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The Gurlitt Collection (alternatively known as the "Gurlitt Trove", "Gurlitt Hoard", "Munich Art Hoard", etc.) was a collection of around 1,500 art works assembled by the late German art dealer Hildebrand Gurlitt (1895–1956) which was passed first to his wife Helene, and on her death to their son Cornelius Gurlitt, who died in 2014. The collection attracted international interest in 2013 when it was announced as a sensational 2012 "Nazi loot discovery" by the press as a result of actions by officials of Ausgburg in Cornelius Gurlitt's apartment in Munich, 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 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 - including a house and additional works stored at his residence in Salzburg, Austria - to the Museum of Fine Arts Bern 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 second world war and preceding period in Nazi Germany, 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.

The collection contains Old Masters as well as Impressionist, Cubist, and Expressionist paintings by artists including Claude Monet, Pierre-Auguste Renoir, Henri Matisse, Franz Marc, Marc Chagall, Otto Dix, and Max Liebermann, among many others, as well as works by family members who were themselves artists. Legally, Cornelius was the owner of all the works upon their discovery since in Germany, legal claims on potential looted works expire after 30 years, however since 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. To date, five pieces have been returned, being works by Henri Matisse, Max Liebermann, Carl Spitzweg Camille Pisarro and Adolph von Menzel, while a profit-sharing agreement was reached with the heir of another family for a work by Max Beckmann prior to its sale in 2011.

Formation of the Collection

Hildebrand Gurlitt was an art historian, museum director and art dealer in Germany during the 1930s. 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; when he became a dealer he often exhibited their works for sale, and on occasion purchased items he particularly liked for his own collection.

In 1937, the German Government under Hitler decided, that, under Hitler's instructions, much modern German art was classified as "degenerate" (not fitting to be called art in Hitler's view) and was confiscated from museums all over Germany; a travelling Degenerate Art Exhibition was set up where some of these pieces were displayed to the public, to show their so-called "degenerate" nature. The government then decided that a system would be set up to sell as many as possible of the confiscated items abroad, to raise hard currency for Government coffers. Four dealers including Gurlitt were then given permission to trade such pieces, seeking overseas buyers in return for an agent's commission (the others being Karl Buchholz, Ferdinand Möller and Bernhard Böhmer). When such pieces failed to sell, as was frequently the case, Gurlitt and others were often able, legitimately or illicitly, to add them to their personal collections, or purchase them for a low value. Gurlitt's name appears against many of the entries on a listing compiled by the Ministry of Propaganda and now held by the Victoria and Albert Museum that provides details of the fate of each object, including whether it was exchanged, sold or destroyed. Although some buyers paid thousands of Swiss Francs, Dr. Gurlitt only paid a few Francs, or a fraction of a Franc per item.

Following the fall of France, Hermann Göring appointed a series of Reichsleiter Rosenberg Taskforce approved dealers, including Gurlitt, to liquidate French art assets and then pass the funds to swell Göring's personal art collection. 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, to enrich his own holdings.

Post-war

Under interrogation after capture, Gurlitt and his mother told United States Army authorities that in the fire bombing of Dresden of February 1945 his collection and his documentation of art transactions had been largely 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. Among those were Lion Tamer by Max Beckmann and Self-Portrait by Otto Dix, which eventually passed from Gurlitt, with many other pieces, to his son Cornelius. Assessed as a victim of Nazi persecution due to his Jewish heritage, Gurlitt was released and continued trading in art works until his death 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 (some items may also have passed to Cornelius' sister).

The collection becomes publicly known

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. He 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 his living expenses. Another painting, Max Beckmann's The Lion Tamer, was sold at auction in 2011, most likely to cover medical bills; Cornelius had already agreed to share the around €800,000 proceeds equally with the heir to the Jewish family that had originally possessed the painting.

On 22 September 2010, German customs officials at the German–Switzerland border stopped Cornelius on the return leg of one of his Swiss visits and found him to be carrying €9,000 in cash, which led to a search warrant in 2011 for his apartment in Schwabing, Munich, German officials apparently suspecting him to be involved in possible tax fraud arising from the sale of stolen artworks. On 28 February 2012 they found a reported 1,406 artworks, with an initial estimated worth of one billion Euros (approx. $1.3 billion), although this value eventually proved to be a significant overestimate. Cornelius had sold Lion Tamer at an auction in Cologne shortly before. The collection was confiscated, under a process that was subsequently challenged in court since Cornelius had committed no crime under German law. 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 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."

In April 2014, an agreement was reached 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 stolen pieces to the rightful owners. However, Gurlitt died on 6 May 2014. His will bequeathed all his property to the Museum of Fine Arts Bern, Switzerland, after all legitimate claims of ownership against it had been evaluated.

Initial legal handling of the Gurlitt case

On 5 November 2013, Reinhard Nemetz, the head of the prosecutors' office in Augsburg, said that 121 framed and 1,258 unframed works had been seized from the apartment of Cornelius Gurlitt in early March 2012, including unregistered works by Chagall, Dix, Liebermann, and Matisse. Speaking to Der Spiegel 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. Feeling threatened by the intense media attention, Gurlitt's brother-in-law offered 22 works in his possession to the police for safekeeping.

Portrait of a woman by Henri Matisse was directly traceable to the collection of Paul Rosenberg, a Jewish art dealer from Paris who had represented Matisse and Picasso and who had been forced to leave his collection behind when he fled France. When approached by Focus, Rosenberg's granddaughter, French television presenter Anne Sinclair, who had been fighting for decades for the return of the art dealer's paintings, stated that she knew nothing of the existence of the painting. Recovery efforts for Portrait of a woman were immediately undertaken on behalf of the Rosenberg heirs by Christopher A. Marinello, who entered into negotiations with Cornelius Gurlitt, his legal representatives and the German state. Portrait of a woman was in fact returned to Paul Rosenberg's heirs on 15 May 2015. Other paintings that Gurlitt had already sold have yet to be recovered, such as an oil on canvas of Aline Charigot done by Pierre-Auguste Renoir in 1881. It is believed the work was sold to a collector in Florida in 2002.

One of the last pieces that Cornelius Gurlitt sold was The Lion Tamer by Max Beckmann. After a settlement, initiated by the Lempertz auction house in Cologne, was reached between Gurlitt and the heirs of Alfred Flechtheim, it was auctioned off for nearly £750,000. Another work was reportedly sold in 1990 through the Bern-based gallery of Eberhard Kornfeld.

In March 2014, a BBC reporter was granted access to one of the locations where 238 of the seized works were stored. He viewed works such as Monet's Waterloo Bridge (1903) and others by Picasso, Cezanne, Liebermann, Renoir, Courbet, and Manet.

On 7 April 2014, a month before Gurlitt's death, an agreement was reached whereby the seized artwork was to be returned to Gurlitt in exchange for his co-operation with the government-led task force charged with determining which of the pieces was stolen and returning them to the rightful heirs.

Schwabinger (Gurlitt) Art Trove Task Force

An entity called the Schwabinger Kunstfund (Schwaben Trove) Task Force was created to research the provenance of the paintings in the Gurlitt trove. However, after several years of operations under the direction of Ingeborg Berggreen-Merkel it was widely criticized for having few results and little visibility.

Berggreen-Merkel was accused of visiting the severely ill Gurlitt at his hospital bed and persuading him to sign over the ownership of his collection, allegedly as the only way to prevent Gurlitt from getting sued from various interest groups, Jewish or other. In early 2014 Gurlitt designated the Kunstmuseum as his sole heir. A few weeks earlier, Berggreen-Merkel had met with the President of the Museum's Foundation Council, Christoph Schäublin. One year later, her taskforce was dissolved. "We are disappointed," said Ronald Lauder, president of the World Jewish Congress.

Death of Gurlitt, and after

Cornelius Gurlitt died on 6 May 2014. In his will, written on his deathbed, Gurlitt named the Museum of Fine Arts 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 Gurlitt had kept in Salzburg, paintings which German authorities had not confiscated because their remit did not extend to property held in Austria. Gurlitt's 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 accept those works which are not legally the property of previous Nazi-era owners, or their heirs, and has entered into a joint-agreement with German and Swiss authorities about the handling of this bequest.

Gurlitt's family (cousins) also entered the discussion, raising questions about the legality of the will, based on his state of mind at the time. Gurlitt's cousin, Uta Werner, filed a claim of inheritance on the artwork. Werner's lawyer, Wolfgang Seybold, argued that Gurlitt's relatives were the rightful heirs, however this claim was rejected by relevant authorities. Around 590 pieces remain in Germany pending further investigation to determine whether they were confiscated under the Nazi regime, and a further 380 have been definitively identified as confiscated by the Nazis as "degenerate art" so will pass to Bern without further obstruction.

Art objects continued to surface after Gurlitt's death. In July 2014, a new discovery was made in his Munich apartment: a Rodin marble and a Degas sculpture, along with some Roman, Greek, Egyption 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.

Legal issues

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 degenerate art was deliberately upheld by the Allied Control Council in order that the trade in artworks could continue.

Unlike in Austria, 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 1998 Washington Agreement, 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.

On 4 December 2013, prominent German art historian Sibylle Ehringhaus, who was one of the first experts to view the artworks in the spring of 2012, gave an interview in the newspaper Augsburger Allgemeine, demanding the immediate return of the complete collection to Gurlitt. However, she had looked at the works very briefly and had not researched their provenance because, as she stated in the interview, "Cornelius Gurlitt commissioned neither myself nor anyone else" to perform such research. Chief Prosecutor Reinhard Nemetz vehemently denied her appeal, yet apparently failed to cite any concrete legal grounds for the seizure.

On 20 November 2014, the German jurist Jutta Limbach, the head of the Limbach Commission on Nazi-looted art, confirmed the opinion of the German Süddeutsche Zeitung newspaper that the Bavarian "State Prosecutor used an incorrect application of the tax liability law to seize" the artworks of Cornelius Gurlitt.

Swiss museum's acceptance of Gurlitt's estate

On 24 November 2014, the Museum of Fine Arts in 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. Three pieces were singled out for immediate return: Henri Matisse's Femme Assise to the descendants of the Jewish art dealer Paul Rosenberg, Max Liebermann's Two Riders on the Beach to the great-nephew of the industrialist and art collector David Friedmann, and Carl Spitzweg's Playing the Piano to the heirs of music publisher Henri Hinrichsen, who was murdered at Auschwitz. Two Riders on the Beach was auctioned at Sotheby's on 24 June 2015 in London. In 2017, it was announced that the Camille Pis­sar­ro paint­ing La Seine vue du Pont-Neuf, au fond le Lou­vre, found in Gurlitt's Salzburg house had been restituted to the heirs of Max Heilbronn, a Paris businessmen from whom it had been confiscated in 1942, and that a drawing by Adolph von Menzel Interior of a Gothic Church had been returned to the descendants of Elsa Helene Cohen.

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" exhibition. Concurrently, an exhibition of some 250 works whose status was uncertain was displayed in Germany, entitled "Gurlitt: Status Report - An Art Dealer in Nazi Germany", including works from Dürer to Monet and from Cranach to Kirchner and Rodin.

List of selected works

German authorities announced that they will list all 590 suspect pieces in the Lost Art Internet Database. As of 17 March 2016 only 464 objects are listed. Descriptions of some of the artworks found have been made public since their discovery, which include:

• Allegorical scene, a gouache painting by Marc Chagall
• Conversation mauresque sur une terasse (Moorish Conversation on a Terrace) pencil drawing by Eugène Delacroix
• Lady in the Lodge, 1922 watercolour by Otto Dix
• Dompteuse, 1922 watercolor by Otto Dix
• Woman in the Theater Box, by Otto Dix
• A self-portrait by Otto Dix
• Playing the Piano, drawing by Carl Spitzweg
• The Veiled, 1926 watercolor by Otto Griebel
• Child at the table, watercolor by Otto Griebel
• Don Quichote and Sancho Panza, painting by Honoré Daumier
• Etude de femme nue debout, les bras relevés, les mains croisées au-dessus de la tête ("Study of a Woman Nude, Standing, Arms Raised, Hands Crossed Above Head"), drawing by Auguste Rodin
• Girl at the table, 1923 watercolor by Wilhelm Lachnit
• Man and woman at the window, 1923 watercolor by Wilhelm Lachnit
• Male Nude, drawing by Bonaventura Genelli
• Male portrait, etching by Ludwig Godenschweg
• Female Nude, etching by Ludwig Godenschweg
• Monk, 1921 watercolor by Christoph Voll
• Explosives master Hantsch, 1922 drawing by Christoph Voll
• Mother and Child, 1922 watercolor by Erich Fraaß [de]
• Couple, 1924 watercolor by Hans Christoph [de]
• Couple in countryside, 1924 watercolor by Conrad Felixmüller
• Riders on the beach, 1901 painting by Max Liebermann
• 'Sa. Giustina in Prà della Vale' in Padua, etching by Canaletto
• Musing Woman, etching by Fritz Maskos [de]
• Tram, watercolor by Bernhard Kretzschmar [de]
• Vue de la vallée de la Seine, drawing by Théodore Rousseau
• A painting of a girl with a goat, by Gustave Courbet
• Melancholic Girl, by Ernst Ludwig Kirchner
• Pferde in Landschaft ("Horses in Landscape"), ca. 1911 painting by Franz Marc
• Seated Woman, ca. 1920 painting by Henri Matisse

Other works in the collection have no potential association with the category of "looted art", notably those by Gurlitt family members, which include eight 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 drawings by Henry Moore, also in the collection, was investigated in an episode of the BBC TV programme Fake or Fortune? and found to be not only genuine, but also had been legitimately purchased from an exhibition by the artist in 1932.

See also

• Looted art
• Nazi plunder
• Hildebrand Gurlitt
• Cornelius Gurlitt (art collector)

References

1. Victoria and Albert Museum (2014). "Entartete" Kunst: digital reproduction of a typescript inventory prepared by the Reichsministerium für Volksaufklärung und Propaganda, ca. 1941/1942. London: Victoria and Albert Museum. (V&A NAL MSL/1996/7) http://www.vam.ac.uk/entartetekunst
2. Feliciano, Hector (1998). "The Lost Museum". Bonjour Paris. Retrieved 4 November 2013.
3. For the actual sworn statement see http://www.fold3.com/document/231981211/
4. ^ Eddy, Melissa. "German Officials Provide Details on Looted Art Trove". The New York Times. Retrieved 5 November 2013.
5. ^ "Fahnder entdecken 1500 Werke von Picasso, Chagall und weiteren Künstlern". Focus. 3 November 2013. Retrieved 3 November 2013.
6. ^ Mazzoni, Ira (3 November 2013). "Depot mit Nazi-Raubkunst in München". Süddeutsche Zeitung (in German). Retrieved 3 November 2013.
7. Hickley, 2015, pp. 153-154.
8. ^ Oltermann, Philip (3 November 2013). "German police recover 1,500 modernist masterpieces 'looted by Nazis'". The Guardian. Retrieved 3 November 2013.
9. Pontz, Zach (3 November 2013). "Artworks Worth $1.6 Billion, Stolen by Nazis, Discovered in German Apartment". the algemeiner. Retrieved 3 November 2013.
10. The German Lost Art Foundation: Gurlitt Provenance Research
11. ^ R, D (7 April 2014). "Gurlitt reaches deal with German authorities over vast trove of art". Deutsche Welle. Retrieved 16 April 2014.
12. "Cornelius Gurlitt - obituary". Telegraph. 6 May 2014. Retrieved 28 July 2014.
13. ^ "'Nazi art' hoarder Gurlitt makes Swiss museum sole heir". BBC News. 7 May 2014. Retrieved 7 May 2014.
14. "Artnet news, Alexander Forbes, Will Germany Keep Gurlitt's Trove from the Swiss?". News.artnet.com. 8 May 2014. Retrieved 28 July 2014.
15. "Nazi looted art 'found in Munich'". BBC News. 3 November 2013. Retrieved 3 November 2013.
16. "Nazi trove in Munich contains unknown works by masters". BBC News. 5 November 2013. Retrieved 5 November 2013.
17. "Nazi-looted art: German collector says he owns pictures". BBC News. 17 November 2013. Retrieved 17 November 2013.
18. Gezer, Õzlem (17 November 2013). "Interview with a Phantom: Cornelius Gurlitt Shares the Secrets of His Pictures". Der Spiegel. Retrieved 18 November 2013.
19. Barnett, Louise (10 November 2013). "Art dealer paid Nazis just 4,000 Swiss Francs for masterpieces". The Daily Telegraph. Retrieved 10 November 2013.
20. ^ "German police check new art haul near Stuttgart". BBC News. 12 November 2013. Retrieved 13 November 2013.
21. Lane, Mary (15 August 2014). "German Experts Say Max Liebermann Painting Was Nazi Loot". The Wall Street Journal. Retrieved 7 April 2015.
22. Eddy, Melissa (15 May 2015). "Matisse From Gurlitt Collection Is Returned to Jewish Art Dealer's Heirs". The New York Times.
23. Evans, Stephen (26 March 2014). "Cornelius Gurlitt: One lonely man and his hoard of stolen Nazi art". BBC News Magazine. Retrieved 27 March 2014.
24. http://www.dw.com/en/task-force-investigating-art-trove-inherited-from-nazi-collector-achieved-embarrassing-results/a-18876659
25. http://www.taskforce-kunstfund.de/en/chronology.htm
26. https://www.tagesspiegel.de/kultur/gurlitt-und-die-folgen-des-schwabinger-kunstfunds-kunstmuseum-bern-tritt-gurlitt-erbe-an/11021442.html
27. https://www.tagesanzeiger.ch/kultur/Laesst-sich-Bern-die-grosse-GurlittAusstellung-wegschnappen-/story/31357598
28. "'Nazi art' hoarder Cornelius Gurlitt, 81, dies". BBC. Retrieved 6 May 2014.
29. Lane, Mary M. (20 November 2014). "Swiss Museum Close to Accepting Trove of Nazi Art". The Wall Street Journal. Retrieved 13 March 2016. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
30. Lane, p. A12.
31. Gurlitt art collection can finally head to Bern
32. ^ "Schwabing art trove: Provenance of treasures to be researched alongside criminal proceedings – suspicious works being publicised at lostart.de" (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. Retrieved 19 November 2013.
33. "Possible Rodin and Degas works found at Gurlitt home". BBC. 24 July 2014. Retrieved 24 July 2014.
34. Hickley, 2015, p. 231.
35. "Cornelius Gurlitt: Monet found in art hoarder's suitcase". BBC. 5 September 2014. Retrieved 5 September 2014.
36. Voss, Julia (17 November 2013). "Münchner Kunstfund: Wo bleibt der Rechtsstaat?". Frankfurter Allgemeine Zeitung (in German).
37. Politische Strafjustiz (in German) in the Frankfurter Allgemeine Zeitung, 25 November 2013, by Volker Rieble.
38. Dittmar, Peter (7 November 2013). "Verbrechen lohnt sich". Jüdische Allgemeine (in German).. This article refers in particular to works of degenerate art, whose confiscation had been formalized by a Nazi law. Gesetz über Einziehung von Erzeugnissen entarteter Kunst (Act on the Confiscation of Works of Degenerate Art) of 31 May 1938
39. Heuer, Carl-Heinz (undated). "Die eigentumsrechtliche Problematik der entarteten Kunst" – "The problems surrounding ownership rights to degenerate art" Archived 2 December 2013 at the Wayback Machine (bilingual), on the website of the Free University of Berlin
40. Kunstrückgabegesetz 1998 (Art Return Law 1998) See the German Misplaced Pages entry for details.
41. The Central and Regional Library of Berlin is the only library in Germany to have full-time staff devoted to the search for Nazi-looted cultural goods.
42. Fluch des Schatzes (Curse of the Treasure) in Der Zeit, 21 November 2013 (in German). "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 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."
43. See Interview: Kunstexpertin fordert Rückgabe aller Bilder an Gurlitt, Augsburger Allgemeine, 4 December 2012 (in German) or a translation Archived 4 March 2016 at the Wayback Machine of the article in English.
44. Augsburger Staatsanwaltschaft weist Vorwürfe der Kunstexpertin zurück Augsburger Allgemeine, 5 December 2012 (in German)
45. Süddeutsche Zeitung, Ein Bild lässt sich abhangen, Schuld nicht (in German; English: "A picture may be taken down, but not the guilt"), interview by Heribert Prantl and Kia Vahland, 20 November 2014, p. 19.
46. ^ Neuendorf, Henri (10 July 2017). "The Notorious Gurlitt Trove of Nazi-Tainted Art Makes Its First Appearance at Kunstmuseum Bern". artmet.com. Retrieved 12 February 2018.
47. "Swiss museum to accept Gurlitt 'Nazi art'". BBC News. 24 November 2014.
48. "First painting to be sold from Cornelius Gurlitt trove". BBC. 22 May 2015. Retrieved 22 May 2015.
49. Federal Government Commissioner for Culture and the Media restitutes more Nazi-confiscated property from the Gurlitt art trove
50. Germany returns Adolph von Menzel drawing sold under Nazi persecution
51. "Gurlitt exhibition attracts droves of visitors". Swissinfo.ch. 2 January 2018. Retrieved 12 February 2018.
52. GURLITT: STATUS REPORT - AN ART DEALER IN NAZI GERMANY
53. As of 20 November 2014 492 objects were listed. Lost Art Database Archived 7 March 2014 at the Library of Congress Web Archives, listings from the so-called "Munich artworks discovery" at bottom under Bestände (English: Inventories) Viewed on 20 November 2014. Viewed again 17 March 2016.
54. "Picasso, Matisse and Dix among works found in Munich's Nazi art stash". The Guardian. 5 November 2013. Retrieved 5 November 2013.
55. "Nazi trove in Munich contains unknown works by masters". BBC News. 5 November 2013. Retrieved 5 November 2013.
56. "In pictures: Long-lost art unveiled in Germany". BBC News. 5 November 2013. Retrieved 5 November 2013.
57. "Photo Gallery: Munich Nazi Art Stash Revealed". Der Spiegel. 17 November 2013. Retrieved 17 November 2013.
58. Hickley, 2015, p. 191, 192, 241.
59. Fake or Fortune: A Henry Moore in the Gurlitt Hoard

Further reading

• German watercolors, drawings and prints . A midcentury review, with loans from German museums and galleries and from the collection Dr. H. Gurlitt, Catalogue of the exhibition in New York City, San Francisco and Cambridge MA, 1956
• Feliciano, Hector; Vernay, Alain (1998). The Lost Museum: The Nazi Conspiracy to Steal the World's Greatest Works of Art. New York: Basic Books. ISBN 0-465-04191-4.
• Hoffmann, Meike, ed. (2010). Ein Händler "entarteter" Kunst: Bernhard A. Böhmer und sein Nachlass. Berlin: Walter de Gruyter. ISBN 978-3-05-004498-9.
• Petropoulos, Jonathan (2000). The Faustian Bargain: The Art World in Nazi Germany. New York: Oxford University Press. ISBN 0-19-512964-4.

Bibliography

• Hickley, Catherine. "The Munich Art Hoard: Hitler's Dealer and his Secret Legacy." Thames & Hudson, London, 2015, 272 pp. ISBN 9780500292570
• Collins, Jacob R. "The Gurlitt Trove: Its Past, Present and Future." Undergraduate Thesis, University of Vermont, 2016, 54 pp. Available online at https://scholarworks.uvm.edu/cgi/viewcontent.cgi?article=1035&context=castheses

External links

• German Lost Art Foundation: Gurlitt Art Trove
• Obituary in The Independent by Marcus Williamson
• Haaretz, Israeli art expert says Nazi-looted trove in Munich is 'just the tip of the iceberg' (requires subscription and/or registration)
• "Documents Reveal How Looted Nazi Art Was Restored to Dealer", NY Times, 6 November 2013
• "Germany to Form Task Force on Looted Art", NY Times, 12 November 2013
• Michael Kimmelman, "In a Rediscovered Trove of Art, a Triumph Over the Nazis’ Will", New York Times, 6 November 2013
• Smale, Alison (4 November 2013). "Report of Nazi-Looted Trove Puts Art World in an Uproar". The New York Times.
• Verena Nees, Nazi looted art works discovered in Munich
• BBC inspects art stash
• The Gurlitt collection should be sold to benefit Jewish organisations, by Flavia Foradini, The Art Newspaper, online edition, 20th Nov 2014
• The other Gurlitt: the dealer cherished by 'degenerate' artists and Nazis alike, by Flavia Foradini, The Art Newspaper, January 2015

• Former private collections
• Art and cultural repatriation after World War II
• Art history
• Cultural history of World War II
• Looting
• Stolen works of art