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Salvage to Restitution: „Heirless‟ Jewish Cultural Property in Post-World War II

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Salvage to Restitution: „Heirless‟ Jewish Cultural Property in Post-World War II Salvage to Restitution: „Heirless‟ Jewish Cultural Property in Post-World War II Shir Kochavi Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds, School of Fine Art, History of Art and Cultural Studies May, 2017 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. ©2017 The University of Leeds and Shir Kochavi The right of Shir Kochavi to be identified as Author of this work has been asserted by Shir Kochavi in accordance with the Copyright, Designs and Patents Act 1988. Table of Content Acknowledgements…………………………………………………………………………....5 Abstract………………………………………………………………………………………..7 List of Abbreviations…………………………………………………………………………..8 Introduction …………………………………………………………………………………...9 Chapter 1: Mordecai Narkiss and the Bezalel Museum……………………………………...34 - Bezalel Before Narkiss 1906-1920…………………………………………………...37 - The Bezalel Museum Collection…………………………………………………..…44 - Bezalel and Narkiss 1920-1932………………………………………………………53 - Bezalel After Schatz 1932-1942……………………………………………………...67 - Finding A Jewish Art………………………………………………………………...76 - The Schatz Fund for the Salvage of Jewish Art Remnants…………………………..82 Chapter 2: Point of Collecting………………………………………………………………104 - The CCPs and the Question of the Rightful Heirs………………………………….109 - Cultural Property for Disposition.…………………………………………………..120 - „Heirless‟ “General” Art……………………………………………………………134 - A Call to Continue the Salvage……………………………………………………..143 Chapter 3: The Jewish Museum as Recipient of the „Heirless‟ Jewish Cultural Property….159 - Development of the Jewish Museum……………………………………………….165 - Planning a New Jewish Museum.…………………………………………….…….175 - Working with the JCR………………………………………………………………187 - A Controversial Disposition………………………………………………………...191 - Harry G. Friedman and the Salvage of Jewish Culture……………………………..213 Conclusion………………………………………………………………………………..…228 Appendices: - I: Memorandum: On the question of the salvage of art remnants their recovery and removal to Israel …...……………………………………………………….………237 - II: Memorandum: On the Salvage of Jewish art remnants removed from Jews in Germany and transferred to Israel…………………………………………………..244 - III: The National Museum “Bezalel” in Jerusalem by M. Narkiss………………....248 - IV: Photographs…………………………………………………………………......260 - V: List of sales conducted by H. F. Odell: 1950-1951…..………………………….262 Bibliography ………………………………………………………………………………..271 Acknowledgments This work would not have been possible without the support of many people, some who were close to me before and some who I have met during the process of research and writing of this thesis. Firstly, I would like to express my sincere gratitude to my supervisors Dr. Mark Westgarth and Dr. Eva Frojmovic for their support, patience and immense knowledge. Not only were they willing to listen and discuss all of my thoughts and ideas but also to go over difficulties and challenges I encountered. I could not imagine having a better team of supervisors to inspire me for my PhD study. This research was possible due to the help and motivation of my dear friend Aliza Cohen Mushlin, and the family of the late Mordecai Narkiss: Doron, Irit, Dvora, Yael and Yudit. I am grateful to those with whom I have had the pleasure to work with during this research, who were willing to offer their time and share their expertise with me. These include Kiril Demidov and the library staff at the Central Zionist Archives, and at the Central Archives for the History of the Jewish People in Jerusalem. The staff at the American Jewish University Library, Los Angeles, Chaim and Naomi Steinberger and Sarah Diamant of the Jewish Theological Seminary of America, the Jewish Museum in New York curator Susan Braunstein and curator and writer Grace Cohen Grossman. I would also like to thank my colleagues and friends at the Company for Location and Restitution of Holocaust Victims Assets and the Israel Museum, Jerusalem. Working with them inspired the development of this research. Finally, I would like to thank my fellow PhD‟s and my friends for accepting my constant lack of time and availability and for their assistance at times, especially Caroline Sydney and Nadin Epstein. My husband, who has been a continuous motivator and my parents, who took the time to search and review books and articles, my brother and grandparents who have practically become experts in their efforts to support me in this pursuit. Last, but not least, this research is dedicated to my relatives, the late Zeev Factor and to his wife Ester. Throughout his life, Zeev has been carrying the torch of the memory of the Holocaust. He has been a constant source of strength and curiosity and I am certain that he would have loved to be here with me today. I am grateful to his wife Ester for continuing his legacy in her own way and for being a firm believer in the good of humanity after all that she has been through. Abstract Despite the extensive research over the past twenty years on Holocaust related restitution, little is known about the disposal process of „heirless‟ Jewish cultural property at Central Collecting Points (CCPs) in Germany. This thesis follows the involvement of two institutions in this process: the Bezalel Museum in Jerusalem and the Jewish Museum in New York. In the early 1950s, both museums were used as repositories for a large number of the items shipped from Germany by the staff of the Jewish Cultural Reconstruction (JCR) that was responsible for the allocation of „heirless‟ Jewish property. By analyzing primary sources from the personal archive of the first director of the Bezalel Museum, Mordecai Narkiss, I will demonstrate the conflicting viewpoints of Narkiss and the JCR personnel that led to the eventual sale of a portion of the objects. After the traumatic events of the Holocaust strengthened the Zionist concept identifying Israel as the only place for the Jewish people, Narkiss went to Europe to find and ship to Israel remaining Jewish cultural objects. This was one aspect of a larger salvage project that several cultural organizations in Israel and in the USA promoted at the time. Narkiss‟s unique approach called for the incorporation of all items made or owned by Jews into the category of Jewish art. The foundations for this all-inclusive view are explored through the development of the idea of Kinnus, or ingathering, of cultural artefacts of a people, which stressed the importance of Jewish cultural heritage and shifted in the post-Holocaust years to salvage and later to restitution. Relying on the post-war interpretation of these three leading concepts, Kinnus, salvage and restitution demonstrate the influence of the Holocaust on the formation of the collections of both museums. List of Abbreviations CAHJP - Central Archive for the History of the Jewish People CCP - Central Collecting Point CZA - Central Zionist Archives IRO - International Refugee Organization JCR - Jewish Cultural Reconstruction JDC – American Joint Distribution Committee JRSO - Jewish Restitution Successor Organization JTA – Jewish Telegraphic Agency JTC - Jewish Trust Corporation JTS - Jewish Theological Seminary of America LEI - Eretz Israel Lira, during the British Mandate it was called in English: Palestine Pound MoMA – Museum of Modern Art NARA - National Archives and Records Administration OAD – Offenbach Archival Depot OMGUS – Occupying Military Government of the United States YIVO - the Institute for Jewish research 9 Introduction In the spring of 1945, the occupying Allied Forces searched for caches of hidden cultural property taken by Nazi personnel from museums, private collections, and households across Germany and Austria.1 As war ended, Germany and Austria were divided into four military government zones, the American, the British, the French, and the Soviet. Out of the four zones of occupation the American one was the first to issue a restitution law and it was later adopted at the British and French zones.2 Since the majority of efforts to return the cultural property began in the American zone, I chose that area as my focus. The Allied Forces‟ search for cultural property known to have been removed from private individuals and communities during the war led to the discovery of an unprecedented number of objects.3 The items brought together were kept in temporary depots, called Central Collecting Points (CCPs), in proximity to where they were found. The American CCPs were set up in four locations across Germany. The first CCP was established in Marburg in May 1945 at the Marburg University Museum of Fine Art.4 The second CCP was opened in the Wiesbaden Art Museum. In 1946, the objects from Marburg were moved to Wiesbaden, where Jewish ritual objects were identified and sorted. The third 1 Written materials about the Central Collecting Points (CCPs): Lynn Nicholas, The Rape of Europa: the fate of Europe's Treasures in the Third Reich and the Second World War (New York: Vintage Books, 1995); Craig Hugh Smyth, Repatriation of Art from the Collecting Point in Munich after World War II: Background and Beginnings with reference especially to the Netherlands (Maarssen, The Hague: Gary Schwartz, SDU Publishers, 1988); Robert Edsel, Rescuing Da- Vinci: Hitler and the Nazis Stole Europe‟s Great Art – America and Her Allies Recovered
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