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EILAGE. Tional Export Laws --^^Z^U^^CSWY ;%s^~Gp> suffered a tremendous drop in prices (for exanap... Romney's Miss Anne ; early in the war but theh decided against it when they realized Warren sold for $28,014 in 1928 but fetched only $3,767 in 1934). Yet die tiiat tiiey had virtually unlimited financial resources and therefore could prices for old masters tended to hold relatively steady or even gain slightiy outbid die competition. The Germans also enjoyed a highly advantageous (Rembrandt's Portrait of an Old Man went for $91,770 in 1930; die Melbourne rate of exchange in die countries tiiey occupied. An OSS officer, for exam- 2 National Gallery bought Rembrandt's Self-Portrait for $98,900 in 1936) . ple, described die art market in France: "German buyers came to Paris in During die 1930s, works from die Renaissance and diose by exceptional hundreds. There was notiiing to hold them back. Armed with tiieir paper artists such as Vermeer (who produced fewer than forty known works) gar- money, die Reichskassenscheine (invasion marks), which cost tiieir country nered die highest prices. The Hermitage Museum sold Raphael's Alba nothing, they had a twenty-to-one advantage over die franc and die reas- Madonna for $1,104 million and Botticelli's Adoration for $795,800 in the suring knowledge that no matter what tiiey paid in France, they could usu- 3 mid-i93os in order for Stalin to generate foreign currency. In 1939 Hider ally make a 100 percent profit at home."12 In short, the art market flour- bought Vermeer's An Artist in His Studio (die Czernin Vermeer) at die ished in western Europe tiiroughout most of World War II, as the economic highly favorable price of RM 1.65 million ($640,000); four years earlier situation compelled the Germans to buy immoderately. American collector Andrew Mellon had reportedly offered a million dol- lars for die painting but was blocked by die Austrian government citing na- 4 EILAGE. tional export laws. The prices of modern art decreased in die 1930s, in part ADOLF HITLER due to die depression and in part from die Nazis' propaganda campaign vorgelegt durch WOLF THEISS and dieir selling such works from die German state collections. Figures for Hitler's favorite art was the Austro-Bavarian genre painting stemming Matisse, for example, show a discernible drop in price, witii, for example, predominantly from the nineteenth century.13 It was this art, specifically The Red Atelier selling for $3,680 in London in 1927 and Village Stream bring- the work of Carl Spitzweg and Eduard Griitzner, that Hitler first collected. ing $1,256 in 1937. Granted, diese works, as witii otiiers compared here, var- 5 Aesthetically conservative, the Fuhrer expanded his holdings during the ied in quality, but diey serve to illustrate die trend. The market for die art Third Reich so as to include old masters and a limited quantity of contem- of Picasso and Braque as well as Monet and a number of die Impressionists 6 porary "Nazi art." Using both personal and governmental funds and em- was also relatively poor. powering his agents to select pieces from the war booty, Hitler amassed art German old masters, like most otiier traditional art, rose in price in the at the most rapid pace in history.14 A May 1945 inventory of the Sonder- mid- to late 1930s. Works by Hans Memling, die fifteendi-century master, auftrag Linz repositories compiled by the MFA and A officers listed 6,755 sold for impressive sums, such as $29,900 for Holy Family in 1938 and $78,798 paintings, of which 5,350 were identified as old masters.15 Subsequent esti- 7 for die larger and more significant triptych Descent from the Cross in 1939. mates of die size of die collection have been more modest. Certain scholars Nineteenth-century German art also increased in price witiiin Germany. now place the number of paintings earmarked for Linz at 4,800 to 5,ooo.16 Hider's love for tins art arguably contributed to die trend, witii prices for Still, the Fuhrermuseum, which would have featured massive galleries, works by Carl Spitzweg (one of his favorite painters) increasing approxi- could have exhibited roughly four times more works than the Louvre at 8 mately 500 percent from 1938 to I944- This figure is slightiy artificial, as the that time.17 sums fetched by all artworks rose considerably during the war. This oc- Hitler, like the other top Nazi leaders, blurred die distinction between curred in the markets throughout western Europe. In die Netiierlands and official and private property. Hitler allocated enormous sums of govern- France inflation of 100 to 200 percent was not uncommon between 1940 mental resources to build his collection and claimed in his personal will and 1943. The buying and selling frenzy in Paris was so great tiiat one of die tiiat he had collected on behalf of the state.18 Yet he so identified with die leaders of the resistance, Jean Moulin, concealed himself in die capital by state and so often treated the artworks assembled as part of the Linz Project 9 masquerading as an art dealer. The Hotel Drouot and otiier Parisian es- as his own (placing pictures such as Watteau's Landscape with Figures and 10 tablishments had several record years during die occupation. The market Vermeer's An Artist in His Studio in his home at the Berghof), that it is justi- in Germany proved even more uncontrollable. The reports of die SD fiable to use die term "Hider's art collection."19 Heinrich Hoffmann testi- chronicled this inflation, as people sought safe investments in durable fied after die war diat "after [die late 1930s] Hider gave up all ideas of a pri- 11 goods. As previously discussed, the Nazi leaders contemplated regulating vate collection."20 The manner in which Hider shuffled the artworks to his various headquarters and residences affirmed his pei ial control of these and mak of postcards. Even after die war, he enjoyed the artistic ambi- objects.21 ence of die Schwabing district. Hoffmann, his confidant in artistic matters, Though Hitler had long been interested in art-his twice unsuccessful based his photographic business in Munich. In postwar interviews Hoff- application to the Viennese Akademie der Bildenden Kunste in 1907-8 is mann described accompanying Hider to die Fuhrerbau to meet witii deal- an oft-told story-financial limitations prevented him from buying art until ers and select paintings.29 A large building belonging to die Nazi Party, die the late 1920s.32 Contemporaries have reported that the first noteworthy Fuhrerbau was located on die ArcisstraBe in the center of die city and of- work Hitler purchased was a painting by Spitzweg. The title of the piece is fered storage facilities diat were used to house artworks until May 1945.30 never specified, but the work appeared in the ground floor of Hitler's Munich also proved a suitable place to center collecting activities because it PrinzregentenstraBe apartment in Munich in 1929.23 Heinrich Hoffmann, had a diriving art market. There were not only a score of dealers eager to who acted as an unofficial art adviser prior to the war, claimed, however, do business but a number of important auction houses, including Adolf that the first purchase by Hitler of which he was aware was a sketch by Weinmuller (Odeonsplatz), Julius Bohler (BriennerstraBe), the Briich- Arnold Bocklin, the nineteenth-century Romantic artist whose work had willer brodiers (Lenbachplatz), and Karl und Faber (BriennerstraBe), as mystical overtones.24 Hoffmann played an important role in Hitler's early well as die Munchener Kunsthandelgesellschaft (Lenbachplatz) .31 Prior to collecting activities, that is, in the pre-Linz Project period when Hitler die war Hider typically visited Munich every few weeks, and he rarely made a sharper distinction between personal and state holdings. The two passed up die opportunity to visit die dealers to inspect their offerings.32 men shared a love for the Austro-Bavarian genre paintings. As they each Later he became accustomed to making decisions based on photographs. had large sums of money at their disposal—Hoffmann's coming mainly Heinrich Hoffmann estimated diat Hitier ultimately inspected in person from his monopoly on photographs of Hitler and postcard sales at the only one-diird of die works destined for Linz.33 Haus der Deutschen Kunst—they would receive the myriad dealers and in- Hider also purchased a remarkable quantity of Nazi art—diat is, art pro- spect the seemingly unending offerings. duced under his regime. He acquired Nazi art bodi from museums and die Hider's purchases alone supported a number of German art dealers; es- artists titiemselves. As an example of die former, his patronage of die an- pecially the Munich clique diat included Maria Alma Dietrich, an amateur- nual GDi£from 1937 to 1944 in die Haus der Deutschen Kunst deserves em- ish vender who nonetheless sold more paintings to Hitler than anyone phasis. Hider would typically purchase 200 to 300 pieces from die GDK (out else.25 Karl Haberstock, who directed over a hundred works to Hitler and of 880 to 1,400 works exhibited). He would also usually make more tiian the Linz agents, was preeminent among the Berliners.26 A host of lesser one buying foray per show. Nineteen diirty-eight is a representative year as figures-diere are at least forty-eight dealers who are mentioned in die ex- Hider made five trips to die Haus der Deutschen Kunst, buying 202 pieces tant records concerning the Fuhrermuseum-sustained their businesses by and spending a total of RM 582,i85.34 While solicitations from artists also turning to the Fuhrer.
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