This is one of the most significant stories ever uncovered in the last century -the systematic looting of all of Europe’s art by Hitler’s henchmen, including Hildebrand Gurlitt, who’s 80 year old son was caught carrying too much money in his pocket by Swiss authorities, and arrested for tax evasion,leading to this incredible find. The son Gurlitt has disappeared. An Albrecht Durer Crucifixicion, either an engraving or a woodcut, was found among the loot. There Bavarain Germans sat on this information for 1.5 years, attempting to figure out how they can keep all the loot and restitute anyone if they don’t have to. Barbarity and Greed at it’s highest level
BUY THE BOOK! CRIMES IN THE ART: THE SECRET CIPHER OF ALBRECHT DÜRER
I will be posting new information here so that all can keep up with this story of the world’s worst slaughter, the Holocaust, and the German’s worst shame.
Customs officials seized the haul of 1,500 works including masterpieces by Henri Matisse, Pablo Picasso, Pierre-Auguste Renoir and Marc Chagall from the Munich flat of an elderly man suspected of hiding his wealth in Swiss banks.
The stash of paintings was found stacked in the flat of Cornelius Gurlitt, 80, the son of a prominent Munich art dealer, who is believed to have acquired the paintings during the 1930s and 1940s.
Hildebrandt Gurlitt was an associate of the Nazi leadership who is thought to have acquired works deemed “degenerate” that had largely been seized from Jewish collectors.
His surviving son had apparently kept the collection in his home and is thought to have sold off some of the works as a means of support.
One of the best pieces in the collection is Portrait of a Lady by Matisse that once belonged to Paul Rosenburg, the grandfather of Anne Sinclair, the former wife of the disgraced head of the IMF, Dominique Strauss-Kahn. Miss Sinclair has been a prominent campaigner for the return of art looted by the Nazis to their former owners. Rosenburg lost his own collection when he fled for his life during the fall of Paris.
Germany’s Focus magazine reported Gurlitt’s son was stopped on a train to Swizerland in 2010 carrying 9,000 euros in cash during a sweep by the authorities against Germans with undeclared bank accounts across the border.
let’s get to what is really happening, from a legal standpoint, for one always has to follow the money.
Bavaria kept this under wraps (although I doubt they kept it from the world musuems based on the evidence since the world museums have complicity in this) 1.5 years, not 2.5 years. Germany signed a worldwide pact for restitution of stolen art in 1997 and apparently are attempting to find any legal way to get around this.
What occurred in the 1.5 years since Bavaria learned this is that Bavaria gathered all worldwide “experts” in what is known as the “Degenerate Art Exhibition” Hitler staged in 1938, no other experts. One has to remember Hilldebrand Gurlitt was one of the FOUR main men charged with raping Europe of it’s art for Goering, the mastermind behind the art rape of Europe. Why would the Germans consider him a war crime person? he was following orders. They just want him for tax evasion, thus they get to confiscate his personal property also.
According to Germany’s viewpoint on The Degenerate Art Exhibition, if these “experts” can “prove” an artwork was in this exhibition, and the work of these “experts for the last 1.5 years was announced officially at the German press conference regarding this issue, Germany’s legal call is that they GET TO KEEP THE ARTWORK and not have to repatriate it. They cite copyright and security concerns. Sure. the world is not going to stand for it this time.
According to the reporting in the The Star, Germany claims 500 works have undergone examination which “appear to have been legally sold” with no explanation from the Germans how THIS could be. A work by Courbet made it’s way to an auction in 1949 after WWII and thus this gives the sale legitimacy but it’s not explained how or why.
They have absolutely NO INTENTION WHATSOEVER to publish the list of recovered paintings under the guise that this would bring out fake claims, the typical legal stall tactics. However, BLOOMBERG reported yesterday:
Reports that a list compiled by US Troops in 1950 may help Jewish heirs identify works looted by the Nazis because they vetted Hildebrand Gurlitt’s collection which included works by Max Beckman and Edgar Degas, two Courbett paintings and the Otto Dix self portrait found by researchers at HARP in the national Archives in Washington D.C. There were 5 pages and an example of this list is shown in this article. Beckmans’s “the Lion Tamer” was sold via Kunsthaus Lempertz in Cologne in 2011! Imagine that! Stolen art laundered through German auction houses in 2011!
Also included were paintings by Emil Nolde, Hans Thoma, Otto Mueller, George Grosz, Karl Schmidtt-Rotluff, August Macke and Italian painter Guardi. Gurlitt was described as liking OLD MASTERS, like Durer, French 19th century paintings and German expressionists.
Most of the art was stolen from the FRENCH and especially the FRENCH JEWS. When they raided the Rothschilds estates, I believe they had ripped off the French and the French Jews over 20-30,000 pieces of art (would have to find that article again), could be more, bringing these artworks to Goering who only wanted German artwork, so he forced industrialists to buy the works for hard currency to fund arms buying. Goering’s manison is described as being decorated with second rate Cranachs and other Germans.
there is NO DEMONSTRATED attempt of the Bavarians to properly repatriate this art, hoping the Jews who have claims will die before the claims can be pressed. But it is also known that Goering required the German industrialists to pay money for the looted art to get hard currency, so the German industrial complexes are as complicit in this whole situation as any.
And of course, the Swiss, Hitler’s bankers, were most gracious to accomadate anything Hitler or Goering wanted. Do I think Alex’s article triggered something in the Swiss or the Germans in revealing this NOW? History will be the judge, but I bet Alex will find the art associated with the German industrialists, who conspired with Oerlikon Burhle (sp?) and finish connecting the dots.
What is really going on is the ART WORLD IS TERRIFIED BY THIS from every art fair promoter to the clients, and they should be. And the auction houses everywhere should be. Sotheby’s is going down the tubes, regardless of all the PR and the Chinese make news but don’t pay for art. By the way, the auction houses are now going to RUSSIA to unload their suspect pieces, fat chance of ever tracing anything once that happens. Now there is NO legitimacy, especially from the auction house controlled Lost Art Database, since the auction houses have been complicit in this laundering.
The WORLD NEEDS TO KEEP THE PRESSURE ON THE GERMANS on this now, because nothing can be hidden anymore with the internet and nothing will remain hidden. Merkel’s phone will remain bugged. the Jewish papers are abuzz
And what no one understands is that THIS CONSPIRACY didn’t arise after WWI or even in the 1900′s, THIS CONSPIRACY STARTED AT LEAST, if not earlier, in 1470, with DURER, Hungarian noble JEW. The Durer Cipher tells us of the Germans intent to dominate the world way back when, but Durer foiled them all. He’s the real first James Bond. HITLER HAD A BLUEPRINT, but no group of people has systemitized slaughter the way the Germans did ever in history, not even the Mongols, Dracula, the Turks or anyone.
Hitler’s hero was Jewish, karma is a wonder.
There is a permanent stain on Germany and their approach in this on shows it’s still there.
Yesterday, as the art world was given a glimpse of some of the masterpieces, campaigners accused officials of ‘concealing stolen goods’ by refusing to publish details of the looted art, valued at £1billion.
The extraordinary cache, which includes unknown works by Marc Chagall, Otto Dix, Max Liebermann and Henri Matisse, was found when tax officials raided 80-year-old Gurlitt’s Munich apartment last year.
But the authorities kept secret their discovery for 20 months, and are refusing to publish details of the works.
Officials also admitted they have not questioned Gurlitt, have no idea where he is and have no plans to issue an arrest warrant.
Ruediger Mahlo, of the pressure group Conference on Jewish Material Claims against Germany, accused the authorities of ‘what amounts morally to the concealing of stolen goods’.
For some families missing art is the last personal effects of relatives murdered in the Holocaust.
Anne Webber, of the Commission for Looted Art in Europe, said the response of the German authorities was ‘troubling’.
This original statement released by the Germans indicates the Durer in the collection was fron Durer’s Alsatian times’ which would be his journeyman ship which will considerably narrow which Cruxifixion it could be, if it’s actually a Crucifixion
This transcript is fascinating.
Here’s the latest obfuscation
it gets worse. http://archive.adl.org/Braun/dim_14_1_neutrality_europe.asp
a little history lesson on what the Swiss and Spanish were doing for the Germans with art.
it gets worse
Because of the Germans’ need for foreign currency and their hostility toward modern art, they were eager to dispatch impressionist and expressionist paintings to Switzerland. Perhaps the most disturbing aspect of German-Swiss art trafficking involved works looted from French Jews by the Einsatzstab Reichsleiter Rosenberg (this was a plundering unit, under the leadership of the Nazi “philosopher” Alfred Rosenberg, that stole cultural property from “enemies” of National Socialism throughout occupied Europe18). Paintings belonging to the dealer Paul Rosenberg, as well as to such prominent families as the Rothschilds, Levy-Benzions, Kanns, and Lindenbaums, were traded to Swiss dealers for more ideologically acceptable old masters and German nineteenth-century paintings. One transaction, in 1942, involved Göring and his agent Hofer, and the Swiss dealer Hans Wendland. Göring received Rembrandt’s Portrait of an Old Man with a Beard and two sixteenth-century Flemish tapestries in exchange for 28 impressionist and postimpressionist works, 16 of which came from Paul Rosenberg’s plundered collection. The works traded by Göring included paintings by Corot, Degas, Renoir, Van Gogh, and Seurat. It should be stated that this deal violated Swiss laws. It should also be stated that these laws were frequently ignored by Swiss citizens — by corrupt art dealers, to be sure, but also by others. OSS reports detailed the illicit trafficking in art by such prominent Swiss as Herr Buerhle, the primary owner of the Oerlikon armaments factory.
and worse: Source (Anti-Defamation League)
However, when it came to trade with the Nazi regime, the Swedes, for a period of time, accommodated themselves to the Reich to an even greater extent than the Swiss did. The Swedish economy was, for a number of years, almost fully integrated into the Nazis’ New Order; the country supplied Germany with high-grade iron ore (30 percent of that used by the German armaments industry), as well as ball bearings, foodstuffs, wood, and many other raw materials. In matters of finance, the Swedes cooperated with Germany by providing credit, which allowed the delivery of vast quantities of military equipment to the Wehrmacht. Moreover, after the war, the Swedish central bank, the Riksbank, “examined gold it had received from the Nazis in payment for exports and returned about 13 tons that presumably had been stolen [from] Belgium and the Netherlands.”24
The Swedes believed, at least for the first years of the war, that cooperation with Germany was necessary to preserve a precarious neutrality. But after 1943 the Swedish government, heeding Allied warnings about neutrals doing business with Germany, detached the country from the German “political and commercial web,” and gradually established closer ties with the Allies.25 There is no doubt that for several years Sweden put its considerable economic resources at the disposal of the Reich; but its behavior in the latter stages of the war removed much of the stigma of collaboration.
And now it’s bad. Everyone in Europe is complicit practically.
Well, it’s time for more truth to come out.
Dieter Beuerhle is first mentioned on page 63. This report is from the Simon Wiesenthal commission and details an intricate web of looting, forgeries, thefts, and nefarious activities. The son of Buerhle, Dietrich, ended up admitting illegal arms sales in the the Swiss Supreme court in 1971.
Apparently the Courtauld Institute has drawings and watercolors of Delacroix, Pittoni, Delacroix, Guiadi which do not have approariate provenances that passed through the hands of the looter Goldschmidt.
Alexander Von Frey, a possible descendant of Albrecht Durer’s Father in-law, was also a major player in this theft/forgery game (his information starts on pg 44), managed to get to Portugal in 1940 and into the USA in 1948, dying in 1951. His widow died in 1988 when Sotheby’s sold off the Von Frey Collection.
No body in Europe has clean hands in any of this. Most of this info was gathered from the Irish Military Records regarding the Hunt Collection that has an extensive amount of non-properly provenanced artworks. The Swedes , Spanish and Portuguese were complicit. And unfortunately the Irish are not looking good in this article either, or the British, or the Vatican.
the USA just looks dumb letting some of these guys into the USA.
Today’s obfuscation from the Germans
It gets worse.
And more. German govt against Munich and Nuremberg Durer would be cheering!
And as a more balanced reporting of the situation from the Guardian
Now let’s hear from the Jewish world organizations
Poland seems to not want to cooperate in anything
what’s happening today
Check back often to find out what is happening with this ever ongoing story of 500 years of Germans wanting world domination.
Hee’s today’s update, Nov 10, 2013
Nov 11, 2013 Gurlitt spotted and writes German newspaper
Nov 12 First pictures of Gurlitt
Nov 12, 2013