Spoils of War
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Partial List of Institutional Clients
Lord Cultural Resources has completed over 2500 museum planning projects in 57+ countries on 6 continents. North America Austria Turkey Israel Canada Belgium Ukraine Japan Mexico Czech Republic United Kingdom Jordan USA Estonia Korea Africa France Kuwait Egypt Central America Germany Lebanon Morocco Belize Hungary Malaysia Namibia Costa Rica Iceland Philippines Nigeria Guatemala Ireland Qatar South Africa Italy Saudi Arabia The Caribbean Tunisia Aruba Latvia Singapore Bermuda Liechtenstein Asia Taiwan Trinidad & Tobago Luxembourg Azerbaijan Thailand Poland Bahrain United Arab Emirates South America Russia Bangladesh Oceania Brazil Spain Brunei Australia Sweden China Europe New Zealand Andorra Switzerland India CLIENT LIST Delta Museum and Archives, Ladner North America The Haisla Nation, Kitamaat Village Council Kamloops Art Gallery Canada Kitimat Centennial Museum Association Maritime Museum of British Columbia, Victoria Alberta Museum at Campbell River Alberta Culture and Multiculturalism Museum of Northern British Columbia, Alberta College of Art and Design (ACAD), Calgary Prince Rupert Alberta Tourism Nanaimo Centennial Museum and Archives Alberta Foundation for the Arts North Vancouver Museum Art Gallery of Alberta, Edmonton Port Alberni Valley Museum Barr Colony Heritage Cultural Centre, Lloydminster Prince George Art Gallery Boreal Centre for Bird Conservation, Slave Lake National Historic Site, Port Alberni Canada West Military Museums, Calgary R.B. McLean Lumber Co. Canadian Pacific Railway, Calgary Richmond Olympic Experience -
On the Threshold of the Holocaust: Anti-Jewish Riots and Pogroms In
Geschichte - Erinnerung – Politik 11 11 Geschichte - Erinnerung – Politik 11 Tomasz Szarota Tomasz Szarota Tomasz Szarota Szarota Tomasz On the Threshold of the Holocaust In the early months of the German occu- volume describes various characters On the Threshold pation during WWII, many of Europe’s and their stories, revealing some striking major cities witnessed anti-Jewish riots, similarities and telling differences, while anti-Semitic incidents, and even pogroms raising tantalising questions. of the Holocaust carried out by the local population. Who took part in these excesses, and what was their attitude towards the Germans? The Author Anti-Jewish Riots and Pogroms Were they guided or spontaneous? What Tomasz Szarota is Professor at the Insti- part did the Germans play in these events tute of History of the Polish Academy in Occupied Europe and how did they manipulate them for of Sciences and serves on the Advisory their own benefit? Delving into the source Board of the Museum of the Second Warsaw – Paris – The Hague – material for Warsaw, Paris, The Hague, World War in Gda´nsk. His special interest Amsterdam, Antwerp, and Kaunas, this comprises WWII, Nazi-occupied Poland, Amsterdam – Antwerp – Kaunas study is the first to take a comparative the resistance movement, and life in look at these questions. Looking closely Warsaw and other European cities under at events many would like to forget, the the German occupation. On the the Threshold of Holocaust ISBN 978-3-631-64048-7 GEP 11_264048_Szarota_AK_A5HC PLE edition new.indd 1 31.08.15 10:52 Geschichte - Erinnerung – Politik 11 11 Geschichte - Erinnerung – Politik 11 Tomasz Szarota Tomasz Szarota Tomasz Szarota Szarota Tomasz On the Threshold of the Holocaust In the early months of the German occu- volume describes various characters On the Threshold pation during WWII, many of Europe’s and their stories, revealing some striking major cities witnessed anti-Jewish riots, similarities and telling differences, while anti-Semitic incidents, and even pogroms raising tantalising questions. -
Dritten Reich" – Am Beispiel Des Musikwissenschaftlers Erich Schenk“
DIPLOMARBEIT Titel der Diplomarbeit „Musikgeschichte im "Dritten Reich" – am Beispiel des Musikwissenschaftlers Erich Schenk“ Verfasserin Anna Maria Pammer angestrebter akademischer Grad Magistra der Philosophie (Mag. Phil.) Wien, 2013 Studienkennzahl lt. Studienblatt: A 312 Studienrichtung lt. Studienblatt: Diplomstudium Geschichte Betreuerin / Betreuer: Univ.-Prof. Dr. Friedrich Stadler INHALTSVERZEICHNIS 1. Einleitung 5 2. Erich Schenk zwischen Wissenschaft und Politik 13 2.1. Erich Schenk posthum 13 2.2. Erich Schenks Karriere als Musikwissenschaftler 14 EXKURS I: Adolf Sandberger oder Guido Adler? 25 I.1. Adolf Sandberger 25 I.2. Guido Adler 28 I.3. Adolf Sandberger versus Guido Adler 30 EXKURS II: Erich Schenks Vorgänger Robert Lach 33 2.3. Methodische Entwicklungslinien in der Wiener Musikwissen-schaft 36 2.4. Erich Schenks Welt- und Geschichtsbild 42 2.5. Erich Schenks Gutachter, Berater, Studienkollegen und Förderer 44 2.5.1. Gutachter in Erich Schenks Habilitationsverfahren 44 2.5.1.1. Johannes Wolf 44 2.5.1.2. Oskar Kaul 45 2.5.1.3. Bernhard Paumgartner 45 2.5.2. Beurteilungen betreffend eine außerordentliche Professur 47 2.5.2.1. Karl Gustav Fellerer 47 2.5.2.2. Georg Schünemann 49 2.5.2.3. Fritz Stein 50 2.5.3. Heinrich Besseler 50 2.5.4. Studienkollegen von Schenk in München 52 2.5.4.1. Karel Philippus Bernet Kempers 52 2.5.4.2. Guglielmo Barblan 53 2.5.4.3. Hans Engel 53 2.5.4.4. Josef Smits van Waesberghe S.J. 54 2.5.5. Ludwig Schiedermair 55 2.5.6. Schenks Wiener Berufungen 56 2.5.6.1. -
The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Fall 1-5-2021 The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020 Denali Elizabeth Kemper CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/661 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020 By Denali Elizabeth Kemper Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History, Hunter College The City University of New York 2020 Thesis sponsor: January 5, 2021____ Emily Braun_________________________ Date Signature January 5, 2021____ Joachim Pissarro______________________ Date Signature Table of Contents Acronyms i List of Illustrations ii Introduction 1 Chapter 1: Points of Reckoning 14 Chapter 2: The Generational Shift 41 Chapter 3: The Return of the Repressed 63 Chapter 4: The Power of Nazi Images 74 Bibliography 93 Illustrations 101 i Acronyms CCP = Central Collecting Points FRG = Federal Republic of Germany, West Germany GDK = Grosse Deutsche Kunstaustellung (Great German Art Exhibitions) GDR = German Democratic Republic, East Germany HDK = Haus der Deutschen Kunst (House of German Art) MFAA = Monuments, Fine Arts, and Archives Program NSDAP = Nationalsozialistische Deutsche Arbeiterpartei (National Socialist German Worker’s or Nazi Party) SS = Schutzstaffel, a former paramilitary organization in Nazi Germany ii List of Illustrations Figure 1: Anonymous photographer. -
Guides to German Records Microfilmed at Alexandria, Va
GUIDES TO GERMAN RECORDS MICROFILMED AT ALEXANDRIA, VA. No. 32. Records of the Reich Leader of the SS and Chief of the German Police (Part I) The National Archives National Archives and Records Service General Services Administration Washington: 1961 This finding aid has been prepared by the National Archives as part of its program of facilitating the use of records in its custody. The microfilm described in this guide may be consulted at the National Archives, where it is identified as RG 242, Microfilm Publication T175. To order microfilm, write to the Publications Sales Branch (NEPS), National Archives and Records Service (GSA), Washington, DC 20408. Some of the papers reproduced on the microfilm referred to in this and other guides of the same series may have been of private origin. The fact of their seizure is not believed to divest their original owners of any literary property rights in them. Anyone, therefore, who publishes them in whole or in part without permission of their authors may be held liable for infringement of such literary property rights. Library of Congress Catalog Card No. 58-9982 AMERICA! HISTORICAL ASSOCIATION COMMITTEE fOR THE STUDY OP WAR DOCUMENTS GUIDES TO GERMAN RECOBDS MICROFILMED AT ALEXAM)RIA, VA. No* 32» Records of the Reich Leader of the SS aad Chief of the German Police (HeiehsMhrer SS und Chef der Deutschen Polizei) 1) THE AMERICAN HISTORICAL ASSOCIATION (AHA) COMMITTEE FOR THE STUDY OF WAE DOCUMENTS GUIDES TO GERMAN RECORDS MICROFILMED AT ALEXANDRIA, VA* This is part of a series of Guides prepared -
Mapping the Limits of Repatriable Cultural Heritage: a Case Study of Stolen Flemish Art in French Museums
_________________ COMMENT _________________ MAPPING THE LIMITS OF REPATRIABLE CULTURAL HERITAGE: A CASE STUDY OF STOLEN FLEMISH ART IN FRENCH MUSEUMS † PAIGE S. GOODWIN INTRODUCTION......................................................................................674 I. THE NAPOLEONIC REVOLUTION AND THE CREATION OF FRANCE’S MUSEUMS ................................................676 A. Napoleon and the Confiscation of Art at Home and Abroad.....677 B. The Second Treaty of Paris ....................................................679 II. DEVELOPMENT OF THE LAW OF RESTITUTION ...............................682 A. Looting and War: From Prize Law to Nationalism and Cultural-Property Internationalism .................................682 B. Methods of Restitution Today: Comparative Examples............685 1. The Elgin Marbles and the Problem of Cultural-Property Internationalism........................687 2. The Italy-Met Accord as a Restitution Blueprint ...689 III. RESTITUTION OF FLEMISH ART AND POSSIBLE SOLUTIONS IN PUBLIC AND PRIVATE LAW .........................................................692 A. Why Should France Return Flemish Art Now?.........................692 1. Nationalism .............................................................692 2. Morality and Legality ..............................................693 3. Universalism............................................................694 † J.D. Candidate, 2009, University of Pennsylvania Law School; A.B., 2006, Duke Uni- versity. Many thanks to Professors Hans J. Van Miegroet -
Interdisciplinary, and Some Resources for History, Philosophy, Religion, and Literature Are Also Included in the Guide. Images A
Bard Graduate Center Research Guide: Ancient and Medieval China (to c. 1000 C.E.) This guide lists resources for researching the arts and material culture of ancient and medieval imperial China, to c. 1000 C.E. This time period begins with the neolithic and bronze ages (c. 4000 - 200 B.C.E.) and continues through the end of the Five Dynasties period (960 C.E.), including the Xia, Shang, Zhou, Han, and T'ang dynasties. Although art history and material archaeology resources are emphasized, research on this topic is very interdisciplinary, and some resources for history, philosophy, religion, and literature are also included in the guide. This guide was compiled by Karyn Hinkle at the Bard Graduate Center Library. Images above, left to right: a gold cup from the Warring States period, jade deer from the Zhou dynasty, a bronze wine vessel from the Shang dynasty, all described in Patricia Buckley Ebrey's Visual Sourcebook of Chinese Civilization. Reference sources for ancient and medieval China Ebrey, Patricia Buckley, and Kwang-Ching Liu. The Cambridge Illustrated History of China. Cambridge: Cambridge University Press, 1996. DS 706 .E37 1996 Loewe, Michael and Edward L. Shaughnessy. The Cambridge History of Ancient China: From the Origins of Civilization to 221 BC. Cambridge: Cambridge University Press, 1999. DS 741.5 .C35 1999; also available online through Bard College Nadeau, Randall Laird, ed. The Wiley-Blackwell Companion to Chinese Religions. Wiley-Blackwell Companions to Religion. Chichester, UK: Wiley-Blackwell, 2012. Available online through Bard College Gold Monster Shaanxi Museum The Han Dynasty Length:11 cm Height:11.5 cm Unearthed in 1957 from Gaotucun,Shenmu County,Shaanxi Province Important books on ancient and medieval China, and good general introductions to Chinese history and art Boyd, Andrew. -
The Stolen Museum: Have United States Art Museums Become Inadvertent Fences for Stolen Art Works Looted by the Nazis in World War Ii?
Cleveland State University EngagedScholarship@CSU Law Faculty Articles and Essays Faculty Scholarship 1999 The tS olen Museum: Have United States Art Museums Become Inadvertent Fences for Stolen Art Works Looted by the Nazis in Word War II? Barbara Tyler Cleveland State University, [email protected] How does access to this work benefit oy u? Let us know! Publisher's Statement Copyright permission granted by the Rutgers University Law Journal. Follow this and additional works at: https://engagedscholarship.csuohio.edu/fac_articles Part of the Fine Arts Commons, and the Property Law and Real Estate Commons Original Citation Barbara Tyler, The tS olen Museum: Have United States Art Museums Become Inadvertent Fences for Stolen Art Works Looted by the Nazis in Word War II? 30 Rutgers Law Journal 441 (1999) This Article is brought to you for free and open access by the Faculty Scholarship at EngagedScholarship@CSU. It has been accepted for inclusion in Law Faculty Articles and Essays by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. +(,121/,1( Citation: 30 Rutgers L.J. 441 1998-1999 Content downloaded/printed from HeinOnline (http://heinonline.org) Mon May 21 10:04:33 2012 -- Your use of this HeinOnline PDF indicates your acceptance of HeinOnline's Terms and Conditions of the license agreement available at http://heinonline.org/HOL/License -- The search text of this PDF is generated from uncorrected OCR text. -- To obtain permission to use this article beyond the scope of your HeinOnline license, please use: https://www.copyright.com/ccc/basicSearch.do? &operation=go&searchType=0 &lastSearch=simple&all=on&titleOrStdNo=0277-318X THE STOLEN MUSEUM: HAVE UNITED STATES ART MUSEUMS BECOME INADVERTENT FENCES FOR STOLEN ART WORKS LOOTED BY THE NAZIS IN WORLD WAR II? BarbaraJ. -
Instrumentalising the Past: the Germanic Myth in National Socialist Context
RJHI 1 (1) 2014 Instrumentalising the Past: The Germanic Myth in National Socialist Context Irina-Maria Manea * Abstract : In the search for an explanatory model for the present or even more, for a fundament for national identity, many old traditions were rediscovered and reutilized according to contemporary desires. In the case of Germany, a forever politically fragmented space, justifying unity was all the more important, especially beginning with the 19 th century when it had a real chance to establish itself as a state. Then, beyond nationalism and romanticism, at the dawn of the Third Reich, the myth of a unified, powerful, pure people with a tradition dating since time immemorial became almost a rule in an ideology that attempted to go back to the past and select those elements which could have ensured a historical basis for the regime. In this study, we will attempt to focus on two important aspects of this type of instrumentalisation. The focus of the discussion is mainly Tacitus’ Germania, a work which has been forever invoked in all sorts of contexts as a means to discover the ancient Germans and create a link to the modern ones, but in the same time the main beliefs in the realm of history and archaeology are underlined, so as to catch a better glimpse of how the regime has been instrumentalising and overinterpreting highly controversial facts. Keywords : Tacitus, Germania, myth, National Socialism, Germany, Kossinna, cultural-historical archaeology, ideology, totalitarianism, falsifying history During the twentieth century, Tacitus’ famous work Germania was massively instrumentalised by the Nazi regime, in order to strengthen nationalism and help Germany gain an aura of eternal glory. -
The Deceptive Art Deal of Van Beuningen
The deceptive art deal of Van Beuningen Koenigs Collection Wednesday begins the lawsuit by the heirs Koenigs at Museum Boijmans A case that shows the less attractive side of patron Van Beuningen. • Arjen Ribbens October 18, 2016 at 16:55 A great art collection often occurs at the expense of previous collectors. This is showed once again by the documents of the lawsuit that was filed Wednesday in Rotterdam against Museum Boijmans Van Beuningen. Six heirs of businessman Franz Koenigs demand the return of hundreds of Old Master drawings, which are given to the museum on loan in 1935. This loan was part of a previous, much larger loan which was partly donated to the museum? That is the question at the present proceedings. The history of the great loan - 46 paintings and 2,000 drawings - is worth telling. She makes clear to which behaviour an obsessive collector is capable of. The protagonist in this story is Daniel George van Beuningen (1877-1955), director of the Coal Trading Association (SHV) and one of the Rotterdam harbour barons who before the war ruled the city and its workers. It starts in April 1940 In April 1940, when the Nazis set Europe ablaze, Van Beuningen does an art purchase that will be central to the next trial. The Jewish owners of the Amsterdam banking Lisser and Rosenkranz want to flee to the United States. In all haste they try to liquidate their bank. Part of their property is the loaned art collection of Franz Koenigs to Museum Boijmans, which the businessman pawned to the bank after the stock market crash. -
Conference on Jewish Material Claims Against Germany
CONFERENCE ON JEWISH MATERIAL CLAIMS AGAINST GERMANY The Conference on Jewish Material Claims Against Germany (Claims Conference) is pleased to participate in the International Research Portal for Records Related to Nazi-Era Cultural Property. Founded in 1951 by 23 major international Jewish organizations, the Claims Conference is the principal negotiator for compensation and restitution for survivors of the Holocaust and heirs of victims. The partner of the State of Israel in founding Yad Vashem, the Claims Conference is the principal supporter of Holocaust-related archives and archival projects generally in the United States and many other countries, and it strives to encourage cooperation among archival institutions in the interests of providing both a measure of justice to victims and their heirs and of furthering Holocaust research, education and documentation. The Claims Conference and the World Jewish Restitution Organization (WJRO) conduct a comprehensive program toward the restitution of Jewish-owned art and cultural property lost and plundered during the Holocaust (see http://www.claimscon.org/art). Regarding archival provenance research, this program aims to reconstruct the historical-archival record so as to: 1. Develop listings of items plundered by the Nazis and their allies 2. Assemble listings of cultural property known to have been restituted; and thereby 3. Produce net listings of outstanding items of cultural property that have yet to be returned. The projects under this initiative form a major part of the records and information being offered through the International Research Portal by a number of participating countries and institutions. In particular, the Claims Conference has made available the following set of interlocking projects regarding the scattered records of the Einsatzstab Reichsleiter Rosenberg (ERR), the largest of the Nazi agencies engaged in the plunder of art, libraries, archives, and Judaica: 1. -
Geheime Feldpolizei from Wikipedia, the Free Encyclopedia
Create account Log in Article Talk Read Edit View history Geheime Feldpolizei From Wikipedia, the free encyclopedia Not to be confused with the Feldgendarmerie, the ordinary military police. Navigation The Geheime Feldpolizei (help·info) (Secret Field Police) or GFP, was the secret Main page Geheime Feldpolizei military police of the German Wehrmacht until the end of the Second World War. Contents Active 1939 - 1945 These units were used to carry out plain-clothed security work in the field such as Featured content Country counter-espionage, counter sabotage, detection of treasonable activities, counter- Nazi Germany Current events propaganda and to provide assistance to the German Army in courts-martial Branch Heer Random article investigations. GFP personnel, who were also classed as Abwehrpolizei, operated as Type Military Police Donate to Wikipedia an executive branch of German military intelligence detecting resistance activity in Role Security, counterinsurgency and Germany and occupied France. counter-espionage Interaction Nickname Gestapo der Wehrmacht The need for a secret military police developed after the annexations of the Disbanded 8 May 1945 Help Sudetenland in 1938 and Czechoslovakia in 1939. Although security einsatzgruppen (or About Wikipedia security task forces) belonging to the Nazi Security Services had been used during Commanders Community portal these operations, the German High Command felt it needed a specialist intelligence Heerespolizeichef SS and Police Leader William Recent changes agency with police functions that could operate with the military but act like a security Krichbaum Contact page service to arrest potential opponents and eliminate any resistance. After studying data collected in Spain, Austria and Czechoslovakia, Generaloberst Wilhelm Keitel, commander in chief of the OKW, issued the "Dienstvorschrift für die Geheime Feldpolizei" (Regulations for the secret police).