Showing posts with label Hans Posse. Show all posts
Showing posts with label Hans Posse. Show all posts

05 December 2022

The disappearance of Raphael's Portrait of a Young Man


Portrait of a Young Man

by Marc Masurovsky

What happened to Raphael’s Portrait of a Young Man which belongs to the world-renown collection of the Krakow-based Czartoryski family? The now-iconic painting (the poster child for WWII plundered “treasures”) pulled off a world-class vanishing act in the early days of May 1945 as US troops closed in on the South Bavarian compound of Hans Frank, Governor-General of German-occupied Poland.

The Czartoryski family, one of the flowers of Polish nobility, owned palatial residences and estates in Krakow, Goluchów and Sieniawa (Poland). Since 1893, the Goluchów Castle served as a Museum of the Czartoryski collection. Many of the family’s artistic possessions were stored and displayed there. They included close to 5000 art objects and antiquities as well as several hundred Old Master paintings. The bulk of the collection was transferred to Sieniawa for protection. Soon after the Nazi invasion of Poland in September 1939, German troops reached the Czartoryski estates and seized their contents. To make matters worse, a local mason had betrayed the location of the hidden Czartoryski “treasury.”

 
Hans Frank

In October 1939, Kajetan Mühlmann, who had played a major role in the plunder of cultural treasures in German-occupied Poland, brought to Berlin choice pieces from the confiscated Czartoryski collection—works by Raphael, Leonardo da Vinci and Rembrandt. In late November, at Martin Bormann’s urging, Hans Posse, the director of Hitler’s Linz museum project, requested the transfer of the best pieces from the Czartoryski collection to the Linz museum. It fell on deaf ears. The paintings returned to Krakow only to be shipped back to Berlin in 1942, this time on orders from Field Marshal Hermann Goering. However, the Nazis, fearing for the safety of the works due to Allied bombardments, opted to send the works back to Krakow, where they were stored at the Wawel Castle. 

Wawel Castle, Krakow

From August 1944 to January 1945, in the face of an imminent offensive by the Soviet Red Army, a gradual evacuation began of Hans Frank’s Krakow HQ and the many plundered art objects and paintings under his control. The main evacuation point was the estate of Count Manfred von Richtofen in Seichau (Sichów), Silesia, which the Auswärtiges Amt [German Foreign Office] had requisitioned for use by Hans Frank, his staff and the German Army. At the outset, a small number of Frank’s aides had appeared at Seichau (Sichów). It was not until the surrender of Krakow that the largest contingents overtook von Richtofen’s castle. He confirmed that Frank and his top aides had remained in the main house for only a few days until their “sudden” departure on 23 January 1945. In other words, Frank did not reach Seichau (Sichów) until mid-January 1945. 

Seichau Castle, Silesia
A German official by the name of Gross indicated that in the months following the requisition of von Richtofen’s estate, there was a continual movement of “lorries” which carried ‘objets d’art’ as well as“foodstuffs and large quantities of alcohol.” He noted that, after the departure of the Frank party on 23 January 1945, the rooms that they had occupied at Seichau (Sichów) were in “complete chaos,” a statement confirmed by Fraulein Liselotte Freund of Seichau Castle. (Gross and Liselotte Freund supplied separate statements to an SS investigative officer on 2 February 1945).

Frau von Wietersheim’s Muhrau estate, 14 km from Seichau, served as a secondary evacuation point. Wilhelm Ernst von Palézieux, Hans Frank’s chief of the ‘Referat für Kunst’ (Art Section) and Eduard Kneisel, an Austrian-born restorer, were responsible for ensuring the safety of the plundered treasures from the Czartoryski and other noble Polish collections. They watched over the thousands of art works and objects in their custody at both estates.

It took the greater part of a month for the various convoys carrying Hans Frank and his many staff members to reach Neuhaus am Schliersee in southern Bavaria where Hans Frank had an estate. Neuhaus am Schliersee became the final destination for the Polish looted cultural treasures under Frank’s control, including those that belonged to the Czartoryskis. On 17 February 1945, Hans Frank informed Dr. Lammers, chief of the Reich Chancellery, that the last convoys had reached Neuhaus.

According to London-based Count Zamoyski, one of the heirs to the Czartoryski estate, the Portrait of a Young Man by Raphael was stored at a villa serving as a residence for Wilhelm Ernst von Palézieux in the immediate vicinity of Hans Frank’s compound. Eduard Kneisel confirmed this fact in subsequent years and testified that he had not conducted any restoration work on the painting but that it had been removed from its massive crate.

The “vanishing”

In the first week of May 1945, American military units converged on the Bavarian compound of Hans Frank at Neuhaus am Schliersee. They searched Frank’s office in the “Bergfrieden” chalet, which was near the “Schoberhof”, his main residence. According to an American miliary investigative report, the troops conducted only a superficial search of the “Schoberhof.” The MFAA took nearly a year to file a report on the circumstances surrounding Hans Frank’s capture and the disappearance of the Raphael. The report acknowledged that US troops had not conducted an extensive search of the “Schoberhof.”

On 4-5 May 1945, American troops located and arrested Hans Frank as he tried to escape with members of this retinue. Frank made a failed attempt at suicide on 6 May 1945. US troops recovered most of Hans Frank’s loot. However, the Portrait of a Young Man by Raphael vanished into thin air either right before the arrival of American troops or under their very noses while they were overtaking Neuhaus. It’s anyone’s guess where the painting is currently stashed. 

Primary sources:

Document 3614-PS, Evacuation of Cracow, UConn Archives and Special Collections
https://collections.ctdigitalarchive.org/islandora/object/20002%3A1503#page/8/mode/2up]

Frank to Lammers, Document 3614-PS, Office of US Chief Counsel, IMT

undated letter from Count von Richtofen to an Ortsgruppenleiter of the NSV [National Socialist Welfare Organization]

"The loot from Poland," unsigned summary. RG 59, Lot 62D-4, Ardelia Hall Collection, Box 9, NARA.

Ardelia Hall to Count Zamoyski, 15 December 1960, Lot 62D-4 Ardelia Hall Collection, Box 13, NARA.

Walther Bader interrogation by Edgar Breitenbach and Dr. Roethel, 24 June 1947, RG 260 Prop. Div., Ardelia Hall, MCCP, Box 479, NARA.

www.Fold3.com
RG 239 M1944 Reel 127 NARA. 

Photo credits

Hans Frank
https://cdn.britannica.com/44/133344-050-54791C79/Hans-Frank-1939.jpg

Kajetan Mühlmann
https://www.lexikon-provenienzforschung.org/en/muhlmann-kajetan

Wawel castle
https://www.dreamstime.com/stock-photos-old-style-photo-royal-wawel-castle-cracow-image14871673

Reviewed and edited by Saida S. Hasanagic

18 November 2022

Walther Bernt, authenticator of looted paintings

"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.] 

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.

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.


Hans Posse


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.

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://editionhansposse.gnm.de/wisski/navigate/9165/view
Digital art market and art history sources