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| "Merry company making music," by Jost van Geel |
by Claudia Hofstee
Many art historians who were caught up in the horrors of the Second World War and the Holocaust threw their lot with the Nazis only to turn their coats and cooperate with the victorious Allies after 1945, providing them with the same skills and expertise that they had to their Nazi overseers. One of them was Walther Bernt who was active in Czechoslovakia and Germany.
On 30 January, 1976, the German art historian Walther Bernt (1900-1980) produced a certificate of authenticity for a painting by Joost van Geel, Merry company making Music, which the Cologne-based Lempertz auction house is scheduled to sell on 19 November 2022 (lot no. 1569). This painting was stolen from the collection of the late Adolphe Schloss and has not been restituted to his heirs. Bernt was familiar with the Schloss Collection–one of the best-known collections of Old Masters in Western Europe at the time. His failure to report the existence of this unrestituted painting to the French authorities illustrates his complicity in the post-1945 dispersal of Nazi looted art. He became the “go-to guy” for these certificates and because of his reputation in the art world, nobody questioned the provenance of the works he authenticated. Who was Walther Bernt?
Walther Bernt is famous for authoring a four-volume monograph entitled “17th century Dutch painters” (Niederländischen Maler des 17. Jahrhunderts (1948-1962)”. He and his wife Ellen (1913-2002) became international experts on 17th century Dutch and Flemish painters. However, a dark shadow hangs over Bernt’s legacy. Born in Krumau (Český Krumlov, Czechoslovakia), he became an art consultant and dealer in the 1930s and from at least 1937 he worked as an editor of auction catalogs. He advised the prominent Jewish industrialist Frank Petschek of Aussig for whom he acquired a number of works of art. After the German takeover of Czechoslovakia and the imposition of a Protectorate of Bohemia and Moravia, Bernt served as an appraiser for the Gestapo in Prague for art collections confiscated from Czech Jews before they were sent to death camps. Bernt also offered his services to Hans Posse (1879-1942) in October 1940 as he was building up a massive art collection to be housed in Hitler's Führermuseum.
Not long after, Bernt turned up as a cataloguer for the Nazi art dealer Hans W. Lange (1904-1945) at Alois Miedl's (1903-1970) Berlin auction on 3-4 December 1940 which was selling works of art seized from the Dutch art dealer Jacques Goudstikker (1897-1940). Bernt continued to advise private collectors like Hans-Werner Habig (1921-1954) from Oelde for whom he bought a painting by Joost de Momper, Stretch landscape with corn crop. [the painting now hangs at the Museum Abtei Liesborn des Kreises Warendorf (Germany) and is listed on the German Lost Art Database. The painting was previously in a private collection in Aussig in 1938.]
During WWII, the Nazis valued art historians and used their services to legitimize their art seizures and appraise them. André Schoeller (1879-1955) is a good example of this; he was an art dealer and appraiser for Hôtel Drouot, he appraised confiscated paintings for the ERR in Paris and sold pictures to several German museums and worked closely with Nazi dealers (e.g., Hildebrand Gurlitt, 1895-1956). Besides the connoisseurship, art historians’ knowledge of collectors and their collections made it possible for Nazis to acquire many artworks. Some of the better-known art historians who were involved with the Nazis during the war were Max. J. Friendländer (1867-1958), Vitale Bloch (1900-1975) and Eduard Plietzsch (1886-1961). Like Bernt, many of these art historians hardly suffered any consequences for their wartime collaboration with Nazi officials.
More research is required about Bernt and his post-war activities and his network. Evidence can in all probability be found at the “Walther and Ellen Bernt collection”, which contains (exhibition) catalogs, card catalogs, and photographs of works of art (published and unpublished). Who knows what else we will find?
www.fold3.com: RG 260 M1946 roll 10, NARA; RG 260 M1946 roll 121, NARA; RG 260 M149 roll 5, NARA; RG 260 M1946 roll 49, NARA; RG 260 M1947 roll 49, NARA; RG 260 M1946 roll 135.
Bernt, Walther. Die Niederländischen Maler des 17. Jahrhunderts, 3 vol. Munich, 1948-1962.
Flick, Caroline. Verwertungskampagne. Beobachtungen zur niederländischen Kunsthandlung Goudstikker-Miedl, Verwertungskampagne (March 2022).
https://carolineflick.de/publikationen/verwertungskampagne.pdf
After the unconditional surrender of Nazi Germany in May 1945, Bernt collaborated with Allied officials by identifying looted works of art recovered by Allied forces. Although he did not disclose his wartime involvement in looting activities, postwar documents suggest that the Allied forces had an inkling of Bernt’s work with the Gestapo in Prague. The Bernt family lived in Munich where he produced numerous certificates of authenticity for art dealers and auction houses until his death in 1980, after which his widow Ellen continued his work. As looted art flooded the postwar art market, many experts and dealers issued certificates to manufacture or hide provenance information, such as removing labels from the backs of paintings. The certificate conveyed a certain sense of legality and value to the works. Anyone looking closely at the certificates provided by Walther Bernt can see that oftentimes they do not mention any provenance and mask the dubious origin of the works.
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| Führerbau, Munich, site of theft of van Geel painting, 1945 |
During WWII, the Nazis valued art historians and used their services to legitimize their art seizures and appraise them. André Schoeller (1879-1955) is a good example of this; he was an art dealer and appraiser for Hôtel Drouot, he appraised confiscated paintings for the ERR in Paris and sold pictures to several German museums and worked closely with Nazi dealers (e.g., Hildebrand Gurlitt, 1895-1956). Besides the connoisseurship, art historians’ knowledge of collectors and their collections made it possible for Nazis to acquire many artworks. Some of the better-known art historians who were involved with the Nazis during the war were Max. J. Friendländer (1867-1958), Vitale Bloch (1900-1975) and Eduard Plietzsch (1886-1961). Like Bernt, many of these art historians hardly suffered any consequences for their wartime collaboration with Nazi officials.
More research is required about Bernt and his post-war activities and his network. Evidence can in all probability be found at the “Walther and Ellen Bernt collection”, which contains (exhibition) catalogs, card catalogs, and photographs of works of art (published and unpublished). Who knows what else we will find?
A note about the author
Claudia Hofstee MA, studied art history and graduated from Utrecht University in 2018. Specialized in 16th- and 17th century Dutch and Flemish paintings. Worked as a provenance researcher for the JDCRP: The Pilot Project-The Fate of the Adolphe Schloss Collection. Working currently as an independent provenance researcher for the Mauritshuis in The Hague and is working on a collection catalogue for a private collection.
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| Hans Posse |
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| Alois Miedl |
Printed and Digital Sources:
www.fold3.com: RG 260 M1946 roll 10, NARA; RG 260 M1946 roll 121, NARA; RG 260 M149 roll 5, NARA; RG 260 M1946 roll 49, NARA; RG 260 M1947 roll 49, NARA; RG 260 M1946 roll 135.
Bernt, Walther. Die Niederländischen Maler des 17. Jahrhunderts, 3 vol. Munich, 1948-1962.
Flick, Caroline. Verwertungskampagne. Beobachtungen zur niederländischen Kunsthandlung Goudstikker-Miedl, Verwertungskampagne (March 2022).
https://carolineflick.de/publikationen/verwertungskampagne.pdf
Führmeister, Christian and Hopp, Meike. Rethinking Provenance Research, Getty Research Journal, vol. 11, issue 1 (2019), pp. 213-231.
https://editionhansposse.gnm.de/wisski/navigate/9165/view
Oosterlinck, Kim. Gustave Cramer, Max. J. Friedländer, and the value of Expertise in the Arts, Capitalism: A Journal of History and Economics, Vol. 3 Nr. 1 (2022), pp. 19-56.
https://www.archivportal-d.de/item/ZO3W5LFDX74LDMHJIQONJI2ARWNP5ZYZ?isThumbnailFiltered=false&rows=20&offset=0&viewType=list&hitNumber=8
https://www.archivportal-d.de/item/JH4TDJ2XWWLXFJ5VB6NIJISZWAJQRTSV?isThumbnailFiltered=false&rows=20&offset=0&viewType=list&hitNumber=3
https://www.archivportal-d.de/item/JH4TDJ2XWWLXFJ5VB6NIJISZWAJQRTSV?isThumbnailFiltered=false&rows=20&offset=0&viewType=list&hitNumber=3
https://editionhansposse.gnm.de/wisski/navigate/9165/view
Digital art market and art history sources
