Showing posts with label Alois Miedl. Show all posts
Showing posts with label Alois Miedl. Show all posts

15 September 2023

A brief introduction to smuggling looted assets into Spain

bt Marc Masurovsky
France and the demarcation line (1940-1942)

During the German occupation of Western Europe (1940-1945), one of the major activities of the occupying forces and their local collaborators was plunder, looting, outright theft of Jewish-owned property, regardless of its form and shape, from residential and commercial property deeds to industrial know-how (patents, licenses, royalty agreements and trademarks), to financial instruments (stocks, bonds, shares) to artistic, cultural and religious objects. Let’s not forget those highly fungible precious stones and metals.

Regardless of the motivations for these wanton acts of thievery perpetrated on an industrial scale against their victims, the idea of monetizing this stolen property was high up on the looters’ priority list. An infrastructural web of connections was carefully woven, often aided by local and national police officials, fueled by pre-war business and political relationships, to allow for these transactions to take place for the benefit of the Reich and its collaborators. Oftentimes, this plundered moveable property was ferried across borders into neighboring countries that acted either as end points or transit centers for this property to move even further. Think Western Hemisphere, the Americas-North, Central, and South, and especially the islands lying between the Gulf of Mexico and the northern edge of South America.

In the case of thefts committed in the Netherlands, Belgium, and France, looters looked to the south to sell off or “dump” their loot. Precious stones looted from Dutch and Belgian Jews were very easily transported and promised lucrative payoffs. An exception: many works of art looted traveled to Germany and other “Germanophile” markets to be incorporated into museum collections or sold at auction. Otherwise, paintings and other works of art were taken through Belgium and France into Spain, Switzerland or Italy. The main way station for this movement was Paris, which behaved as an international turnstile based on connections between dealers, collectors, art world officials, intelligence agents and the like. These works would find their way to Swiss cities and banks or make their way further south across the Pyrenees [Pyrénées] mountains into northern Spain.

The literature on the role of Switzerland as an endpoint for looted art is ample. From the earliest cases of Nazi thefts of Jewish assets, looted goods were sent to Switzerland from Germany (gold, jewelry, cash, securities, etc.). After the Anschluss in Austria in March 1938, a similar movement was observed from Austria into Switzerland. Likewise, Switzerland has served as a haven for Italian Fascists to deposit their ill-gotten assets in Swiss banks and estates. The passage of the Bank Secrecy Act in the mid-1930s secured complete confidentiality for foreign depositors transferring assets to Swiss institutions. 

By contrast, Spain and Portugal, but mostly Spain, have been largely ignored as loci of such activity. We’ve heard of Axis war criminals, collaborators of all stripes and shades, making their way into Axis-friendly Spain governed by the iron fist of "Generalisimo" (General) Francisco Franco and his Falange. These fugitives sought protection and shelter from prosecution and the wrath of the victorious Allied forces and national Resistance movements desirous to get their hands on these criminals and bring them to justice. 

What did these people carry with them? Little is known aside from well-documented cases like Alois Miedl, Goering’s personal banker and art agent in the Netherlands who almost single-handedly aryanized the famed Goudstikker collection. Lesser-known players have been largely ignored by the historical field. They turned out to be far more effective than Miedl to ferry looted goods into Spain. Still, it might be eventually worth taking a closer look at the Miedl case because he tapped into multiple networks of criminal gangs to ensure his flight to safety. In other words, even someone as important as Miedl was forced to rely on underworld figures and torturers to get across the Franco-Spanish border with his Dutch loot.

In the last years of the Second World War, southwestern France—an area bounded to the north by Bordeaux, and to the East by Montpellier and to the South by the Pyrenees, had been teeming with French fascists, criminal elements who were making their way to Spain. Nazi security agents, Italian and Spanish fascists worked side by side with Nazis and French fascists. In the midst of this beehive of terror and persecution, Allied agents together with Resistance elements did their best to provide some solace to refugees and victims seeking to make their way to Spain and to evade the dragnets established by local collaborators. They set up, at great risk, clandestine chains through which refugees and anti-Nazi militants could flee to relative safety. It was better to spend time in a refugee camp inside Spain than a jail cell run by Gestapo and Milice agents “up north.”
Southwestern France

In setting up these chains, it was critical to know which village, which hill, which crossroads were safe for travel away from prying eyes. Was the mayor in cahoots with the enemy? How about the local police? The priest? The judicial authorities? The baker? Not knowing was the bane of the victims and their protectors—resistance fighters and Allied agents. As you can imagine, many clandestine operatives were unmasked and arrested. Their resilience and persistence eventually saved many lives. How did one get across a porous border where no one could be trusted? As you can imagine, the odds favored the perpetrators by a long shot.

Smuggling goods and people across the border was a profitable way of life on both sides of the Pyrenees. Entire hamlets supplemented their meager resources with these clandestine acts. As long as there was an exchange of money, locals were at your service, as long as the risk could be mitigated. Knowing this, it was not very difficult for fleeing war criminals, underworld figures, intelligence agents, and economic collaborators to make full use of the “friendly” atmosphere that reigned all along the French and Spanish sides of the Pyrenees, viz., the Basque and Catalan regions, Navarre and Aragon, separated by a mountain chain. One still had to be careful with whom one did business and in whom one put one’s trust because he/she could turn on a dime, or a franc, or a peseta, and your luck would end there. As a general rule, you were in far more trouble if you were caught on the north side of the border than on the south side. Lastly, the political reliability of the individuals running these smuggling chains ensured the temporary safety of their clients, long enough to get them to a secure area.

To be continued….

Updated on 13 November 2024
Reviewed and edited by Maria Ruigomez Eraso

24 July 2011

The things that one finds on the Internet: Researching the fate of a painting by F. Demoulines

According to a document produced by R. C. Fenton of the British Ministry of Economic Warfare (MEW) in London on February 7, 1945, an unframed watercolor full-length portrait of the “last Czarina of Russia,” painted by F. Demoulines was allegedly stored as of May 1944 in a crate at the Free Port of Bilbao in the Basque country of northern Spain, a warehousing area oftentimes used for items being smuggled into Spain from France. This is the same Free Port to which Alois Miedl, Hermann Goering’s trusted banker, shipped dozens of works that had been looted in Holland from the Goudstikker collection on Goering’s behalf.

Document produced by R. C. Fenton of MEW
Source: The National Archive, Kew
The announcement of the purported location of the Demoulines painting was transmitted to a Miss Clay of the British Commission on the Preservation and Restitution of Works of Art, Archives and other Material in Enemy Hands, headquartered at Parliament House in London (also known as the Macmillan Committee).

If one types “F. Demoulines” in that ubiquitous global search engine called Google, one lands straight into the lap of the National Archives of the United Kingdom which are ready to provide you with the one-page document pertaining to the Demoulines painting and 80 more pages on related looting matters for the modest sum of 3.50 pounds sterling. To spare you the expense, here is the document. Of course, we can only provide you with the one page.

Aside from all this, the instructive part of this exercise is that the aforementioned note generated by MEW was located at the National Archives in College Park, MD, as an enclosure to despatch No. 20922 dated February 9, 1945, from the US Embassy in London to the US Department of State in Washington, DC. The heading on the despatch read as follows: “Economic Warfare (Safehaven) Series: No. 103.”

Safehaven refers to an Anglo-American counterintelligence operation that was launched in the spring and summer of 1944 by the US government and seconded by the British government to stanch the flow of looted assets being shipped out of the Third Reich and its dependencies into safe harbors or safe havens located most of the time in the so-called neutral or non-belligerent countries of Europe (Spain, Sweden, Switzerland). The Allied powers also suspected Turkey and Argentina of playing a similar ‘safehaven’ role for Nazi plunder.  Their main concern was that these looted assets would serve to finance an underground reconstructed Nazi Party and a hypothetical third world war, or more modestly, to subsidize the early retirement policies of fleeing Nazis and their collaborators.

Our copy of the Demoulines document surfaced in the records of the Foreign Economic Administration (FEA) at the US National Archives. FEA, together with the US Treasury Department and the State Department, jointly operated the so-called Safehaven Program from Washington, DC. Their British counterparts were the Trading with the Enemy Department (TWED), the Ministry of Economic Warfare (MEW) until its dissolution in mid-1945 and the Foreign Office (FO).

According to MEW, the Demoulines painting was the property of a Señor José Otero de Arce, a member of Franco’s División Azul (Blue Division), which fought alongside the Wehrmacht on the Eastern Front after June 1941. The obvious concern of the British authorities was that Mr. Otero might have picked up the Demoulines work as an ill-gotten souvenir either in Soviet lands or somewhere else, like France maybe.

General Esteban-Infantes (right), chief of the Blue Divison, with the German high command in 1943
Source: Atlantic - EFE via El País
The problem here is that there is no apparent trace of any 19th century artist who goes by the name of “F. Demoulines” or even Demoulines. Undoubtedly, something resembling such a painting arrived for storage at Bilbao. Beyond that point, one might never know exactly who the actual artist was and if in fact the painting was a portrait of the Czarina Alexandra.

Norton Simon Museum
Source: Wikipedia
There are thousands of documents such as this one, which were generated by wartime and postwar Allied officials who diligently brought to official attention the presence of possible looted items across Europe and the Americas. With little else to go by, most of those notifications ended up in a circular file, except when conscientious investigators were able to connect bits and pieces of information to form a pattern from which to deduce that an investigation was warranted, as in the case of Alois Miedl who scattered the fruits of his plunder across Holland, Belgium, France, Germany, Switzerland, and Spain. Miedl’s plunder of the Goudstikker collection spawned investigative leads across the world, and especially in North America where many Goudstikker paintings have been located, one of which is taking up a lot of legal time—the Adam and Eve panels by Lucas Cranach which are currently at the Norton Simon Museum in Pasadena, California.

05 June 2011

Van Gogh's 1889 depiction of his mutilated self smoking a pipe--PR 144

In a catalogue of works from the private collection of Mary and Leigh Block of Chicago, IL, the first painting that one sees is an iconic work by Vincent van Gogh, the result of an unfortunate absinthe-laced binge which led to the legendary self-mutilation of the chronically depressed visionary Dutch-born artist's right ear. Known as the “Dutchman Smoking a Pipe [Hollandais à la Pipe]” or « l’homme à l’oreille coupée », the Block catalogue merely refers to it as « Self-Portrait, » which ironically is also the title given to it by the art historical staff of the Einsatzstab Reichsleiter Rosenberg (ERR) in 1944.
Autoportrait à l'orielle bandée, Vincent Van Gogh
Source: Wikipedia  

As is so typical of art catalogues, no hint of a work’s peculiar history is provided, especially when it involves something so egregious as a Nazi-organized theft. And yet, it was exhibited at Boston’s Museum of Fine Arts from February 2 to April 14, 1968.

Van Gogh’s “Self-Portrait”, executed in 1889, one year before his suicide, belonged to the world-class Parisian art dealer, Paul Rosenberg. In a preventive move to safeguard most of his priceless collections of modern works of art from the vagaries of an inevitable continental war in 1939-1940, Rosenberg shipped the works to various locations in the southwest of France, including a château that he had rented at Floirac and a bank vault at the Banque Nationale pour le Commerce et l’Industrie (BNCI) at Libourne.

PR 144
Source: ERR Project via Bundesarchiv
The “Self-portrait” was stored, unframed, at Libourne and bore Rosenberg’s inventory No. 2215. Following the Nazi takeover of half of France in May-June 1940, a specialized unit of German agents, informed by unscrupulous Paris-based art dealers, appeared at the BNCI branch in Libourne to remove more than 160 works belonging to Paul Rosenberg. They were first taken to the German Embassy's Paris depot on rue de Lille before being transferred to a storage area at the Louvre which had been set up to accommodate the initial seizures made by the Einsatzstab Reichsleiter Rosenberg (ERR) as well as those conducted by police units answerable to the German Ambassador, Otto Abetz.

Alois Miedl, one of Hermann Goering’s preferred bankers and intermediaries in illicit art acquisitions, was most famous for his role in the Aryanization and seizure of the Goudstikker Collection in Amsterdam. His relationship with Goering entitled him to gain access to choice pieces stolen from French Jewish collections including van Gogh’s “Self Portrait.” Together with a dozen other modernist works, Miedl shipped the stolen paintings to Switzerland by way of the German diplomatic pouch and the crate containing them was placed at the Volksbank in Zurich under the care of a Dr. Wiedekehr.

Subsequent to Miedl’s arrest in the late summer of 1944 as he tried to cross the Franco-Spanish border with his family, Allied intelligence operatives located the stolen works that he had sent covertly to Switzerland, leading to their eventual repatriation to Paris and subsequent restitution to Paul Rosenberg.

The only concrete evidence that we have of the painting’s presence at the Jeu de Paume is the card that the ERR staff typed under the number PR 144 as well as the photograph taken of the work.
PR 144
Source: ERR Project via NARA


The next time this painting is ever exhibited, the public might be interested in knowing the tortuous path that it followed from Paris to a bank vault in Libourne and from there to the German Embassy on rue de Lille, the Louvre, the Jeu de Paume, and finally Zurich, before returning to Paris and ultimately sold to a Chicago-based family.