to appear later today will be carrying out speech live this is deja vu news up next our documentary series doc film looks at look at art in nazi germany and why the stolen jewish our collection still hasn't been returned i'll be back at the top of the hour don't forget you can get all the latest news on our web site that's t w dot com. jane for. language courses. video. anytime anywhere.

this was once a center of the nazi party in the unit. and here where the nazis planned the systematic seizure of jewish assets today a belated restitution for those crimes is being worked on. the backs of documents that have arrived at the central institute for our history in munich are a treasure trove for the art world provenance researcher michael hop has received the entire archive of the uli as buller our dealership from the years 1933 to 1945 to work through. it could be a huge opportunity to locate lost artworks from jewish collections. as this said that. this can be like looking for a needle in a haystack we have at least $1500.00 photos like this to digitize we have a total of nearly $40000.00 of burleigh's transactions that we're working on and figuring out so we have a lot of work ahead of us on making our microphones the. picked

up 10. masa. feet lend. out to a wooden stein james blish without fritz goodman i got to sell and none. these are important names but we must always remember that they're simply representative of very very many fates and the nazi era. by them given the large number of objects we provenance researcher's work with and the many names we encounter that we can't even properly identify cases like these

are very important as examples they enable us to demonstrate how the mechanism of expropriation and looting functioned and how certain objects ended up in museums. and of course each object has a very moving story to tell of the fate of its former owners. and. the town of falling in is located in southwestern germany. this is where the jewish couple errands to end are gateaux zalman who were evident collectors loot from the late 1920 s. until they were forced to flee nazi germany in late 1935. providence researcher era's schmeiser was examining the collection of lead because museum in frankfurt. she was checking its legality when she found that the museum had a madonna figure that had belonged to the solomons. some kinds of cowboys they would force there and. i think we can imagine how the

silence lived in the late 1920 s. . what kind of a feeling it must have been to live in a house full of ott. i'm trying to imagine where the madonna might have stored and what he might have asked. of. the alabaster madonna and child dating from the 14th century was sold to leave the house in 1036 by the munich artillery us ruler on behalf of the czar months the owners were forced to put it up for sale when they fled the country. that the housing the moment you can sense from this photo that the house was empty when it was taken and i recognize this knob on the stairwell. now we have the carpeting in

the wallpaper it's hidden under the current decor left on the well i got folks. that's enough not just finance some toy thing from the simply about these are pictures that the rightwing tax office took in the couple's absence it's important to note that it was in their absence. and on and in but they are nonetheless extremely valuable sources because they provide a few puzzle pieces that allow us to reconstruct how this space looked. when. and agatha salmond lived. in money i mentally. aronsen i got to zalman moved into the house called erlend holes in the summer of 1027. in the neighboring town of ending in paris some one had a highly successful cotton weaving mill. his wife was the one who built up the ark

collection and she had another rather extravagant hobby. one apparently this is. a girl to. london plane and 2 off. from this field if there was a little. runway one of her i don't know perhaps i was. but anyway this is the sport. felix damaris orients is the son of a man's 1st husband he lives in paris where he's an art dealer and an expert on rare books. he now represents a group of this element errors. a mission schloss a fairy tale house only 11 objects from the family's considerable collection have been found so far in 5 german museums and 3 private collections abroad felix

damaris audience is visiting erlend hope for the 1st time until now he only knew it from photographs. of the desk in this. picture which was a got to standing here tonight. it was from the desk that she started her correspondence with you use google or the necessity in the planning of the. the civil suit. in 1936. on december 18th 1935. got in touch with art dealer harry builder. we are currently trying to sell our factory and liquidate our estate might you possibly be interested in selling our collection. before she received an answer this all months had to flee the country and leave behind everything they had built up here. on the moment at the moment it became

clear that the solomons had left the authorities imposed the so-called right flight tax that was nearly $140000.00 right mach's that the solomons had to scrape together and pay in a. the tax originally enacted to stem the flight of capital from weimar germany became in the hands of the nazis a way of seizing jewish property these supposed debts to the state were posted in the official government bulletin the door to. the solomons were also listed here. in 1936 more and more jews began to flee from germany. many of those who owned artworks turned to their longtime art dealer or in many cases they were being forced to hurriedly sell off works they had originally bought through him. in the spring of 1936 buller answered as oman's letter. regarding your collection alan

hoff i have looked at the items in the catalogs and i would be happy to sell them for you. but this is the building where the art dealership was located back then. the dealership which had once been named antiquary to the royal prussian court had a reputation for trustworthiness among its clients. yes. it's this shows how well established he already was in munich around 1900 and also that he had the financial clout to put up a building like this with more than 20 exhibition rooms with all stones it could basically be called a miniature bavarian national museum and it shows how this trade was flourishing in those years under. the un soviet. in the early 20th century sales to wealthy jewish clients all over germany were moving for the

dealership. reputable collectors like james. alford prince haim and james from blacks were to purchase start at buller's when the nazis seized power this clientele broke away practically overnight escaped naturists i not only imagine you walking through here but also his clients including collectors who might have been in dire straits and bringing objects that they were being forced to sell in their predicament. in the not funds that were in fact all fools. from florence where she was living in exile got his own money again turned to her she still believed they might be able to meet. i'm considering selling the german artworks 1st i believe that if we could discuss this in person we could come to a satisfactory arrangement. an appraisal of our work sad alan hope should probably take place after our conversation. he's

a correspondent this correspondent shows her difficult situation the pressure she was under. and her desperation. after they'd left all their property behind to have to carry on this correspondence from abroad with the dealer but also with the tax office as to how they could keep them from confiscating all of their property. object it is caught again and up and the objects i just scanned are all objects from this hour among collection that are registered in the online lost art database still missing these are not only works of fine art but also handicrafts furniture everyday objects. you can almost recreate in your imagination what the family home looked like its interior decor that's what makes this so moving.

we have a total of around $40000.00 transactions that we've been able to reconstruct for the period that the archive covers and of course only part of that dates from the period 193-321-9051 since many dealers work together including people like vinyl and burleigh i'm sure that this archive this trove of documents will allow us to shed light on more questions. on what this might well include questions about the zalman collection on the top and. to do the you'll use perl or art dealership is run from the family home in star in very near munich by the 5th generation of the dynasty trillion dollar turned over his grandfather's correspondence to the bavarian economic archives back in 1905. there so this is our true home and always will be. recently he handed over the

company's entire archive to the central institute for our history. as a top unix man i don't have any more records here it's all in public hands and it's important to me to make it all transparent i'm no friend of sweeping things under the rug we've tried to do that for far too long with them that we thought i think. but what did you use harry bill or tell his family about his business dealings. as i scan it he liked to sit up there and look out of the lake and when he was there we usually head or try to stay out of the way. we weren't allowed to bother grandfather as well but it's all my heart mind and with that with all that's the way it was. my mother would say grandpapa is there don't make so much noise. that seems normal if you've grown up with it i mean some of the vix on my system today i wish it had been different but that's how it was. just give us

a movie ever. that was a fairly unusual act to turn over all the company records for research purposes. did michael huff and her team have a hard time persuading him. we talked with him for a long time and he said we could come and visit. he still had the archive with the index cards and the portfolios of photographs i mean that was an amazing moment when we went down into the cellar and found these steel cabinets with the photo portfolios about the objects that were sold for being a 100. and around 9000 photo portfolios were preserved in addition there are the index cards about the sold objects which can tell us from which collection or from which seller an object came and also who ultimately bought it. and if you don't recall. the archive from the burner art

dealership is providing provenance researchers with essential data. for the years 1933 to 1945 the document several 1000 transactions. in the summer of 1936 the u.s. burger art dealership saw its turnover climb to 6 times that of the previous years to nearly 1300000 rush marks earlier profited from the situation. among his biggest purchasers were the pinnacle take museums in munich the name eunice miller appears again and again on the lists of provenance in their depositories. for instance for numerous objects from the collection of the berlin banker james fund life schrader provenance researcher andrea bambi has devoted a detailed study to the collection. and james long life james from ply frodo was the son of person from black rhoda who was an important banker in berlin the family

or he himself owned an art collection that is documented in an auction catalog from the auction house in berlin where the collection was sold in 1938. the sale included many paintings but also very valuable decorative objects such as pieces of furniture etc etc. after james found by schroeder died of natural causes in berlin in 1937 his entire collection was auctioned off by the auction house and the integrity of the collection that the family had accumulated over 2 centuries was lost forever. the rest of the glacier at a family was persecuted by the nazis and forced to sell off the estate under duress . among the objects sold at the auction was the raising of lazarus paid around $1530.00 by a southern german master. one of the most active bidders in the room was you use

brewer and he purchased the painting. we have the invoices from the let the auction house to the you list ship here in munich there it was sold to build a for 3600 rife marks and 3 quarters of the year light. hermann goering bought it for the enormous sum of 8000 right marts. so it more than doubled in the space of 9 months ice marked in and i figure they are me are of course someone like burleigh knew that when he sold it to grrr he didn't need to ask a cheap price. herr mongering a leading nazi who had been made supreme commander of the luftwaffe in 1935 was one of the biggest beneficiaries of looted art. cumulated a huge collection of artworks many of them from jewish owners. he was particularly keen to acquire medieval and renaissance art works especially female nudes. for provenance researchers any hint that

a work belong to the zam longer ring or during collection is a suggestion that it may be looted art. for you used for usually a spoiler as for a lot of them such as the vinyl auction house the fact that the jewish art dealerships which had had a strong presence and which were the big players no longer existed meant the market was completely turned around. and that the market complet on the bottom the sec was fast enough of this and that was something the nazis exploited. there was a tense financial situation at the time which became evident in the arc business. after $933.00 the so called area dealers like exploited it to establish their own firms and pushed the jewish firms out of the markets. and in 4 months of time. the mine miller auction house was berners 1st choice for auctioning off

a zalman collection he didn't tell those are months that since early 1936 he himself had been a 50 percent silent partner of the auction house and took a cut of its profits. doesn't. that vine miller tell to end quote at local things or trade it in looted art what it's called looted are today back then they didn't have that term i think. and why my grandfather was involved in it and when. i don't know anything about that going all the way from typing to rise he got his gun and. in the summer of 1936 items from the zalman collection were sold at an auction billed as an old german our collection the proceeds of 40000 russian marks were not enough for those almost to pay their rice flight tax. in addition to that you picked out

a number of especially valuable pieces from the collection and bought them himself at the auction that was in order to sell them later for many times the price that he paid at the auction some of the buyers were public museums. or was very familiar with his own hands collection since his dealership had helped them assemble it now he was dismantling it and profiting all the more. at the big auction in the summer of 1936 he bought the madonna and child and sold it just a year later at a profit to believe because museum in frankfurt. at that and he sold it for 6 times the amount. the money that flowed in from the sale of the art collection went directly to the tax office or to the art dealer who had been commissioned with the sale. and the solomons themselves didn't see any of it.

so it's hard to separate. did he maybe want to help a garter salmond by saying you're under time pressure and i know a way we can get this done quickly at the same time he was a dealer and making a profit that's the morally questionable element. factor to get our drive factors. factually you can imagine that if a dealer can get hold of more goods or has a chance at getting high quality goods cheaply he would be acting on economically if he didn't take advantage of the situation. on the other hand dealers like us burleigh and i. and many more were quite aware of the predicament the jewish collectors were in at the time. in the moment as if they stick it in there were instances in which he brought the artworks of persecuted owners to the

most broad and then there were cases in which he was clearly a profiteer. once we're finished with the buddha project i think we'll be able to put a percentage to his actions to what extent was he a prophet. how much did he help people. and how much did he do people. and. it's still unclear how closely you'll see his brother was connected with the nazi regime. what is clear is that none of the participating partners in his dealership were nazi party members but as a propaganda minister yosef google's made clear the party was intent on ensuring that all forms of culture would be subordinated to the regime. jonathan and die just because of an induction and deduction bonus and budgets and adult should be. off. its gave a kind of move you didn't. even begin to think they're going to feel as though you

. know if it's. the fault. thanks to the nazis cultural policies numerous works of dubious provenance have ended up in the holdings of german museums. the stark legacy in public collections is something that to this day imposes a burden of responsibility. and it's a curse. that's one of the bizarre aspects of the nazis alongside the genocide alongside the holocaust. is that the leaders tries to deck themselves out with art . that's long been a tradition among those who hold power. but in this case the humanity that is essentially the basis of art is coupled with the inhumanity of the political and military actions. and we will never entirely resolve this paradox via convenience

or through. in 1936 out of hitler visited the italian fascist leader benito mussolini in florence by then aronsen i get to zalman had once again been forced to flee this time to france. they left behind there for a vacation home in florence and other valuable art objects. not long after their arrival france fell under german occupation the czar minds were interned in the corps concentration camp. at the same time here and during had discovered france as a new source of art to loot he asked julius biller to act on behalf of the 3rd reich in france. were refused and during reportedly left the art dealers mention in a rage and never bought works from him again. that mocked the market was driven by the frenzy on the part of the nazi late. they developed

this image of the great art collector who was also a representative of nazi ideology. causing someone having an especially valuable art collection was a mark of status. but also these people were prowling the art market although they weren't necessarily all that knowledgeable. all they didn't have the best advisors. so that meant that the art dealers who were there like vine for example were all able to sell mediocre to inferior goods to this nazi elite at absurdly high prices so. one blatant example was the painting girl feeding the chickens by hands trauma. and them going and basically this painting is emblematic of that time. in

accordance with this new taste in art and spoken or the director of the been a critic museums bought numerous works by hans tomar a darling of the regime. he finance the purchases by giving bill or a number of valuable works in exchange. one set someone was strangely enough he made the decision to draw in works that had been sacked was saying he gave away a renoir in the morning. and wanted those of basically missed gaps in our collection today in other words he took 2 significant works by artists of the caliber of renoir and manet and handed them over to berlin an art dealer they haven't done much and then content. and in the mass of records we received we had reports of several 1000 transactions by the you use burleigh art dealership in the years 1933 to 1905 alone so it will

be a huge amount of effort to digitize all this and it will be a huge effort if we're going to analyze and assess all of the transactions. but we have to do it because any one of these transactions could provide a decisive clue to an expropriated looted or in some way illegitimately traded piece of art. that. when world war 2 ended in 1945 germany was in ruins. gradually the crimes of the nazis came to light in that summer herrmann during his remaining our treasures were discovered hidden in a train your back to scotland. but that was only the tip of the iceberg when it came to the plunder of artworks. as soon as the cleanup of the ruins began it was clear that how to deal with looted cultural assets was going to be an issue and so was restitution of real estate or material goods to the

persecuted families and at the time ways were found of addressing it these are. in august 1905 allied forces set up to munich central collecting point it was a depot for looted art works and cultural artifacts with a view to restoring them to their owners or possible errors. it was located in a former nazi party administration building which today houses the central institute for art history. its laws. regrettably the topic of looted art under national socialism was somewhat for cognizance at least as a whole shelf. yeah focus and height hottentot as it may have been on people's minds immediately after the war during the reparation process. but then over the decades it fell into oblivion in the public consciousness for.

of course there were people in the museums who knew that there was a problem but they weren't really interested in following up on the topic i said it's a decent team so we'll have one very. different my predecessor 3 generations back as it were played an active role in the old and new take museums at a period when they had been bombed in the ruins had to be rebuilt. then that was definitely a mistake given his intense involvement with the nazi system. i feel as if he's. but at the same time there were clearly people here in bavaria who wanted him as someone who was knowledgeable about the museum business so they wanted him to help rebuild the collection rebuild the buildings revive the institutions and organizations. we also have to keep in mind that at the time west germany wanted to enjoy its post-war economic miracle and wanted to believe that the nazi era and nazi guilt had been overcome and showed. in 1998 more than 4

decades after the end of the war the washington conference on holocaust era assets marked a decisive moment for the families affected by expropriation. we must dig to find the truth this means that researchers must have access to all archives and by that i don't mean car shows sporadic or eventual access i mean access in full everywhere . the american diplomat stuart eizenstat had initiated the gathering 44 countries signed the washington declaration committing themselves to a set of 11 principles regarding artworks confiscated by the nazis. to create a sense of urgency it's a moral obligation these are not world war 2 persons who are not a legally binding treaty they created a moral obligation to fan trust and fair solution to the so washington accord for

that until the washington conference the topic of nazi looted art was not on the agenda apart from the descendants or the errors or in some cases survivors who had been forced to flee no one was really interested in it. i didn't really hear. what the washington conference fundamentally change that. representatives of non-governmental organizations and 4 dozen governments came together to talk about this topic. and that put it back on the agenda to talk us off for life but it is perhaps regrettable that it wasn't germany where these deeds were carried out that provided the 1st impetus in 1998. but overall because it came from the jewish community it ended up generating huge momentum. the whole course was not only the

greatest genocide in history 6000000 jews and millions of others it was the greatest self to history and 3rd reich didn't steal all these mort works and cultural objects of books and instruments just to get more money for the right that was a part of it but that wasn't good it was that this was a part and parcel of the genocide it was cultural genocide it was to eliminate everything connected to jewish culture jewish ownership root and branch. and many of the artworks that we're talking about when the press gets it ok they read about the masterpieces but most of the art that was looted had much more sentimental and family value that it did value on the open market and so the washington principles were designed to find what we called fair and just solution we gather here this week not to achieve miracles but rather to do everything within

our power to replace dark with light injustice with fairness contention with consensus and falshood with truth. the jointly agreed search for truth and justice continues to this day a global digital network has provided new opportunities for provenance researchers in recent years in germany puts more than 10000000 euros a year into digitization and. providence projects related to looted art. after the catalogs of the vine new auction house had been digitized researchers in the summer of 2014 became aware of an object that for years had been part of the collection at berlin's boded museum. and the tradition of every artifact has a biography of course so this is not just the sculpture collection it's also an

archive he. when he is in the end here we've come to the 3 angles from the collection called s. in our. district is a no no and this piece has been in the collection since 1999. 2 or 3 years ago a colleague drew my attention to the fact that it appears in the catalogue of the vine you know auction house labeled s. in our collection as i'm known as that was code for solomon in writing and i'm in new york going to install. the digital vine miller catalogue had made it possible to link the item in the museum to the solomon collection. in the provenance but on what's next then nothing was known about its provenance and people weren't intensely concerned with provenance. once we started to research it it soon became clear that there was this connection was out among. and in fact the

catalogue describes a group of angels with the infant jesus. the shrieking. the repercussions on the up and when we compared the images in the catalog with the object itself we saw that the object was missing the wing on the left seen from our perspective. as of now it's symbolic in a way what we have here is an angel that cannot fly as you see him. once the provenance was confirmed the museum had to act. the street is consistent with. form and. this is an important piece of art history and we were hoping to keep it for our sculpture collections. mark remarked so i looked up prices on the art market for comparable works and we made the heirs a fair offer. and came up and they accepted and so we were able to purchase the

piece i'm going home and one of these advise a quantum via distributor have happened to be constantine how can it be that the institution that has the work in its position is the want to decide they will keep it as a someone who has a claim that institution can never be independent and impartial it's very problematic and does that. shrink and that's money that's for the quote obviously it's hard for the curators and directors of the museum to return artworks that have played a central role in their collection when they discover that they have been wrongly acquired off for. a day but there's no question they must be returned in many cases we have found ways of telling the heirs how important it is for us to keep the work in the collection. and asking if we can either keep the artifact or

artifacts or collection on permanent loans. at least for the time being or can we buy it back. but these options are only possible if the legitimate owner agrees to it. since the restitution and subsequent purchase from the heirs the plaque on the work makes a brief reference to its former owners and. we were impressed by the fact they've taken this finished and that was a. somewhat moving movement because it was an acknowledgement of what happened. a genuine attempt to. not only to rest. but to. to put something right that

was clearly part of a terrible wrong. collection is indeed a small. what is a see you explained creations very important connection. unlike the angel sculpture of the madonna and child in frankfurt sleeve because museum was sold at auction by subsidies in london after its restitution to the zalman heirs in 2015 it went 422000 pounds slightly below its appraised value. maybe. just about 10. items out of hundreds. and. a couple were quite interesting maybe perhaps even reasonably important most of them weren't terribly important. to us it's all of interest with the beginnings of restitution germany's restitute 16000 and in books austria

30000 dozens in the united states hundreds and hundreds and the now lives but we still have the rest of the class to fill before we implement and author of the washington principles and more important are the memories of those who were killed and those from whom these works were brutally stolen as part and parcel of the holocaust. 10 restitute it artifacts out of more than $200.00 in the salomon collection is terribly few or at least it sounds like terribly few and you also have to keep in mind that these were pretty prominent collectors with large collections and with a real culture of art collecting. at the same time though there were many families that owned only one or 2 works of emotional importance antiquities

a portrait of their grandmother maybe a vase that had been passed on for generations. and those were also confiscated by the nazis. when you reflect on that it becomes apparent what a massive number of objects we're talking about but it's also clear that each individual object is representative of the larger issue and that it's important to fight for the true provenance of each and every object for us. in 1948 go to zalman took up that fight after her husband died she began her legal battle for restitution her claims were successful at 1st. in march 1950 a court ordered the return of the cotton weaving mill the company grounds in the era when health house 2 are going on but there was nothing left to recall the life she had once led here. it would have been. pretty heart rending.

to come here and be reminded of her to. try to. get as oman hoped to turn over their facilities in entering into the united nations to house child refugees from around the world. to return. to the area. and her claims at the time got quite a bit of an. attorney because of. the claimants an abortionist striking character. of mine a celebrity in the area. the then owner of the mill appealed against her restitution claim and the court decision during the appeal to selman committed suicide in baton biden on june 18th 1951 it was her 4th attempt.

to brute force would be neutral. after i got to solomon's death her daughter nina took up the restitution claims félix tamara's audiences half sister continue to do detailed research on the fate of the family's our collection. in the 1960 s. she asked to see the catalogues that divine miller auction house but was told that they had been destroyed during the war now we know they were rediscovered. as was my national still when my sister came here. again in 62 and. 63 it was to try to track down the outbox. cause him to come in. and she didn't succeed and.

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this is deja vu news live from berlin united states of firms its commitment to its allies at the munich security conference happy to report that the death of the transatlantic alliance is grossly over exaggerated. but while the u.s. secretary of state might come pale tries to reassure nato member states french president emanuel back home disagrees saying.