The Ides of March

by Marc Masurovsky

Julius Caesar

If we succumb to folklore, bad things are supposed to happen on 15 March, the day that Emperor Julius  Caesar succumbed to 23 stab wounds at the Curia de Pompeyo in Rome in 44 BC. The culprits were for the most part Roman senators in open rebellion with Caesar. Brutus administered the fatal blow which produced the timeless retort from a dying Caesar: “Et tu, Brute?” (loosely translated as “you too, Brutus?).

Fast forward several millenia.

I picked 15 March as a random, yet symbolic, date as a pretext to take a (micro?) historical look at what unfolded on that day during and after the Nazi era. The following selection is mostly centered on France with snippets on Czechoslovakia and Belgium.

15 March 1939

France’s abandonment of the Sudetenland to the Third Reich gave the Nazis a green light to invade and occupy Czechoslovakia.

60,000 Spanish Republican refugees—children, women, soldiers and militiamen—fled to France to escape from Generalissimo Francisco Franco’s counteroffensive at the close of the Spanish Civil War. They were placed in several “concentration camps” established by the French authorities at Rivesaltes and Barcarès near Perpignan.

15 March 1941

Jean Seligmann, Jewish art dealer and collector, son and heir of the famous antiquarian Jacques Seligmann, underwent a second day of interrogation at the hands of agents of Gruppe 603 of the Geheime Feld Polizei (GFP) who had arrested him the day before on grounds of acts of sabotage for the Allies and financing Allied propaganda efforts. Dr. Karl Epting, an eminent figure in Franco-German intellectual collaboration during the war, also accused Seligmann of acquiring works of art from suspected Spanish “Red [Communist]” agents and colluding with the British and the Americans. Labeled a “terrorist,” Seligmann was executed by a German firing squad in mid-December 1941 at Mont-Valérien.

On the same day, a train with 25 cars lumbered from Paris to an imposing castle in Bavaria, Neuschwanstein, the main depot used by the ERR to store and inventory confiscated Jewish-owned art objects from Western Europe. The objects on the train were from the following owners: Rothschild family, Seligmann, Alphonse Kann, Halphen, Weil-Picard, Wildenstein and David-Weill. The Nazis had hastily packed the train and failed to register and inventory its contents before departure. A special team from the Paris ERR headed to the Bavarian castle for the sole purpose of inventorying the train’s contents.

While the loot train made its way to Bavaria, a Jewish art dealer, Paul Graupe, reached New York where he registered as a political refugee. He had to abandon many of his precious cultural belongings in a warehouse in Paris where they were later confiscated by German agents.

During a brief visit in Paris, Marshal Hermann Goering, who had a first right of refusal on all confiscated Jewish-owned collections, selected a number of objects for his private enjoyment which belonged to James and Alexandrine de Rothschild.

The ERR in Paris gave Josef Angerer, one of Hermann Goering’s agents in France during WWII, a wooden statuette of a seated woman which came from a crate numbered 686 that had been stored at the German Embassy in Paris and been transferred to the Jeu de Paume in late Fall 1940.

15 March 1942

Charles Laville, deputy secretary of the anti-Jewish “Institut d’Etudes des Questions Juives”, sold a vast quantity of photographs that were the property of Jewish art dealer Paul Rosenberg. He sold 4500 photos to Mr. Borelly, the owner of a journal called “L’Atalanque” for 10,000 francs and 1200 photos to a Parisian art dealer, Louise Leiris who managed the interests of Daniel Kahnweiler.

Rose Valland, curator and spy extraordinaire stationed at the Jeu de Paume, noted in her journals that the personnel of the Jeu de Paume were working overtime to make room for additional shipments of confiscated objects to the museum. Little did she know that these measures presaged the onset of the so-called “M-Aktion or Möbel Aktion”, a sweeping wholesale gutting of the contents of Jewish residences in the Paris region which lasted until June 1944. The overseer of this massive cleansing operation was SS Colonel Kurt von Behr, of the ERR in Paris.

The administration of the French concentration camp at Rivesaltes mobilized labor battalions comprised exclusively of Jewish male prisoners. They were referred to as “Palestinian groups.”

15 March 1943

The mass deportation of the Jews of Saloniki (Greece) began. The city council and the church authorities conspired to eliminate a fourth of the city's population--the Jewish community--concentrated in the Baron Hirsch section of the city close to the rail yards and seize the Jews' property and valuables. Only 1 in 10 Jewish residents of Saloniki returned home from the horrors of Auschwitz.

15 March 1945

The French Assembly passed a law declaring claimants responsible for presenting all material evidence in support of a claim of forced transfer of their property (duress) so that some form of indemnification could be provided to them in lieu of restitution. This law did not extend to financial instruments sold on the Paris stock market (Bourse). [Caffery to State, March 21, 1945, no. 1342, Secret, RG 84, Paris Embassy Confidential Files, 1945, Box 4, NARA.]

The Secret Intelligence Branch of the OSS in Paris launched an investigation into the wartime activities of Michel Skolnikoff who had acted as the main go-between for the Germans to corner the French and Monegascan hotel market through a network of agencies that cloaked the identity of the beneficial owner behind the purchases of these hotel properties, namely Skolnikoff. The previous day, Allied representatives had met at the US Embassy in Paris and decided to place Skolnikoff on the British “Black List” and the US “Proclaimed List.” Skolnikoff had already fled to Spain where he resided at the Hotel Palace in Madrid. [From Saint, BB/036 [London] to Saint/BD001 [Lisbon], Subject : Michel Skolnikoff, Secret, 11 April 1945, RG 226, Entry 109, Box 14, NARA.]

15 March 1961

Mr. Rossignol, an advisor to the ORE, a Belgian agency responsible for war reparations and economic relief, ordered Louis Cahen, the chief curator of the Royal Museum of Central Africa in Tervuren, to take custody of objects from Congo and Angola which Allied officials had repatriated from Germany after 1945. These objects had a total market value of 15000 francs. Cahen objected because the provenance of these objects was suspicious. Rossignol insisted that he serve as their “custodian until further notice.”


Selected sources:

Czechoslovakia

https://www.history.com/this-day-in-history/march-15/nazis-take-czechoslovakia

Dr. Karl Epting

https://www.ifz-muenchen.de/en/vierteljahrshefte/vfz-archive/issue-index/2023/issue-july-2023

Charles Laville

Index cards on art looting suspects, RG239 E34 b1 NARA, available on fold3.com.

Mr. Rossignol

A. Rossignol, ORE to L. Cahen, Musée royal de l’Afrique centrale, 6 September 1961, AR 2/AGR 2-Dépôt Joseph Cuvelier, 020/510, Archives du Royaume, Brussels, Belgium.

Jean Seligmann

Erste bericht, Kommissariat 1, GFP 603, 15 mars 1941, B323/287, Bundesarchiv Koblenz, Germany

https://plundered-art.blogspot.com/2015/04/the-art-dealer-lantiquaire-by-francois.html

Acronyms:

ERR: Einsatzstab Reichsleiter Rosenberg

ORE: Office de Récupération Economique

Archives:

Archives du Royaume, Brussels, Belgium

Bundesarchiv Koblenz, Germany

fold3.com

NARA: National Archives and Records Administration, College Park, MD

Photo credits:

Julius Caesar, courtesy of Wikipedia.

Gurlitt painting with a twist

Hildebrand Gurlitt

"Landscape" by J. B. Huet

by Marc Masurovsky

During the German occupation of France, Hildebrand Gurlitt (1895-1956) was one of the most prolific German art purchasing agents working for the Third Reich. In May 1944, on one of his many shopping sprees to acquire works of art in Paris for his Nazi overseers and for himself, he purchased a painting by Jean-Baptiste Huet (1745-1811) titled Landscape with stream and bridge (« Paysage avec ruisseau et pont »).

The seller was Theo Hermsen (1905-1944), an expert at facilitating the exportation of works of art from France to the Reich. He shipped the painting to Munich for it to join Hitler’s Linz Museum project (#3691).

Theo Hermsen

The Huet painting was stored at the Führerbau, on Arcisstrasse, Hitler’s administrative offices in Munich, together with over a thousand other works of art acquired licitly or illicitly for Hitler’s pet museum project. The Führerbau was Linz’ antechamber.

In late April 1945, more than a thousand paintings disappeared from the Führerbau. The theft happened in the brief interregnum between Nazi rule and US military occupation—72 hours give or take a couple. After Nazis vacated most of Munich, in that brief spate which transformed the Führerbau and its cultural riches into a no man’s land, swarms of local Munich residents broke into the unguarded facility searching for food and booze, but instead they found heaps of paintings and carted them off through all available exits, narrow or large, in record time, vanishing into nearby neighborhoods or what was left of them after repeated Allied air raids. The few paintings still at the Führerbau when the Americans liberated Munich on 30 April-1 May 1945 were stolen under the very noses of the American liberators. It was the largest recorded theft in Munich history. To this day, most of the paintings remain at large.

The Führerbau, Munich

The Huet painting journeyed through Munich’s criminal underworld of petty thieves and black marketeers. One of the Führerbau thieves, Karl Boser, who lived on Fürtenstrasse, made off with at least seven paintings and some furniture. He crammed them into a wheelbarrow and set off towards his building. Frau Kiermayer (or Kiermeyer) who lived on his street offered to help him push the wheelbarrow. Boser was grateful for her assistance and to reward her for her kind gesture, he gave her two of the paintings that he had stolen from the Führerbau. One of them was the Huet painting. Mrs. Kiermayer sold one painting to a local Munich art dealer and gave her niece the Huet painting as a wedding present since her niece had become a “GI bride” when she married Maurice E. O’Neill (or O’Neal). The newly married O’Neill couple moved to Rodeo, a small town north of Oakland, California, and lived in a neighborhood called Bayo Vista.

It was not until 1948 that, quite by chance, American investigators unraveled the story behind the Huet painting.

The break in the case came in the fall of 1948 when a former baker, Joseph Schwertl, one of the Führerbau thieves who also lived on Fürtenstrasse, admitted to American investigators that Frau Kirmeier (Kiermayer), a woman living in his building block, had offered him two paintings. Schwertl declined her offer which then led her to get rid of the two paintings, including the Huet that she gave to her niece as a wedding present.

When questioned, Frau Kirmeier [Kiermayer] confirmed that her neighbor, Karl Boser, had stolen the paintings from the Fũhrerbau and that he had given her two of the ones he stole, exchanging the rest of his loot for 15000 cigarettes on the Munich black market. After finding out that Mrs. Kiermayer had given the painting to her niece, the MFA&A section in Munich sent several letters to the O’Neill [O’Neal] couple on 27 October 1948 alerting them that they had exported a stolen painting to the United States in contravention of numerous laws. The US government therefore had the right to confiscate it and send it back to Germany. Receiving no answer, they contacted Walter Horn, a former MFA&A colleague and investigator, who was teaching art at the University of California and asked him for his assistance.

Walter W. Horn

Horn contacted officers from the Oakland (California)-based 62nd Military Police Criminal Investigation Division (CID) who quickly ascertained the location of the painting and had it removed from the O’Neill residence in order to send it back to Germany. Under the Four-Power agreement, the country from which the painting had been removed was its next destination. That country, in turn, was responsible for finding the rightful owner and restitute the painting thereto. Oftentimes, that did not happen. Since the painting had been purchased in and removed from France, the American authorities were bound to repatriate it to France. The painting reached Munich on 8 August 1949 and it was shipped to France on 27 October 1949.

Sources:

Edgar Breitenbach to Intelligence Department Files, OMGBavaria, MFA&A Section, 26 October 1948, RG260 M 1946 Roll 151 NARA

Edgar Breitenbach to Intelligence Department Files, 4 November 1948, RG 260 M 1946 Roll 151 NARA

Stefan A. Munsing, Chief, MFA&A Section, to Inspector General, Munich Military Post, 9 May 1949, RG 260 M 1946 Roll 151 NARA

MCCP card (verso)

MCCP card (recto)

Photo credits:

Photo of Huet painting courtesy of www.dhm.de

Photo of Hildebrand Gurlitt courtesy of https://en.wikipedia.org/wiki/Hildebrand_Gurlitt

Photo of Theo Hermsen courtesy of  https://agorha.inha.fr/ark:/54721/c1e95c1c-86ad-4cee-b790-e6cdf39a1cc5
Photo of Walter W. Horn courtesy of https://www.monumentsmenandwomenfnd.org/monuments-men-and-women/walter-horn?srsltid=AfmBOopeYzRl4QdqzotvboMIiZ4R2f4RTILZoPxBIJxETbTADftIPYIV

Photo of the Führerbau courtesy of https://www.hitler-archive.com/index.php?t=F%C3%BChrerbau

Cast of characters

France, 1944

Theo Hermsen (1905-1944)
Hildebrand Gurlitt (1895-1956)

Munich, 1945-1948

Karl Boser
Frau Kiermayer (or Kiermeyer)
Joseph Schwertl

Rodeo, California (1948-1949)

Mrs. Kiermayer’s niece
Maurice E. O’Neill (or O’Neal)
Walter W. Horn (1908-1995)

Locations:

Paris, France
Munich, Germany
    Führerbau (Arcisstrasse)
    Fürtenstrasse

Rodeo, California, USA
    Bayo Vista neighborhood

"Portrait of Alfonso II d'Este and his secretary, Pistofilo," by Titian

Portrait of Alfonso II d'Este and his secretary, by Titian

by Marc Masurovsky

Josef Skvor was a Czech businessman born on 8 April 1888 in Chlistov (Czechoslovakia). On 10 January 1931, Skvor, who had an apartment in Paris on Boulevard Pereire, acquired a painting by Tiziano Vecello (Titian) under the title “Portrait of Alfonso I d’Este” from a Paris art dealer, Paul Jurschewitz. The painting had been in the collection of Marquis Franzoni until the latter sold it to a Mr. Bellini from whom Jurschewitz purchased it in 1930. At the outbreak of WWII in September 1939, Skvor was the director of Skoda Works in Prague. In 1940, he or his agents deposited the Titian in a safe #691 at a branch of the Crédit Lyonnais on Boulevard des Italiens in Paris. (In subsequent documents, the vault number is designated as #569 and #596). 

The German army began its occupation of France in June 1940 after roundly defeating the French army. In the months that followed, according to Skvor, German officials paid several visits to his bank ostensibly to view the contents of his safe since Czech citizens were considered to be enemies of the Reich. On 17 December 1940, Jurschewitz wrote to Skvor and his “authorized representative” Alexander Bagenoff to confirm the terms of the sale of the Titian which was finalized the following day, on 18 December 1940. According to Skvor, someone he called Mrs. Dittrich (Maria Almas-Dietrich of Munich) showed up at the Crédit Lyonnais in Paris flanked by two SS men and with a proxy which authorized a cash payment of 1,500,000 francs to Bagenoff, Skvor’s representative. The document in Almas-Dietrich’s hands bore the stamp of the Reichskanzlei in Berlin, whose boss was Martin Bormann, the “secretary” to Adolf Hitler. She then removed the painting. 

Maria Almas-Dietrich

Almas-Dietrich, a close friend of Adolf Hitler's, took the painting back to Munich where she lived and ran a thriving international art business. The painting was eventually transferred to Berchtesgaden, one of Hitler’s favorite residences. In 1945, Skvor petitioned the French Art Restitution Commission (CRA) for assistance in locating the painting. One year later, in November 1946, Almas-Dietrich delivered the receipt issued by the Reichskanzlei to the office of Capt. Edwin Rae, head of the MFA&A Section at OMG Bavaria in Munich. She denied that she had shown up at the Crédit Lyonnaiss with two SS men to seize the painting and that the transaction had been conducted “in orderly fashion.” She reiterated that the painting had already been offered numerous times on the art market before 1939. 

In December 1946, Hans Konrad Röthel (1909-1982), co-founder of the Zentralinstitut für Kunstgeschichte (ZIKG) in Munich and curator at the MCCP, echoed what Almas-Dietrich had told Capt. Rae regarding the Titian painting, namely that it had been available for sale on the market for quite some time. He also mentioned that Jurschewitz’s fiancée, Ms. Laesch, wondered if her husband-to-be may have had a financial interest in the Titian. Finally, he upheld the official American policy of repatriation of works back to their country of origin. In the Titian’s case, he felt that France should recover the painting, believing that it had been “legally sold… for 1.8 million francs (as opposed to 1.5 million francs, the oft-cited figure in this case.).

While the Americans supported the French claim on the painting, the Czech government stood by Jozef Skvor in his attempt to recover the Titian, arguing that he had been the victim of a “forced sale” to which he had not consented. His word against Maria Almas-Dietrich, a notorious Nazi art dealer, Dr. Hans Konrad Röthel of the ZIKG and the MCCP in Munich, Albert S. Henraux, president of the French Commission on Art Restitution (CRA), Elie Doubinsky, French representative to the MFA&A at the Munich Collecting Point and deputy to Rose Valland, chief restitution officer in the French Zone of Occupation. Paul Jurschewitz who had sold the Titian to Skvor and allegedly brokered the sale to Almas-Dietrich, was also the same individual who had advised the Germans on where to find famed art dealer Paul Rosenberg’s prized inventory after the latter had fled to New York. The postwar French authorities arrested Jurschewitz on suspicions of wartime trafficking in looted art.

MCCP card #8836 (front)

MCCP card #8836 (back)

The Titian painting sat at the Munich Central Collecting Point from 11 October 1945 to 21 January 1948. While awaiting its repatriation to France which Elie Doubinsky was pressing his American colleagues in Munich to hasten, pursuant to repatriation policies issued by the Four-Power Committee in Berlin, some MFA&A members were still under the impression in 1947 that the painting would eventually be returned to Czechoslovakia once the French and the Czechs had a chance to sit at a table and discuss the salient issues surrounding its ownership and the circumstances of its wartime sale. For their part, the French were unequivocal: since the painting was taken from France, it had to be returned to the country from which it was removed. Henraux insisted on the matter, betraying his excitement at the prospect of France acquiring a first-rate painting by a master such as Titian. Furthermore, their view was that the financial transaction of December 1940 canceled Skvor’s claims to ownership. The new MFA&A chief at OMG Bavaria, Richard Howard, backed the French position and reminded the Czechs of the Four-Power decision on repatriation.

Edwin Rae, MFA&A, and his staff

Amidst the brouhaha surrounding the legitimacy of the transaction between Maria Almas-Dietrich and Skvor’s representative, Mr. Alexander Bagenoff, neither the French nor the Americans gave any consideration to Skvor’s allegations that he had been subjected to a forced sale. Maria Almas-Dietrich who had “removed” from occupied France countless works of art for Hitler, Goering, Heinrich Hoffmann and herself, was more believable in their eyes than the purported Czech victim. There is no indication either as to the true nature of the relationship between Skvor and Bagenoff. Did the latter sell him out? Did the Germans pressure him? We will never know because he died during the war. Did Skvor actually collect the money as the French gratuitously asserted? No evidence suggests that he actually did.

Keep in mind also that the Cold War was in full swing while the fate of the Titian was under debate. From 1945 to 1948, relations between the US and Czechoslovakia deteriorated to a point of no-return due to Soviet aggression in that country which culminated in a hostile takeover of the country’s government in February 1948. The US had already frozen restitutions to “Soviet bloc” nations of Eastern Europe. These countries' claims for assets looted by the Germans and uncovered in the Western Zones of occupation in Germany and Austria were systematically rejected by the Western Powers. Could this state of affairs have influenced the MFA&A Section in its determination to deny the possibility of a restitution to Skvor which could only benefit America’s ally, France?

It's an odd story with colorations of early Cold War hysteria which benefited France’s museums desirous to enrich their cultural heritage at any cost. Sometimes, it’s not what you read that matters but what lies behind the curtain.

Technical specifications:

Author: Tiziano Vecello, known as Titian (1488/1490-1576)
Medium: Oil on canvas
Measurements: 102 x 116 cm
Titles given to the painting: Portrait of Alfonso d’Este; Portrait of Alfonso I d’Este; Double portrait of Alfonso I d’Este and his secretary; Portrait of Alfonso II d’Este and his secretary, Pistofilo

Sources:

Note from Paul Jurschewitz to Josef Skvor, 10 January 1932, RG 260 M1946 Roll 40 NARA.
Paul Jurschewitz to Skvor and Mr. Bagenoff, 17 December 1940, RG 260 M1949_Case C42 C6/36_Roll 11 NARA.
Skvor to the Director of the Commission de recuperation artistique, Paris, 5 November 1945. RG260 M1946 Roll 40 NARA
Josef Skvor undated application for the restitution of Czechoslovak Property # C6/2156 and 2157. [OMGUS number=C-42], RG260 M1949_Case C42 C6/36_Roll 11 NARA
Note from Edwin C. Rae, chief, MFA&A Section, Restitution Branch, OMG Bavaria, to Mr. Taper, OMGUS, Economics Division, Restitution Branch, 30 November 1946, RG 260 M1949_Case C42 C6/36_Roll 11 NARA.
Note from Dr. Hans Konrad Röthel to Samuel R. Rosenbaum regarding the “Portrait of Alfonso d’Este and his secretary”, 10 December 1946, RG260 M1949_Case C42 C6/36_Roll 11 NARA
Handwritten note, undated, Munich, Germany, ca. 1947 RG260 M1949_Case C42 C6/36_Roll 11 NARA
Richard Howard to OMGUS, 2 juin 1947, RG 260, M1946, Roll 40, NARA
Note from Richard Howard, Chief MFA&A Section, OMG Bavaria, to MFA& A Section, Restitution Branch, Economics Division, OMG Bavaria 20 June 1947, RG260 M1949_Case C42 C6/36_Roll 11 NARA
Captain Elie Doubinsky, French representative, MCCP, to Herbert Leonard, Chief MFA&A Section, Munich, 7 October 1947 RG 260 M1946 Roll 40 NARA.

Photos

Portrait of Alfonso II d'Este and his secretary, Pistofilo, courtesy of www.dhm.de
Edwin Rae with his staff courtesy of: https://www.artmagazin.hu/articles/archivum/1c6f0bb5a07c9f9ad66e8809213416c3

Maria Almas-Dietrich courtesy of https://agorha.inha.fr/detail/25

Theft at Dillingen an der Donau

by Marc Masurovsky

Map of Dillingen an der Donau

The final Allied military push against Nazi Germany unfolded in March 1945 when American troops crossed the Rhine river, which acts as a natural border with France and Belgium, pushing towards Berlin in a mad race to reach the German capital. Likewise, the British forces broke through further up north and the Soviets entered Germany from the East. The race was on to reach Berlin at all cost.

On Sunday 22 April 1945, an American Sanitary Unit reached Dillingen an der Donau and set up its quarters at the Lamm Brewery, owned by Mr. Probst. The brewery’s cellar contained 14 crates from the Historic Museum of Dillingen which had been left there for safekeeping against aerial bombings. The crates stored objects that had been extracted from an ancient Alemanic cemetery nearby. 

Seal of the Lamm Brewery in Dillingen

After the Americans left, Mr. Probst, the brewery’s owner, resumed control of his business and, upon inspection of the cellars, noticed that 6-8 crates from the Historic Museum had been broken into and their contents scattered about the cellar floor. He repacked the crates not knowing if anything had gone missing from them.

On 20 May 1946, Robert Roeren, a Bavarian official responsible for the protection of cultural monuments, went to Dillingen to survey the former cemetery of Schreitsheim [Schretzheim]. He observed the absence of numerous items and concluded that these items had been stolen. Furthermore, the looting of the Museum in Dillingen had threatened the integrity of archaeological digs which involved 640 graves at Schreitsheim [Schretzheim] and some 400 “Alemanic” burial sites uncovered near Dillingen an der Donau. Among the stolen objects were bronze pieces from the Roman era and precious incised silver objects. These losses included “valuable gold and silver objects” which had been extracted from 11 graves explored during archaeological expeditions in and around Dillingen for the benefit of the Historic Museum of Dillingen.

In June 1946, Mr. Probst recounted the incident in the cellar to a local high school headmaster named Menz. The headmaster recruited some of his students to inspect the crates, draw up an inventory and return them to the Historic Museum. Later in the summer, Mr. Roeren conducted his own audit of the losses to assess the damage inflicted to the cultural heritage of the area.

The only hope for recovering these items rested with the US army. But because of the massive departure of American military personnel returning to the United States who had participated in the March 1945 campaign against Germany, it was unlikely that any investigation into looting by American soldiers and officers would produce any tangible results.

 

Inventory of missing items

Sources:

Memo from OMGB Capt. Edwin Rae, Chief of MFA&A Section, Restitution Branch, 30 July 1946, RG 260 M1921 Roll 14, NARA (National Archives, College Park, MD, USA).

Major L. B. LaFarge, chief of MFA&A Section, OMGUS, to MFA&A Division of OMG Bavaria, 22 July 1946. RG 260, Educational Division, Box 236, 5347-1, NARA (National Archives, College Park, MD, USA).

Reports submitted by Captain Edwin C. Rae, chief, MFA&A Section of OMGB, regarding looting at Wittislingen, 30 July 1946 and 5 September 1946, RG 260, Educational Division, Box 236, 5347-1, NARA (National Archives, College Park, MD, USA).

Report by Dr. Friedrich Wagner, Munich, 3 août 1946, ‘Disappearance of items discovered during excavations of Alemanic graves in Schreitseim [Schretzheim], Dillingen district, owner: Historischer Verein Dillingen, RG 260, Educational Division, Box 236, 5347-1, NARA (National Archives, College Park, MD, USA).

RG 260 M1921 Roll 14, NARA (National Archives, College Park, MD, USA).

Photo of Lamm Brewery seal courtesy of https://www.ebay.com/itm/205638892105

Map courtesy of Google Maps.