Book
The lost museum : the Nazi conspiracy to steal the world's greatest works of art / Hector Feliciano.
Between 1939 and 1944, as the Nazis overran Europe, they were also quietly conducting another type of pillage. The Lost Museum tells the story of the Jewish art collectors and gallery owners in France who were stripped of rare works by artists such as Vermeer, Rembrandt, Degas, Cezanne, and Picasso. Week after week, thousands of crates of this art streamed from Paris into Germany, many stamped with a swastika and the words "Property of the Third Reich." Before they were through, the Nazis had taken more than 20,000 paintings, sculptures, and drawings from France. The pieces were cataloged, photographed, and shipped to Germany, often with the help of moving companies and friends and servants of the families themselves. The premium cultural spoils of war were destined for the museum of European art that Hitler planned to create in Austria, as well as for the private collections of Hitler, Goering, and other Nazi dignitaries. Looted Entartete Kunst - modern artworks - were sold into France and Switzerland's flourishing wartime art market.
The Lost Museum explores the Nazis' systematic confiscation of these artworks, focusing on the private collections of five families: Rothschild, Rosenberg, Bernheim-Jeune, David-Weill, and Schloss. The book is filled with private family photos of this art, some of which has never before been seen by the public, and it traces the fate of these works as they passed through the hands of top German officials, unscrupulous art dealers, and unwitting auction houses such as Christie's and Sotheby's. Many works were returned to their owners after the war, but thousands of them - and, in some cases, their owners - disappeared. Some of these lost artworks are tracked down in this book to their present-day locations in Europe and the United States. More than 2,000 of the works that were looted or sold to the Nazis found their way into French national museums, where they are labeled as "unclaimed." Still others can be found in Switzerland. Hector Feliciano spent more than seven years tracking down the story of this Nazi pillaging. Drawing on recently declassified documents, interrogation reports, detailed Nazi inventories, private family archives, museum catalogs, and dozens of interviews, Feliciano paints a vivid picture of a concealed international art trade with links in France, Germany, Switzerland, Great Britain, the former Soviet Union, and the United States - controversial disclosures that have provoked an ongoing debate in Europe.
Record details
- ISBN: 0465041949
- ISBN: 9780465041947
- ISBN: 0465041914
- ISBN: 9780465041916
- Physical Description: ix, 278 pages : illustrations ; 25 cm
- Edition: 1st ed.
- Publisher: New York : BasicBooks, ©1997.
Content descriptions
- Bibliography, etc. Note:
- Includes bibliographical references (pages 257-265) and index.
- Formatted Contents Note:
- pt. 1. A certain love of art. Vermeer's Astronomer, or, Hitler's blind spot -- The Kümmel Report, or, The Nazis' reply to Napoleon -- Hermann Goering, "friend of the arts" -- pt. 2. Anatomy of a pillage. The exemplary looting of the Rothschild Collections -- The Paul Rosenberg Gallery : modern and "degenerate" art for sale -- The Bernheim-Jeune Collection, or, The burning of The Jas de Bouffan -- David David-Weill, or, The patron stripped bare -- The Schloss Collection, or, Dutch painters for Hitler -- pt. 3. Art for sale. Visitors to the Jeu de Paume -- Business as usual : the Paris art market during the war -- Switzerland : the importance of being neutral -- pt. 4. Revenants. The found and the lost -- A short Swiss epilogue : purchased skeletons in the Kunstkammern -- Something new on the eastern front -- The purgatory of the MNRs -- Appendix A. The Schenker papers -- Appendix B. An interview with Alain Vernay.
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Available copies
- 1 of 1 copy available at Northwest Indian College.
Holds
- 0 current holds with 1 total copy.
Show Only Available Copies
| Location | Call Number / Copy Notes | Barcode | Shelving Location | Status | Due Date |
|---|---|---|---|---|---|
| Lummi Library | N 8795.3 .F8 F45 1997 | 283423 | Stacks | Available | - |
Electronic resources
- Related Resource: http://www.h-net.org/review/hrev-a0a5u5-aa
- Book review (H-Net)
- Related Resource: http://catdir.loc.gov/catdir/enhancements/fy0831/97007195-d.html
- Publisher description
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| 245 | 1 | 4. | ‡aThe lost museum : ‡bthe Nazi conspiracy to steal the world's greatest works of art / ‡cHector Feliciano. |
| 250 | . | ‡a1st ed. | |
| 260 | . | ‡aNew York : ‡bBasicBooks, ‡c©1997. | |
| 300 | . | ‡aix, 278 pages : ‡billustrations ; ‡c25 cm | |
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| 504 | . | ‡aIncludes bibliographical references (pages 257-265) and index. | |
| 505 | 0 | . | ‡apt. 1. A certain love of art. Vermeer's Astronomer, or, Hitler's blind spot -- The Kümmel Report, or, The Nazis' reply to Napoleon -- Hermann Goering, "friend of the arts" -- pt. 2. Anatomy of a pillage. The exemplary looting of the Rothschild Collections -- The Paul Rosenberg Gallery : modern and "degenerate" art for sale -- The Bernheim-Jeune Collection, or, The burning of The Jas de Bouffan -- David David-Weill, or, The patron stripped bare -- The Schloss Collection, or, Dutch painters for Hitler -- pt. 3. Art for sale. Visitors to the Jeu de Paume -- Business as usual : the Paris art market during the war -- Switzerland : the importance of being neutral -- pt. 4. Revenants. The found and the lost -- A short Swiss epilogue : purchased skeletons in the Kunstkammern -- Something new on the eastern front -- The purgatory of the MNRs -- Appendix A. The Schenker papers -- Appendix B. An interview with Alain Vernay. |
| 520 | . | ‡aBetween 1939 and 1944, as the Nazis overran Europe, they were also quietly conducting another type of pillage. The Lost Museum tells the story of the Jewish art collectors and gallery owners in France who were stripped of rare works by artists such as Vermeer, Rembrandt, Degas, Cezanne, and Picasso. Week after week, thousands of crates of this art streamed from Paris into Germany, many stamped with a swastika and the words "Property of the Third Reich." Before they were through, the Nazis had taken more than 20,000 paintings, sculptures, and drawings from France. The pieces were cataloged, photographed, and shipped to Germany, often with the help of moving companies and friends and servants of the families themselves. The premium cultural spoils of war were destined for the museum of European art that Hitler planned to create in Austria, as well as for the private collections of Hitler, Goering, and other Nazi dignitaries. Looted Entartete Kunst - modern artworks - were sold into France and Switzerland's flourishing wartime art market. | |
| 520 | 8 | . | ‡aThe Lost Museum explores the Nazis' systematic confiscation of these artworks, focusing on the private collections of five families: Rothschild, Rosenberg, Bernheim-Jeune, David-Weill, and Schloss. The book is filled with private family photos of this art, some of which has never before been seen by the public, and it traces the fate of these works as they passed through the hands of top German officials, unscrupulous art dealers, and unwitting auction houses such as Christie's and Sotheby's. Many works were returned to their owners after the war, but thousands of them - and, in some cases, their owners - disappeared. Some of these lost artworks are tracked down in this book to their present-day locations in Europe and the United States. More than 2,000 of the works that were looted or sold to the Nazis found their way into French national museums, where they are labeled as "unclaimed." Still others can be found in Switzerland. Hector Feliciano spent more than seven years tracking down the story of this Nazi pillaging. Drawing on recently declassified documents, interrogation reports, detailed Nazi inventories, private family archives, museum catalogs, and dozens of interviews, Feliciano paints a vivid picture of a concealed international art trade with links in France, Germany, Switzerland, Great Britain, the former Soviet Union, and the United States - controversial disclosures that have provoked an ongoing debate in Europe. |
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