manager, art dealer,
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for which he paid the then very large sum of 480,000 French Francs. He also 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
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By 1947, Gurlitt had resumed trading in art works and eventually in 1948–49 took up a position as
Director of the Art Association for the Rhineland and Westphalia, based in DĂĽsseldorf, which in 1949 was allocated space in the DĂĽsseldorf art gallery in which to stage exhibitions. Over the next five
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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 taken from him by American and German authorities were returned to him after he had convinced them that he had acquired them lawfully.
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From the mid 1930s onwards, Gurlitt purchased and, in some cases, onsold 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
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McAuley's argument is a little difficult to follow: if, for example, Gurlitt's collection had contained more "masterworks" in place of the many claimed "second-tier works on paper by artists of middling distinction", would that have made his acquisitions more or less culpable? In any case, other
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in Linz, named
Gurlitt his official purchasing agent. 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
634:
Hildebrand
Gurlitt was a canny operator who, despite being part Jewish, managed not only to survive but to thrive in Nazi Germany. He achieved this through full cooperation: facilitating the sale of so-called "degenerate art" to (mostly) foreign buyers to buoy the regime's coffers, while also
319:. She also served in the First World War as a nurse and moved to Berlin shortly after the war. The lack of artistic recognition and depression led to her suicide in 1919; Gurlitt took care of her works, but part of it was destroyed by their mother after the death of their father.
312:, where he remained until 1919. Returning to a shattered Germany after demobilization, he was disillusioned with all aspects of war and politics and vowed henceforth to devote himself to art alone as an escape from politics, an irony which has not escaped subsequent biographers.
723:, also with a Hildebrand Gurlitt provenance, was sold in Berlin via the auction house Villa Grisebach for €2 million; the seller was an unnamed German collector, suspected by investigative author Catherine Hickley to have been Cornelius' sister Renate (Benita).
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years he staged over 70 exhibitions of leading modern artists and brokered the sale of paintings with at least some of the proceeds going to the
Association, while at the same time dealing privately and purchasing works for his own collection, including
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Buying for Hitler, Hildebrand had a blank check and no scruples, obtaining works by Delacroix and Fragonard, Seurat and Courbet, sometimes to fill gaps in German museums left by the elimination of modern art, skimming off what he wanted to keep or
484:. The four dealers were allowed to buy pieces and sell them abroad, which they did not always report to the commission. Gurlitt's name appears against many of the entries on a listing compiled by the Ministry of Propaganda and now held by the
699:(with some to his sister Renate) following Helene's death in 1968. They remained in the younger generation of Gurlitts' possession for over four decades out of public knowledge, although Cornelius is known to have sold eleven works via the
953:
Hildebrand, one of four senior Modern Art dealers in Germany who were appointed in March 1938 to the Nazis' Confiscation Committee - with orders from Hitler and Herrmann Goering to sell "degenerate art" (entartete Kunst) for foreign
644:
amends after the war when he could have done so without fear of repercussion. ... This perhaps more than anything else in his biography is a sign of how far the Nazis' inhumanity crept into the minds of those who lived under them.
742:, who in November 2014 agreed to accept the bequest, minus any works for which the possible status as wartime looted art was still in question. Exhibitions of some of the works from the collection went on show in November 2017.
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437:. Gurlitt's work was appreciated by the national press and his peers, but the local press was less impressed. The city's financial difficulties and press campaigns against him led to his dismissal in 1930.
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border found Cornelius, by then aged 77, to be carrying €9,000 in cash which he explained was money from the previous sale of a painting, which led to a search warrant in 2011 for his apartment in
472:) to market confiscated works of art abroad. Some 16,000 so-called "degenerate" artworks had been removed from museums and confiscated all over Germany. Some of these works were exhibited in the
695:
Far from being mostly lost in the war as Gurlitt had claimed, around 1,500 artworks remained in Gurlitt's possession at the time of his death, passing to his wife Helene and hence to their son
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which sold at auction in 2011, with the proceeds split between Cornelius and a relative of the painting's original Jewish owners. Helene had earlier sold three paintings, including Picasso's
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288:. After completing his schooling, he showed an interest in art history and registered to study this subject at the Dresden Technical School, where his father was Chancellor, however in 1914
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33:
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397:. A collection of his letters shows that he was personally well acquainted with modern artists at the time, and he acquired and exhibited works by many of them, including
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https://www.kunstmuseumbern.ch/admin/data/hosts/kmb/files/page_editorial_paragraph_file/file_en/1369/ausstellungsfuehrer_bestandsaufnahme-gurlitt_e.pdf?lm=1509549566
2159:“The Gurlitt collection should be sold to benefit Jewish organisations”, interview with Alfred Weidinger, by Flavia Foradini, The Art Newspaper online, 20 Nov. 2015
1336:
444:, where he became the curator and managing director of the Kunstverein (Art Association) until he and the board members were forced to resign by the Nazis in 1933.
365:
Between 1921 and 1924, Gurlitt contributed articles on art for newspapers, and following his graduation, he became the first director of the König Albert museum in
216:(which was never built) and for himself. He also inherited family artworks from both his father and his sister, an accomplished artist in her own right. Following
2020:
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https://www.kunstmuseumbern.ch/admin/data/hosts/kmb/files/page_editorial_paragraph_file/file_en/1398/ausstellungsfuehrer_gurlitt-teil2_en.pdf?lm=1524134409
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commenced and both Hildebrand and his elder brother Wilibald volunteered to join the German army of the day. Hildebrand served and was wounded at both
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1398:"Entartete" Kunst: digital reproduction of a typescript inventory prepared by the Reichsministerium für Volksaufklärung und Propaganda, ca. 1941/1942
2116:
Collins, Jacob R. "The Gurlitt Trove: Its Past, Present and Future." Undergraduate Thesis, University of Vermont, 2016, 54 pp. Available online at
1968:
2600:
2106:
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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his Nazi masters' collections. His role as one of the four official art dealers named by Göring and Hitler to trade in modern art (so-called
224:
process he became Director of the Art Association for the Rhineland and Westphalia, until his death in a car accident at the age of 61. His
1570:
758:
EinfĂĽhrung und Begleittext zum Neudruck nach dem Exemplar in der PreuĂźischen Staatsbibliothek von Peter Paul Rubens, Palazzi di Genova 1622
244:, remained virtually unknown until it was brought to public attention in 2013 following its confiscation from the possession of his son,
1993:
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1933:
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2221:
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315:
Gurlitt had a close relationship with his sister Cornelia (born 1890), who was an expressionist painter and was in contact with
2096:
Hickley, Catherine. "The Munich Art Hoard: Hitler's Dealer and his Secret Legacy." Thames & Hudson, London, 2015, 272 pp.
1362:
330:, then in 1921 once again in Frankfurt, where he was awarded his doctorate in 1924 for a thesis on the Gothic architecture of
1842:
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by Max Beckmann, which failed to sell; Cornelius subsequently sold the same painting via Ketterer again in 1972. In 2007,
1855:
373:. Financially it was a success, but it generated a lot of hostility from local conservatives. In 1926 he contracted the
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and art gallery director who dealt in Nazi-looted art as one of Hitler's and Goering's four authorized dealers for "
515:
2555:
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1293:
1216:
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1786:
2545:
2214:
527:
349:(junior) (1932–2014) and Nicoline Benita Renate (originally known as Renate, later as Benita) (1935–2012).
2605:
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that provides details of the fate of each object, including whether it was exchanged, sold or destroyed.
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for the design and decoration of the museum. Later on, he continued exhibiting contemporary art: in 1926
331:
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761:
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818:
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in 1925. One of the first exhibitions he organized at Zwickau was the October 1925 exhibition of
908:
248:, who, although never reunited with the collection, bequeathed it upon his death in 2014 to the
2249:
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Die neue Stadt, internationale Monatsschrift für architektonische Planung und städtische Kultur
1889:
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The Rape of Europa: The Fate of Europe's Treasures in the Third Reich and the Second World War
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414:
390:
2308:
786:
477:
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2348:
1185:
862:
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Das neue Frankfurt, internationale Monatsschrift fĂĽr die Probleme kultureller Neugestaltung
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in Bern, Switzerland, in 1988, and possibly four others in 1990, as well as Max Beckmann's
691:
in the Gurlitt collection and now passed on to the descendants of the original Jewish owner
297:
212:", purchasing paintings in Nazi-occupied France, many of them stolen, for Hitler's planned
8:
1366:
1315:
1238:
526:; some of the works also went to swell Göring's personal art collection. In early 1943,
339:
293:
1788:
Hitler's art thief: Hildebrand Gurlitt, the Nazis, and the looting of Europe's treasures
867:
465:
2499:
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1575:
842:
654:
572:
518:
approved dealers, including Gurlitt, to acquire French art assets for Hitler's planned
225:
551:
491:
Gurlitt used his position to sell art to domestic collectors as well, most notably to
2463:
2388:
2353:
2107:
2097:
1802:
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1732:
1722:
1509:
1499:
1467:
1446:
1269:
1212:
1007:
978:
700:
659:
492:
410:
2373:
2137:
Gurlitt Status Report Part 2: Nazi Art Theft and its Consequences (Exhibition Guide)
511:
378:
357:
2448:
2183:
2118:
https://scholarworks.uvm.edu/cgi/viewcontent.cgi?article=1035&context=castheses
852:
402:
322:
Following the end of the war, Gurlitt resumed his studies in art history, first in
273:
269:
170:
161:
102:
639:
Author Catherine Hickley offered her own assessment of Gurlitt's actions in 2015:
568:
559:
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2458:
2423:
2383:
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Gurlitt Status Report: "Degenerate Art" - Confiscated and Sold (Exhibition Guide)
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601:
496:
422:
882:
535:
519:
213:
2418:
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2318:
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2171:“The other Gurlitt” article by Flavia Foradini, The Art Newspaper, January 2015
1969:"Artworks Worth $ 1.6 Billion, Stolen by Nazis, Discovered in German Apartment"
872:
684:
624:
504:
285:
221:
209:
190:
1831:
1806:
1736:
1513:
338:. In 1923 he had married the ballet dancer Helene Hanke who was trained under
2529:
2443:
2438:
2293:
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1771:
1011:
571:) in June 1945. Under interrogation after capture, Gurlitt and his wife told
398:
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237:
229:
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60:
78:
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585:
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316:
281:
217:
82:
1751:
543:, "one of the most important and active art dealers during the Nazi era."
32:
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1753:
Hitlers Kunsthändler: Hildebrand Gurlitt, 1895-1956 : die Biographie
1536:
727:
342:
289:
241:
186:
16:
German art dealer authorized by Third Reich to sell looted art, historian
1232:
567:
Gurlitt was captured with his wife and twenty boxes of art in Aschbach (
2433:
2408:
2343:
2195:
Sworn statement by Dr. Hildebrand Gurlitt to allied authorities in 1945
1043:"Picasso, Matisse and Dix among works found in Munich's Nazi art stash"
711:, via the auction house of Ketterer in Stuttgart in 1960, plus offered
663:
430:
406:
394:
201:
197:
1401:
2363:
2303:
1856:"How Should We Look at Cornelius Gurlitt's Trove of Nazi-Looted Art?"
1069:"The mysterious Munich recluse who hoarded €1bn of Nazis' stolen art"
731:
418:
335:
323:
309:
2298:
1810:
735:
593:
555:
Sworn Statement to the Allies by Dr. H. Gurlitt, 1945 (Translation)
500:
1184:(in German). Galerie Joseph Fach. 14 November 2013. Archived from
2199:
2047:"Cornelius Gurlitt's art hoard finally gets first public showing"
2021:"Works hoarded by son of Nazi art dealer to go on public display"
1690:"Works hoarded by son of Nazi art dealer to go on public display"
1337:"Hildebrand Gurlitt – der Sachse hinter dem Münchner Kunstschatz"
563:
Gurlitt List of confiscated works prepared by CCP Wiesbaden, 1950
441:
374:
366:
345:. They later had two children, Rolf Nikolaus Cornelius, known as
301:
276:
was an art dealer as well. His grandmother Elisabeth Gurlitt was
261:
56:
2072:"Gurlitt: Status Report 'Degenerate Art' – confiscated and sold"
1934:"Strong German Auctions Reflect Vibrancy of European Art Market"
1629:"'A Kind of Fief': Munich Art Hoarder's Father in His Own Words"
1400:. London: Victoria and Albert Museum. (V&A NAL MSL/1996/7)
619:
481:
327:
305:
233:
826:
Kunstverein fĂĽr die Rheinlande und Westfalen, DĂĽsseldorf 1955.
272:
a musicologist, his sister Cornelia a painter, and his cousin
2154:
Art Dealer to the FĂĽhrer: Hildebrand Gurlitt's Deep Nazi Ties
1537:"Hildebrand Gurlitt and the Art Trade during the Nazi Period"
745:
726:
On 22 September 2010, German customs officials at the German–
1890:"HCPO - Spotlight: The Art Collection of Hildebrand Gurlitt"
832:
Freunde mainfränkischer Kunst und Geschichte, Würzburg 1955.
1843:
Laird, Michèle: The hidden truths of the Gurlitt collection
1718:
The Munich art hoard: Hitler's dealer and his secret legacy
1241:
Collection"): Wiesbaden Central Collecting Point, 1945–1952
523:
456:
Gurlitt was one of the four dealers appointed by the Nazi
1784:
1261:
381:
and a special exhibition on contemporary art in Dresden (
277:
268:(senior) was an architect and art historian, his brother
1492:
Polack, Emmanuelle; Bertrand Dorleac, Laurence (2019).
1571:"German Officials Provide Details on Looted Art Trove"
1491:
752:
Baugeschichte der Katharinenkirche in Oppenheim a. Rh.
1785:Ronald, Susan; Flosnik, Anne; Tantor Media (2019).
1237:
Records Concerning the Central Collecting Points ("
1000:"The Void at the Heart of 'Gurlitt: Status Report'"
185:(15 September 1895 – 9 November 1956) was a German
888:List of claims for restitution for Nazi-looted art
1465:
1265:Max Pechstein: The Rise and Fall of Expressionism
1233:"Restitution Claim Records – Gurlitt, Hildebrand"
1040:
970:
458:Commission for the Exploitation of Degenerate Art
2581:Art and cultural repatriation after World War II
2527:
2134:
2122:
1495:Le marche de l'art sous l'Occupation: 1940-1944
1282:
1153:
1118:
300:, and later served as an army press officer in
2184:"The unfinished art business of World War Two"
933:"The unfinished art business of World War Two"
284:: he was considered a "quarter-Jew" under the
2215:
1994:"Bern museum accepts controversial art hoard"
1206:
1174:
798:Museen und Ausstellungen in mittleren Städten
648:
612:
1749:
1664:"OSS Art Looting Investigation Unit Reports"
1329:
667:
503:. In 1936 Gurlitt was visited in Hamburg by
260:Gurlitt was born into an artistic family in
1853:
1438:
1355:
1225:
1147:
1121:"Degenerate Art and the Jewish Grandmother"
1086:
2222:
2208:
1960:
1564:
1562:
1211:(in German). Hamburg: Dölling und Galitz.
1036:
1034:
1032:
966:
964:
962:
746:List of publications by Hildebrand Gurlitt
226:personal collection of over 1,500 artworks
31:
1442:Samuel Beckett's German Diaries 1936–1937
1255:
1066:
997:
440:Following his dismissal Gurlitt moved to
208:, during the Nazi era Gurlitt traded in "
2018:
792:Die Katharinenkirche in Oppenheim a. Rh.
679:
658:
558:
550:
356:
2044:
1714:
1623:
1559:
1459:
1094:"Sensationeller Kunstschatz in MĂĽnchen"
1029:
998:Kimmelman, Michael (19 November 2017).
959:
630:Writing in 2018, Rebecca O'Dwyer says:
495:whose collection forms the core of the
2601:Jewish collaborators with Nazi Germany
2528:
2045:Hickley, Catherine (3 November 2017).
1750:Hoffmann, Meike; Kuhn, Nicola (2016).
1308:
1200:
971:Nicholas, Lynn H. (22 December 2009).
939:. BBC. 4 November 2013. Archived from
510:During the Nazi occupation of France,
280:, which would prove problematic under
2203:
1966:
1854:O'Dwyer, Rebecca (14 November 2018).
1791:. Old Saybrook, Conn.: Tantor Media.
1547:from the original on 27 December 2014
1112:
1067:Oltermann, Philip (4 November 2013).
1041:Oltermann, Philip (5 November 2013).
2586:Road incident deaths in West Germany
1931:
1568:
1262:Fulda, Bernhard; Soika, Aya (2012).
1154:Karich, Swantje (16 December 2012).
1060:
769:Förster & Borries, Zwickau 1926.
2074:. Kunstmuseum Bern. 1 November 2017
1402:http://www.vam.ac.uk/entartetekunst
1396:Victoria and Albert Museum (2014).
1119:Laqueur, Walter (5 December 2013).
794:Urban-Verlag, Freiburg i. Br. 1930.
13:
2229:
2019:Connolly, Kate (27 October 2017).
1387:Hickley, 2015: pp. 46-47, 128-129.
1268:. Walter de Gruyter. p. 258.
1243:(in German). 1945–1948. p. 31
1209:Hamburger Kunst im 'Drittem Reich'
817:, Frankfurt am Main 1933, S. 186.
709:Portrait of a Woman with Two Noses
14:
2617:
2147:
1569:Eddy, Melissa (5 November 2013).
1365:. Der Kunstverein. Archived from
848:Cornelius Gurlitt (art collector)
1932:Rump, Gerhard (8 January 2008).
1894:Department of Financial Services
977:. Random House LLC. p. 24.
516:Reichsleiter Rosenberg Taskforce
101:Art dealer during the Nazi era,
2591:German male non-fiction writers
2576:German people of Jewish descent
2090:
2064:
2038:
2012:
1986:
1967:Pontz, Zach (3 November 2013).
1951:
1925:
1916:
1907:
1882:
1873:
1847:
1836:
1832:Love and Theft by James McAuley
1825:
1778:
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1617:
1608:
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900:
476:. A trading room was set up in
352:
1160:Frankfurter Allgemeine Zeitung
1138:
991:
925:
1:
2495:Racial policy of Nazi Germany
918:
754:Frankfurt, Phil. Diss., 1924.
255:
1596:Hickley, 2015: pp. 112, 117.
1414:""Entartete" Kunstgeschäfte"
1343:(in German). 5 November 2013
1316:"Städtisches Museum Zwickau"
1156:"Muse, Modell und – Malerin"
1100:(in German). 3 November 2013
522:which he wanted to build in
37:Gurlitt photographed in 1944
7:
2566:20th-century art collectors
1922:Hickley, 2015, pp. 150–151.
1715:Hickley, Catherine (2018).
1614:Hickley, 2015: pp. 127–128.
1605:Hickley, 2015: pp. 125–127.
1363:"The Kunstverein – History"
909:Gurlitt Collection#Contents
836:
546:
447:
10:
2622:
2490:Censorship in Nazi Germany
1879:Hickley, 2015, p. 130–131.
1466:Feliciano, Hector (1998).
1445:. Continuum. p. 212.
1420:(in German). 6 August 2008
858:Karl Buchholz (Art dealer)
804:, Frankfurt 1930, S. 146.
779:Zu Emil Noldes Aquarellen.
652:
649:Survival of art collection
613:Reputation and reappraisal
486:Victoria and Albert Museum
2482:
2261:
2245:Degenerate Art Exhibition
2237:
2139:. Bern: Kunstmuseum Bern.
2135:Kunstmuseum Bern (2018).
2127:. Bern: Kunstmuseum Bern.
2123:Kunstmuseum Bern (2017).
1498:(in French). Tallandier.
1439:Nixon, Mark, ed. (2011).
1290:"Kunstsammlungen Zwickau"
1144:Hickley, 2015: pp. 28-30.
474:Degenerate Art Exhibition
167:Cornelia Gurlitt (sister)
154:
135:
116:
108:
97:
89:
67:
42:
30:
23:
2571:People from Nazi Germany
2515:Museum of Fine Arts Bern
2164:8 September 2018 at the
1756:(in German). C.H. Beck.
1526:Hickley, 2015: pp. 78-85
893:
824:Sammlung Wilhelm Buller.
740:Museum of Fine Arts Bern
575:authorities that in the
250:Museum of Fine Arts Bern
93:Art dealer and historian
2399:Elfriede Lohse-Wächtler
1721:. Thames & Hudson.
689:Two Riders On The Beach
577:fire bombing of Dresden
2250:Degenerate Art auction
1957:Hickley, 2015, p. 165.
1913:Hickley, 2015, p. 156.
1653:Hickley, 2015, p. 130.
1207:Bruhns, Maike (2001).
811:Neue englische Malerei
692:
677:
668:
646:
637:
606:Village Girl with Goat
564:
556:
514:appointed a series of
362:
332:St. Catherine's Church
2556:German art collectors
2551:German art historians
2469:Karl Schmidt-Rottluff
2359:Ernst Ludwig Kirchner
785:MĂĽnchen 1929, S. 41.
775:B. Harz, Berlin 1928.
683:
662:
641:
632:
562:
554:
391:Karl Schmidt-Rottluff
360:
2349:Alexej von Jawlensky
2176:2 April 2019 at the
1635:. Translated by Paul
1627:(18 November 2013).
863:Eberhard W. Kornfeld
669:Pferde in Landschaft
340:expressionist dancer
264:in 1895. His father
2546:People from Dresden
1625:Gurlitt, Hildebrand
1188:on 14 November 2013
783:Die Kunst fĂĽr alle.
721:Woman with a Parrot
674:Horses in Landscape
2606:Nazi war criminals
2561:German art dealers
2505:Hildebrand Gurlitt
2500:Gurlitt Collection
2324:Ludwig Godenschweg
2309:Conrad FelixmĂĽller
2190:. 4 November 2013.
2000:. 24 November 2014
1576:The New York Times
1369:on 4 November 2013
1296:on 6 November 2013
1182:"Cornelia Gurlitt"
1004:The New York Times
843:Gurlitt Collection
767:Die Stadt Zwickau.
693:
678:
655:Gurlitt Collection
573:United States Army
565:
557:
478:Schönhausen Palace
363:
183:Hildebrand Gurlitt
25:Hildebrand Gurlitt
2523:
2522:
2510:Cornelius Gurlitt
2464:Rudolf Schlichter
2389:Wilhelm Lehmbruck
2354:Wassily Kandinsky
2051:The Art Newspaper
1798:978-1-61803-750-3
1763:978-3-406-69094-5
1728:978-0-500-29257-0
1696:. 27 October 2017
1668:National Archives
1541:www.lootedart.com
1505:979-10-210-2089-4
1468:"The Lost Museum"
868:Ferdinand Moeller
580:Among those were
493:Bernhard Sprengel
383:Das junge Dresden
361:Museum in Zwickau
266:Cornelius Gurlitt
246:Cornelius Gurlitt
180:
179:
143:Cornelius Gurlitt
124:Cornelius Gurlitt
53:15 September 1895
2613:
2449:Christian Rohlfs
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853:Wolfgang Gurlitt
830:Richard Gessner.
773:Aus Alt-Sachsen.
701:Galerie Kornfeld
671:
466:Ferdinand Möller
252:in Switzerland.
171:Wolfgang Gurlitt
162:Wilibald Gurlitt
103:war profiteering
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2384:Wilhelm Lachnit
2369:Oskar Kokoschka
2314:Otto Freundlich
2257:
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2178:Wayback Machine
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943:on 4 April 2014
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760:, Berlin 1924.
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497:Sprengel Museum
470:Bernhard Böhmer
460:(together with
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71:9 November 1956
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2419:Jean Metzinger
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2394:Max Liebermann
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2374:Käthe Kollwitz
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2231:Degenerate art
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2148:External links
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1813:on 18 May 2021
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505:Samuel Beckett
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379:Käthe Kollwitz
375:Bauhaus Dessau
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2454:Egon Schiele
2429:Otto Mueller
2404:August Macke
2379:Alfred Kubin
2339:Erich Heckel
2334:George Grosz
2329:Otto Griebel
2289:Marc Chagall
2284:Max Beckmann
2274:Jankel Adler
2187:
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2091:Bibliography
2076:. Retrieved
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2025:The Guardian
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941:the original
936:
927:
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883:FĂĽhrermuseum
878:Nazi plunder
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541:Katja Terlau
536:FĂĽhrermuseum
528:Hermann Voss
520:FĂĽhrermuseum
509:
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457:
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439:
387:Erich Heckel
382:
364:
353:Early career
321:
317:Marc Chagall
314:
259:
240:artists and
218:World War II
214:FĂĽhrermuseum
200:-associated
195:
182:
181:
112:Helene Hanke
83:West Germany
73:(1956-11-09)
18:
2541:1956 deaths
2536:1895 births
2269:Jussuf Abbo
1899:9 September
1633:Der Spiegel
1192:14 November
1166:14 November
1162:(in German)
1017:20 February
728:Switzerland
534:'s planned
385:), in 1927
343:Mary Wigman
290:World War I
242:Old Masters
2530:Categories
2434:Emil Nolde
2409:Franz Marc
2344:Karl Hofer
1978:3 November
1807:1114905985
1737:1103176128
1582:5 November
1514:1249856969
1477:4 November
1424:3 November
1373:3 November
1347:6 November
1321:3 November
1300:3 November
1247:9 November
1218:3933374944
1130:7 December
1104:3 November
1052:6 November
919:References
713:Bar, Brown
664:Franz Marc
582:Lion Tamer
395:Emil Nolde
256:Early life
202:art dealer
79:DĂĽsseldorf
49:1895-09-15
2364:Paul Klee
2304:Max Ernst
1772:945181028
1078:22 August
1012:0362-4331
954:currency.
732:Schwabing
697:Cornelius
427:Lissitzky
423:Kokoschka
411:Kandinsky
403:Feininger
347:Cornelius
336:Oppenheim
324:Frankfurt
310:Lithuania
298:Champagne
294:the Somme
282:Nazi rule
270:Willibald
164:(brother)
155:Relatives
2299:Otto Dix
2188:BBC News
2174:Archived
2162:Archived
2078:12 April
2056:12 April
2030:12 April
2004:12 April
1943:12 April
1865:12 April
1639:12 April
1545:Archived
937:BBC News
837:See also
819:(online)
806:(online)
787:(online)
762:(online)
736:Salzburg
594:Otto Dix
547:Post-war
501:Hannover
480:outside
448:Nazi era
415:Kirchner
274:Wolfgang
220:and the
173:(cousin)
117:Children
2483:Related
2262:Artists
1938:ARTnews
1817:12 June
1700:12 June
1674:12 June
1551:12 June
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328:Berlin
306:Kaunas
278:Jewish
236:, and
234:Cubist
109:Spouse
1098:Focus
1024:sell.
894:Notes
435:Munch
407:Hofer
2108:ISBN
2098:ISBN
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1867:2021
1819:2021
1803:OCLC
1793:ISBN
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1758:ISBN
1733:OCLC
1723:ISBN
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1500:ISBN
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1375:2013
1349:2013
1323:2013
1302:2013
1270:ISBN
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1213:ISBN
1194:2013
1168:2013
1132:2013
1106:2013
1080:2023
1054:2013
1019:2022
1008:ISSN
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588:and
524:Linz
431:Marc
419:Klee
389:and
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