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SDU Publishers / The Netherlands Office for Fine Arts SDU Uitgeverti / Rlrlsdtenst B€eldeíd€ Kunst This catalogue of the missing old master drawings from the FEnz Koenigs collection seryes a number of puÍposes. In the filst place it should be seen as an intrduclion to an exceptionally fine and vaned collection of 526 old master drawings which was illegally removed from The Netherlands duÍing the Second wodd war. It not only confirms lhe longstanding claim by the State of The Netherlands upon these drawings but also pÍoclaims the State's intention to pursue lhat claim with determination. The amply illustrated and easily accessible catalogue is meaot to be an instrument for the locating and identification oí the missing diawiogs, only 35 of which have been rccovered so far 'we invite any person who has been or will be confronted with a drawing included in this catalogue, or who has any knowledge about the pÍesent wheÍeabouts of suc:h drawings, to contact the RoFl Netherlands Embassy in his or heÍ country or The Netherlands office for Fine Arts (Rijksdienst Beeldende Kuost) h The Hague. with 30 illusÍÉIiotr in colour and 352 in black-ànd-whire rsBN 90-12-0601ó€

SDU Publishers / The Netherlànds office for Fine Áns, The ía8ue SDU UreewÍtt / Rtilcdtení A€€ld€nd. Kurut, D€n H.la Missing Old Master Drawings

from the Franz Koenigs Collection

claimed bv the State of The Netherlands

Albert J. Elen

with the assisance oÍ lacob Voonhuis

SDU Publishers The Netherlands Office for Fine Ans, The Hague 1989 SDU Uitsa.rii Riilsdi@t Beldcnd. Ku t, Dcn Hààs Preface

The Netherlands ofÍice for Fine Árts (Rijksdienst Beeldende Kunst), under the aegis ofthe Ministry o{ Culture, wishes to publicize the renewed efforts to recover that part ofthe renovned Koenigs collection oÍ old m:srcr drawings which, during the German occupation ofThe Netherlands in \íorld \íar II, was sold by a Dutch private collector to Dr. Hans Posse, the director of the Staadiche Gemàldesammlung D.esden. and r reprerentarive or Adolt H rlen From 1919 until his death on 7 December 1942, Posse was charged by Hitlerwith the Sozderauftrag Linz: the'collecting' of works of an in occupied countries for the planned but never realized Fi.ihrer-Museum in Linz. According to the interallied declaration of s January 1943, rhe so called Joint Declararion', as well as on the basis of decrees issued in 1940 ind 1942 by rhe Durch covernmenr in exile and furrh€r posr war legislation, the sale ofthe Koenigs drawings to the Nazis was illegal. The 526 selecred drawings wcre removcd Írom Museum Boymans in Rotterdam and transported to Dresden, where they were stored in the Kup{erstich-Kabinett. Since then their history is the same as that ofpart of the Dresden collections. At the end of World \íar II the Dresden museums, including the Kup{erstich-Kabinett were emptied ard their collections stored in various hiding places in the vicinity ofDresden. From there some works ofanwere stolen while left unattended and thousands were taken to safety to Kiev, Leningrad and Moscow by the occupying Soviet Forces, many o{them to be officially returned rc Dresden iÍ 1958. The 3l drawings from the Koenigs Collection that remained behind in 19a6 were Iong sequestered in the Dresden Kupferstich-Kabinen (32) and the Museum der bildenden Kiinste in Leipzig (l) until they were found and officially restituted to The Nerherlands by the government o{ the German Democratic Republic in January 1987. The otheÍ drawings, except for two which were reparriated in 1953 and in 1988, are still missing.

It is the intention of this catalogue to record and give world wide publicity to the Netherlands'4S-years-old claim to title and our determination to pursue that cliim in order to recover the 491 drawings still missing. Two years ago, in rhe autumn o{ 1987, the Dresden Printroom published a catalogue very similar to ours and with the sane ptrpose: Vermisste Zeichnungen de' KePferst;cb-Kabinettes Dresden. They too are still searching for their missing drawings (ca. 1ss0), whose sad history is so closeiy connected to that of ours. \íe sincerely wish them the sáme result $at we wish for ourselves, namely the locating and unconditional return o{ the missing works of art that have been illegally removed from our countries during and immediately a{ter \íorld \íar II and, after 44 y€ars, are srillkept care{ully hidden somewhere. Special mention should be madc ofJohn Rowlands' part in the recovery oÍ a drawing by Ambrosius Holbein (cat.no. 1e2) {rom London in 1988, as it was he who {irst brought this mising drawing to our attention when it suddenly appeared in London in the autumn of 1987. It is hoped that his fine example will be Íollowed by each person who comes across a rnissing drawing or happens to know of its whereabouts.

The questfor the missing Koenigs drawings is part oÍ a much larger project, which deals with the recovery of works ofart, owned by Dutch citizens or institutions, which were illegally acquired by the German occupying forces during \íorld Var II and subsequently removed from our country but which have not as yer be€n returned. From 1945 up until I May 1988 the Netherlands Ministry ofFinance had the responsibility {or the administration, identification ind restirution of looted securities and chattels. During the first fifteen years following rhe end o{ rhe war most cases, including several thousands of works o{ fine art, were successfully closed. Those cases that have remained outstanding:re for the greaterpan missing objects offine an. By Royal Decree 233 oÍ20 April 1988 rhe Mlnistry of Culture has been ofÍicially charged to dealwith all cases o{ art recovery that have remained unsolved. This rask is being carried out by rhe The Netherlands Office for Fine Arts, who manages all state-owned works of art, most of which are on loan to Dutch museums, government insritutions and embassies abroad. The author of rhis catalogue and the provisional handlist that served as a prospectus, ÁlbertJ. Elen, is the erecur" e ot rhe \erhcrland< rn recove ry project.

Robert de Haas Director, The Netherlands Office for Fine Arts (Rijksdienst Beeldende Kunst) F :

Table of contents

s Prefacê

9 Introduction

26 About the catálogue

28 Acknowledgements

29 Colour plates

54 Legenda

55 Catalogue

259 Bibliography

268 Indexes and concordances

268 - Index of anists

269 - Index of former and alternative attributions

269 - Index oÍ former owners and present ke€pers

272 - Index of subjects

276 - Index of special characteristics

277 Concordance I: Koenigs inventory and the Catalogue

279 - Concordance II: Provisional Handlist and the Catalogue I li.u7 Ko.rigs (1S31-l9+l) Introduction

Art collecting during the Interbellum German symbolist painter. After a very brie{ time in Cologne, where he was appointed director oÍ the It is ro the dedication and immense efforts oÍ that recently founded Delbrnck von der Heydt & Cie. great collector, self educared art historian and bank in 1921, Koenigs moved to The Netherlands in connoisseur Frits Lugt that we owe most ofour 1q22. uhcrc. in theprevious lear wirhhi.cou":r Lnon ledge abour an Lolle, rins o. er rhc pa.r fou r Rhodius, he had founded the RhodiusKoenigs centuries. Trained in the Àmsterdam att market and Handel-Maatschappi j, an international business and married to a woman of both character and fonune, banki-g a*ociarion in Amsterdam. ln Ie22 h.ocnig. I ugr France and acquired at auctions. Rumania. In 1e13 Kocnigs succeeded his unclc Felix Unlike Lugt, who had a large private library and ^ one ofthe directors of the Delbriick Schickler & documentation centre at his disposal and employed Cie. bank in Berlin and narried Anna Countess von several art historians, Koenigs had only a few Kalckreuth in the same year. His {ather-in law was handbooks. He primarily followed his own taste, Leopold Count von Kalckreuth, the well-known relying on signatures o{ the great mastets, marks o{ renowned collecbrs of the past and present, and 192s and 1930 he acquired from the Milanese Prince occasionally on expert opinions ofart d*lers and art Trivulzio an album conraining twenty drawings historiins. ln 1926 Koenigs had his house at the attributed to the 15th-century Florentine artist Florapark in Haarlem enlarged in order to Benozzo Gozzoli. Parr of the contents of a lare 17th accommodate his rapidly expanding collection. cenrury rlbum hom rhe Vo- Srv:gn1 Collecrior in Many o{his drawings were acquired on the art Berlin, containing drawings nainly by German rur[er. Beirs.prcoccupi.dbusinessman Koenig. masters, came into his possession in 1925 by way of oÍten made use o{ rhe senices ofthe Ámsterdam art the collection of the Austrian Consul in Berlin, G. dealers Dr. Nicolaas Bee" and Dr.l.H.F (Helmut) Licht.a Fron another nuch smaller album belonging Lntjens. Their names are regularly found annotated to rhe same collecrion he m:naged to purchase two in Lugt's personal copies oÍ sale catalogues and in drawings oÍ outstanding quality by Mathias nany cases rhese drawings entered the Koenigs Grijne" ald, *hile rhe orher dras ingr by rhi arrisr collection in the same year that they were auctioned.l were presened by their owner to the Berlin Print 10 Koenigs also purchased drawings Írom the art dealers Room.5In the {ollowing year he boughr22Italian D.Á. Hoogendijk andJ.HJ. Mellaán. Lntjens (1893 drawings, mainly by Tintoretto, $/hich originated 1987) was head of the Amsterdam branch of the from an album made around 1630/40 for the Milanese renowned Berlin art dealer Paul Cassirer and soon Count d'Àdda.ln 1928 the heirs ofthe Roman bccame Koenigs' main agent, his personal ad*or and colleaor and art dealer A. Simoneni (L.2288bis) sold a long time friend ofthe family. Koenigs' middlemen him 24 kalian drawings, also mostly by Tintoretto. were especiaily active at the sales ofthe Emile The largesr acquisirion. nor counting the Fr.r Vauters collection in 1926 (a7 drawingt, the Prince Bartolommeo drawings in the Gabburri albums, was V. Argoutinsky Dolgoroukoff sale in 1925 (12 made in 1929, when Koenigs not only purchased 47 drawing$, the Bellingham Smith sale in 1e27 (26 drawings at the \Var:ters sale but also the entire drawings), the Robiano sale in 1927 (18 drawings), collection of drawings, Íolned over a period of the Bateson sale in 1929 (16 drawing$, the twenty years by the German collectorJulius V/. d'Hendecoun sale in 1929 (13 drawingt and the sale Bóhler of Lucerne, who had been forced to sell due of the Marius Paulme Collection also in 1e2e (18 to bankruptcy. Thi collection comprised dnwinst. approximately 250 drawings. The year 1929 therefore Many of Koenigs'major acquisitions, however, repre.ent" b1 a l accounr. the mo.t,uccesful yerr in were not made in the auction room. Probably the formation ofthe Koenigs Collection. Unforruna rhrough hr b:'incss conracr< and Írmily connecrion. tely, some events in the fall o{ that year were to prove he gained access to important European private ominous. The crash of the New York stock exchange collections, which he occasionaliy managed to in Ocrober and the re'ulring depression of thc acquire, either in part or er áloc. Some were acquired Thirties (1929-1937) severelyaffected Koenigs' as albums and kept as such. In 1921 he was àble to lay bu'ines and depri"ed him oÍ rhe means ro conrinue hands on a great number of drawings, mainiy ltalian, hi' purcha.e, as before. The last imponanr aucrion fron the collection of Grand duke Karl-Alexander where Koenigs bought a substantial number of von Sachsen Veimar, including no less than 505 drawings was the Czeczovicka sale in 1930, which {igurative drawings by Fra Bartolommeo mounted in y,clded hrm Is dra"ing<.61he numberoí.cqui'i- two early 18th century albums made to the order oÍ tions ÍellÍrom 539 in 1929 to 149 in 1930. In 1931 rhe Florenine caxaliere Gabriele Gabburri. In the Koenigs purchased only 1e drawings, three of which same year he purchased, through the an dealers were from the Hofstede de Groot sale, that also con- P & D. Colnaghi in London and Paul Cassirer, tained many more drawings which Koenigs would 22 drawings from an album owned by the Earl oÍ certainly have boughr under better circumstances. By Dalhou'ie. conrairirg Durch t'r\-ce"rurl drawing,. that time his financial problems had become acute mainly by Nicolacs Maes. Ár some time between and acquisitions became incidenml (see chart À). Chart Á The Imlian drawings constitute by far the largest part ofthe Koenigs Collection, even without the 1921 29 voluminous Gaburri albums. Nearly all great masters 1922 1 (move to Haarlem) from rhe early 15th to the late 18rh centuries are 69 + 505 t923 rep,cscnred byoneormoredrasings.Therrin t924 29 representatives are the Venetian masters Veronese (21 1925 112 1926 182 dràwing'r. Jacopo Tinrorerro | 40, and Ciàmbartistà 't927 169 Tiepolo (50). Some o{ the Italian dr:wings in the 226 1928 Koenigs collection stand out {or their rarity:nd 1929 539 exceptionally fine qualitn For instance, the two 1930 149 1911 l9 studies offemale nudes.a*ributed to Antonio 1912 Pisanello (cat.no.158 an d 360), the f^mous Land'caPe 1933 .oith a shepberdby Giorgiones and the Study of a

11 (oenigí recorded rcquisirions 1921 1933, nde,tonan seated, by Titian (cat. no. 399), are a1l Nók thÍ this chiÍinduds appi 75"r, óf all drawinssi lhe considered to be among the best dÍawings by these rcmáinins 25% have not h.d thenyer ofacquÈnio" sg".ified masrer'. Vrrh regard to rhe L'r-menrroned draw;rg. \fearhey in his 1987 oeuvÍe catalogue slates that the The collection: its composition and disappearance oÍ rhis superb drawing was one of the arrangement major artistic losses o{ \íorld \íar II...'.e If counted together, the Dutch and Flemish An inventory of the collection was made by Dr. schools (D., R., V and N. categories) take a second J.H.F Lntjens, who aranged the drawings according place with 699 drawings. Koenigs was only interested ro rc\ool'. giv,ng crch a counrry code .nd rcesion ii l6rh rnd l/th cenru11 Nerhcdandi.h drawirg'. nunber. The composition of the Koenigs Collection Of the 18th and 19th centuries he owned vinually crn thereÍore be'r be .n.11'cd along these crregoric. nothing. The Flemish school is represented mainly by (chan B).7 its three greatest masters, Anthony van Dyck (16 drawinst, Jacob Jordaens (21) and especislly Peter Chan B Paul Rubens (a2). These arrists together are re.porrible lor 7so. ofrle l0o Flem sh drrwings in inv School the Koenigs Collection. Only one category vas created speci{ically for an individual :rtist and his school: Rernbrandtvan Riin D.L Germàn s.hool (15th-1sth c.) 281 281 (R.). ofRernbrandt drawings in the D.lL German school(19Ih c.) 23 2) The number L ltaliàn school (15th-18!h c.) 562 1100 Koe"ig' coll.crion or:gi-allv rmounred ro 8J. F.L French school (1zth-lsrh c.) 301 J04 However, modern scholarship has reiected rhe (r9lh 226 F.IL French school c.) 226 aurhenricity of 48 of these, which are now classified N. Ncrhcrlandbh school 194 t94 given to his pupils. H. Dutch s.hool 261 264 as Rembrandt schoolor V Flemish school 106 105 Nonetheless,35 autograph drawings is sill an R. Rcmbrandt shool 116 136 impressive number. Spánish 2a 5. school 33 The German school contains a relatively large E. English school 19 1Í' number ofanonymous drawings (73), rnainly of the 2145 2671 15th century. The artists best represented are Albrechr Dnrer (17 autograph drawings, not Tnc -ompo'i.ion ol heKol'rscolle,'io' àolgrhecredó'-. ir including two drawings by his workshop and 8 in his style), Hans Baldung Grien (10), Sebald Beham (15), Christoffel Christian Boxdoíer von Konsianz (11), Hans Holbein rhe Younser (e), \rolÍsang Huber (11), Chart C Àdol{ von Menzel (t l), and Adam Elsheimer (10). The lrench school is represenred by most of rhe 547 major arrists of the 17th and 18rh cenruries, includinS 50 G;ambalrista Tiepolo 42 Nicoias Poussin, Claude Lorrain, Franeois Bouchea 40 Honoré Fragonard, and Jean Àntoine \íarteau. 38 Jean Honoré F.asonard Koenigt favourires, however, weÍe 19rh-cenrur) 35 Rembrandr (+ a8 Rembrandr school) French drawings, of whi.h he had 226. 31 26 Eugène Deladoix 24 Chrrr C shov. hrs qrons predilecrion tor drrwing. by Paul Cézanne (2a), Honoré Daurnier (2a), Henri Toulouse-Lautrec (22) and Edgar Degas (21), some of 22 claude Gellée, calted le Lonain Henri Toulousc-Laurrec which he acquired at an earty ase in Paris. 21 EdgarDegàs 12 The importance oÍ Koenigi collection is not only illusrrated by numbers and names ofarrists, but also by the earlier provenances of several drawings, which 2A 17 bear the collectors' marks ofsome of the mosr

famous collectors of :11 times: J. Richardson Sr :nd 1ó Jr. (L.2183 and L.2170 on 36 drawing$, SirJoshua Allaert van Everdingen Reynolds (L.2364 on 25 drawings), SirThonas scbald Behan La]rrÍen e (L.244s oÍ L.2446 on 52 drawingt and \í: Esdaile (L.2617 on 26 drawings), all five collectors from London, the EarlSpencer (L.1530 or L.1532 on 11 dmsringt, PJ. Mariette (L.1852 on 11 driwinst, 1l Marquis C. de Valori (L.2500 on 11 drawinst, and Voltgang Huber Giuseppe Vallardi (L.1223 on 22 drawings). But also nore recent collectors left their marks on several Edouard Manet drawings:J.P Heseltine (L.1s07 or L.1508 on 27 12 drawings), A. Grahl (L.l1ee or126 drawinst, \(. ll Chrisroffel Boxdorfer von Konsránz Bateson (L.2604a on 16 drawing$, and À. Freiherr lon Lznna (L.2773 on t5 drawings), to mention only 10 Hans Baldung Grien Pieler Brueghel rhe Elder Coreggio Exhibitions and publications Franqois Millet Koenigs played:n active part in the cultural life of his Luca Signorelli time. He was one o{ rhe few collectors who sometimes contributed to funds for the acquisilion of This hble .o.triós all ftÈB oi shom s lcdt tê. dÊvn'Bi uc paintings by the Rijksmuseum in Amsrerdam or the p.esent in dÉ Gn*c) Koedgs cólledion. Museum Boyrnans in Rotterdam. A small number of drawings purchased ftom or €xchanged wnhJ.Q. van rany of hi. drrr ing' ror rwo main exhibirion< rn RegterenÀlrcna and Frits Lugt bearwitness to rhe Ámsterdam in 1929 (art dealers show) and 193a contacts between the major collectors o{The (Italian art inThe Netherlands)11, first anonymously Netherlands in the rwenties.lo rhrough rhe rrr dealcn Bcerq and Ca:,:rer. but in Koenigs was regularly called upon to conrribure 1934 under his own name. In fact the drawings to exhibitions and seldom disappoinred. He lent sectior of the latter exhibnion w:s dominated by drawings from the Koenigs Collect;on, which Museum Boymans and several drawings were lent to amounted to no less than 119 out of a total o{261, exhibitions abroad. A special exhibition, exclusively outnumbering loans from other collectiotrs such as or French dmw ng' Írom rhe Koen,g< Lolle.tion, wa. Frits Lugtt (a3), Teylers Museun's (a3) andJ.Q van shown in 1939 at the Vallraf Richare Museum in the Regteren Altenat (21). During rhe thirties there was coll€ctols native ciry Cologne. In Museum Boymans hardly rn exh:birion wirhout,:L lelr onc Koen'gs photographs were made of large parts ofthe draw'ng rcl. bibliographl rexh,bir ionsr. The Koenigs collection. The existence ofold glass negatives of Collection was also reprcsented by a small number of approximately 40% oÍ the drawings that were to be drawings in the major exhibitions ofDutch art and sold to the Nazis would prove to be o{ great Italian art held in rhe Royal Academy in London ;n advanrage 50 years later for the prepararion of the 1929 and in 1910 respectivell During the intenal between fie rwo Ámsterdam exhibitions two impressive portfolios, each The'second' Koenigs collecdon .orrJiling ir*imile' or r cho,ce of rhe be.t dr..ings (1935 1941) 1l from the French and Italians schools were published in 1930 and 1913.12 The {ormer contained ÁÍrcr Koenigs had deposited his collection as a dc.cr.prions b1 C.F. Foer.ter rL' larrcr had ent-ies collateral in 1915 he continued collecting, though on written by Freiherr Dedevvon Hadeln. Both vere a rnuch smaller scale and more discretely than he had edned by ProÍessor MaxJ. Friedlànder Art before 1910. \íhen he died in 1941, Koenigs had historians appear ro have had easy access to the formed a second collection, cornprising Koenigs Collection, the early volumes ofthe spproximátely 2oo dÍawings, including worLs by periodiczl OId Ma*er D/d?r gs áre i s/itness to fi3t; Diirer, Rembrandt, Anthony van Dyck, Veronese, they contiin many articles in which drawings from Fr:gonard, Ingres, Toulouse-Lautrec, Cézanne and the Koenigs collection are discussed, referred to and Renoir, ofwhich the artworld had little or no sometimes iliustrated. Lnowledge. A{ter an inventory was made of them, the drrwing' were hidden in Koen,g' rppartme t in The Koenigs Collection on loan to Berlin and given in custody to the art dealer Cassiter Museum Boymans ( 1935 -19 41) in Amsterdam during Vorld \íar IL In 1953 the rrall collecrion ws di.ided into íi'e equal porrions Drrc ro rhe international Íinancial crisis which had by Lntjens and subsequently distributed among his started at Vall Street on Black Thursday 24 Ocrober five children. They still own most oÍ them, although 1929, Koenigs soon had to curtail his spending some have been sold at Soth€byt in Londonr3 and drr'rically. ln 1q33. whcn rhe depre$ion wr\ rt ir. approximately l0Italian drawings, as well as one by a heighr, he was forced to negotiate a substantial loan follower of Rembrandt :Íreruards in 1969, have been from the bank Lisser & Rosencranz in Amsterdam acquired by the Àrnsterdam Print Room in 1964.r4 Ànd ro ol er h,. collection a' co l.rrerrl. BoLL pa,ric' The portion inherited by Koenigs' daughter Chr. van given on loan to ag-eed, on Koenig. i 'si'rencc. rhàÍ rhe col ecron der \raals Koenigs has been :n be rn rhe Mu.eur Bol man. Museum Boymans van Beuningen. Drawings from 'hould depo'ired Rorterdam. Thus the drawings would not only be Koenigs' second collection can easily be distinguished safe and well presened, but also available to scholars fron those in the first coilection because rlel and the public. \íhen the Museum Boymans opened ào not beat tbe collector's marh . its new pr€mises in 1935 it announced the temporary rcquisition o{ the Koenigs Collection, which gready added to its collection o{ graphic art. In the following yern unr'r r!e ourbrcrk of \fio-d \ír ll. 'elecriol from the vast collection were exhibited in the Van Beuningen acquires the Koenigs ended his work, Posse travelled indefatigably to and Collection fro through the expanding Third Reich in order to locate and acquire works oÍ art, mainly paintings, for Shortly before the Gerrnan invasion o{The r\e propord museum ir Linz. He had purch*ing Nerherlands on 1o May 1940 rhe Koenigs Collecdon agents working {or him and maintained special in Museun Boymans was bought en Dlocby the accounts for the financing ofhis acquisitions. O{ all wealthy Rotterdam harbour industrialist and coal works of an confiscated by the Germans or acquired merchant, collector and long-time benefactor of by forced orvoluntary sale he had Íirst choice.r8 Museum Boymans, Mr. D.G. van Beuningen (1877 Àlthough losse operated qune independentln the 1955). He acred on rhe urgent request of the Sonderauftrag Linz was controlled by Rerrlsleiter mu'eum. director, Dr. Dirk Hannema (i- olÍice Martin Bormann, Hitler's secretary and deputy. 1921-as), who was asked by Koenigs'Jewish bank Posse's choices were usually discussed with Hitler Lisser & Ros€ncranz either to pack the drawings {or personally and sornetimes overruled. Posse had the t4 shipment to the United States or to buy them. The works ofart transported to Munich and Dresden for brnk was in the proce* oÍ winding up their bu' ness storage. The countries he visited most regularly aÍter in {ear o{ the threatening invasion by the Nazis.15 the out bursr ofwar were ltaly and The Netherlands. Thanks to Mr. van Beuningent prompt Less than two months after the German invasion of cooperation rhe collection could be saved from The Netherlands, Posse arrived to take full advanege leaving the country and subsequent dispersal in rhe oÍ the situation. His firstvisns were from 26June to 5 arr marker. Not only the Museum Boymans, bur also Julr frorn 18 lo 22 July, and {rom 8 io 14 August '\94A.1e FranT Koenigs was e\hi irared by rhi. altru:.tic i"rer vention by Van Beuningen. Koenigs spontaneously Posse had a tightprogranme every time he came prerenred rhe museum rwo errreme)y rare drawing' to Holland; he paid regular visits to most of the by Vttore Carpaccio frorn his so called tecond' Durch art dealers, especially those in Amsterdam and collection.ló UnÍortunately, the high spirits soon gave The Hague, and showed particular interest in the way to serious concern. private collections of Fritz Mannheimer (Amsterdam), Franz Koenigs (Haadem), Prof essor Art collecdng by the Nazis during rVorld Orto Lanz (Anrerdrmt rnd D.C. van Beu-ingen .War lI'. the Sonderauftrag Linz (Rotterdaln).

On 20June 1939,less than a week before the Posse acquires part of the Koenigs ,4zscó&s ofAustria to Germany, Adolf Hnler Collection for Linz appointed Dr. Hans Posse, a leading museum expert, to Sond.erbeasftraxter Linz. After a {orced The renowned Koenigs Coilection in Museum retirement on 12 March 1938, Posse was reinstated on Boymans did not escape the anention ofthe Nazi art- 22July 1938 as director of the Staadiche hutrters.It was rhe first large collection in The Gemàldegalerie Dresden, of which he had been Netherlands that Poxe pursued and which director since 1913. This was done on the personal subsequently ended up loosing virtually all its rorobrious instigation ofHitler.lT Posse was charged by Hitler Ccrmandrrwirgs- rcrsonethemain with the tasL ofco-ordinating the 'collecting' of object of Nazi interest as well as an addnional works of art in occupied territories, destined for th€ selection of 226 drawings by masters from the Italian, so-called Fnhrer-Museum that Hitler planned to French, Dutch and Flemish schools. They too were build and furnish in Linz, an Austrian town midway intended for Hitlert planned but never realized between Munich and Vienna, where he had spent pan Fnhrer'Museum in Linz. of his youth. For three years, until his death on 7 On

I vas of course due nor only to their high value, but Hieronymus Bosch and four by Rubens. first and foremost to the likely demand of the Nazis The 526 selected dr:wings were leÍt in their black jacket) rhat the German drawings at least should be handed boxes (ill. on the rear dust and packed in Íour over ez Dlor. It is very unlikely that there would have crates, which were collected at Museum Boymans on been any room for discussion in this matter and the 5 March 1e41 by one A.E. Sippdl (fig. 5), who was ncgotiat;ons would have concentrated on rhe authorized by counsello r (Gesand*chaftsrat) Mqor selection ofnon-German drawings in order to reach Dr F.\í. \íickel oÍ the German legrtion inThe the sal€ price that Van Beuningen and Posse had Hague, who worked as a representarive for Posse as perhaps previoudy agreed upon so that Van Leitet de'Sondefteíerats Kuhwaastaasch (Íig. 4).12 Beuningen could finance the purchase of the ln a lener dated 25 May 1941 Posse acknowledged paintings from the Cook collection the receipt of the drawings in Dresden, which were handed over to him the other day in the presence of Some German drawings escape Mr. Peterich', who apparently had accompanied the 16 deportation by the Nazis transport (fig.6). In the spring of 1941 not only did Museum It was undoubtedly the firm intention of Posse to Boymans lose part oÍ rhe Koenigs Collection, but the rrke all Cerman dra*ing' in the Koenrg< Collecrion. latter lost its creator Franz Koenigs died under circunrances pre.enred him hor genins mysterious circumstances in a train accident in bu 'e'cral all of them. Firstly, rwo drawings, one by Àlbrecht Cologne on 6 May 1941, at which dme the selected Dnrer (fig. 2) and one by Mathias Grnnewald (fig 3), drawings were well underway from Ronerdam to were on loan to an exhibition in New York at the Dresden.Just rwo years previously he had been time oÍ the invasion and occupation oÍThe awarded Dutch citizenship, which he had applied for Netherlands by rhe German forces 2e They were because ofhis abhorrence ofthe Nazi regirne and he returned alr cí the wàr One dra*ing b; Augusrir had come to feel like a Dutch citizen after 17 years o{ Hirschvogel escaped Posse! anendon as it was then living in The Netherlands. stored as a drawing by Pieter Cornelisz Kunst, a After the drawings were received in Dresden they Dutch artist. Two drawings by Koenigs'father inJaw were put in storage in the Kupferstich-Kabinett, the Leopold Count von Kalckreuth (D.ll s and e) were print room of the Staatliche Kunstsarnmlungen From no! paft of the collateral and the partial sale, but were that time onwards rheir history runs parallel to that still kept by rhe family. Finally, five Itaiian incunabula ofthe Dresden collections, which is extensively from the famous library of Villibald Pirckheimer described by its present director, Dr. 'iíerner Schmidt, (1470 l53O), each containing a single miniature by his in the catalogue Vetmisste Zeícbnkngen àes close friend Albrecht Dnrer, which had also been Knpferstich-Kabinettes Dresd.en of 1s8z znd will selected and packed, were secre y removed from the therefore only be summarized herer3, with some .rare b1 a sraÍf member on rhe nis\r bcfore being addinonal notes regarding rhe relevant postwar collected Íor rransportation to Germany and were testimony of Dr. HermannVoss, Posset successor as thus Íotunately saved from deponarion.3o Son àer b eauftragter Linz. From 20July unti19 December 1942 the SraPhic A missing collection collections of the KupÍersdch-Kabinett were moved for saÍety reasons to the Castles Veesenstein and

ln a letter dated 15lanuary 1941 Posse rcported to Vurschen, both in the vicinity oÍ Dresden ln Bormann that the payment of the purchase was not February r-d Ma,ch lqa5 rhe ptinlr and draw:ngs yet effected.3rThis was senled sometime between that were kept in Castle \íurschen were transported February andJuly 19a1 Van Beuningen donated all to Castle Veesenstein and added to the greaterpan of remaining drawings, approximately 2200, to Museum the holdings of the Kupfersdch Kabinett The Boymans, together with four paintings by presence of the Koenigs drawings in Castle 17

2 Albrccht Dnnr, Heal o/ty,n|uond,, 1505, I Marhias Grirncwald, 7/:c vn+in n! the apacavtit (Koen;gs iív D.I. l6li black cbalk,3s0 a 266 nm ) --o,a, (Kocniss;nv. D.l. a2; black chalk, yellow rvash This drawing cscaped transpor! b GeÍmiD)', bccluse.! and bodycolouÍ,122 \ 268 nrm.) This dmw;ngrvas also qas rhe timc of the German invasion. it was in an exhibition in Ncw York during vorld Var Il rnd thus safe ;n New York (Rotcrdaó, Muscum BoydanrYan frón rhc Nazis (ltorrcrdam, Mlseum Boymans van Beuningc., inv MB 1917lTl7) Beun;ngcn, ;nv. MB 1958/T29)

Veesenstein, which was an official repository for rhe .rored il rhc v.rulL7. inrluoing rhe K.cn.gt drus irrg'. er. ralen nroprorc.riuecu'r"d1 bytL.so'rct Fnhrer-Muscum, has been confnmed by Voss, wlio " stayed at rhe castlc during the last three months of Forces ilJune 1945.rí'Schmidt notes drat the sra{f of the warwhcn Dresden was under constant air artack rhe Dresden museums were not alLowed access to the from the AlLies.sa On 10 May 1945 Castle heavily gLrarded Castlc Pillnitz, from where large Veesenstcin and its art treasures werc surrendered parts of the holdings were rransporred to thc Soviet without resisrance to the invading Soviet {orccs of the Union. He describes how shordy beforc 23 March Pillnnz, so called Trap h àe norgan,iarion. Schnidt poinrs out 1946 thc Soliel army withdrew {rom Castle that the Sov;ets immediarely undcrtook to move all lcaving dre rcmaining vorks of arr unattcnded. Vhel wotks o{ art from Castle \íeesenstein and from rwo Dresdcn museum officials arrivcd:t the casrle scveral smaller repositorics to CaÍle Pillnitz, wherc they of the remrining drawings rppeared to have been established a central repository for all works ^f'n stolcn. This was cvidenr from the fact that thc mounts belonging to rhe state museums of Saxony According from which they had been hastel,v and carelessly to Voss, who assisted the Soviets for rwo nonthsr5' removcd were Ieft bchind. rll items kept in the Linz repositories ar Casrlc In 1958 thc Soviet au orities officially returned wee.e-'re n -nd rre srrarl . h. Cem;ld, galctie thousards of works of arr, that wcre owned by the Dresden (where latc acquisirions for Linz wcrc Dresden muscums. Howcvcr. no mention was madc DER REICHSKOM MISSAR DEN HAAG, ']êr I ÍIA-- TO'1 DER GENÉRALKOMMISSAR

'l1e:brir-er d:cses, Fcrr S; !: e 1 t , ist bêeuftxa;t, die fiir: die Stnatllche cenë_ldeAalerie .!,iex ])r:sCer1 bestinmter1 Kístên in En?.jand zu nelmer]. 18 ïr Auítra8

des !oynans-tÍuseum, \M,lr.^ lotterdat

+ \írinen authorny to the Gernan A.E. Sippell to collect the selected drawinss frod lhe Koeniss Collcction ar Muscrn Boymans

5 Rccdpt signcd by A.E. Sippcllforrhc boxcs with drawings fron the Koenigs Collect;on collected at

6 Lerrerby Dr Háns Posse to Di Dirk Hannena confnming the receipt olthe purchascd drawings Írom thc Koenigs collection at the Staadiche G€nàldegalerie STÀATLICHE CEMÀLDEGALERIE DRESDEN

DÊN DITBKTOX' DTBSDBN-ÀI,&í 26. Uêi 1941,

Í€lrn D. E e n !1 eIIIa 19 D1?ekto! dL6a uusêoD lolmàrg R o t t e r al an.

Sêhr vs!€h!tê! [êrr D!, EaÍnena !

IÍêchden Al€ von ura elieo?benen Têlle dlor llsadlzelch- 4ungssannlung Eo€n18s sus aleÈ 3e€1tzê de! EoTrn var Seuilngen ln llesdlen elng€tloffen Bladl undl derett 0b€rns.bnd dlle6êr Íege 1í Gs- gelrÍêrt tlea lle?ra Peterlcb êrfolgt lst, nóchte lcb nlcht verfel!_ Len, Itrnea fil! Ihr ftêundllohes Sntgeg6n}omen unal ille ebenao ??exndllicbe !orde!u!8 Í!ê1ner Àufgabe nochnals nelnetl wéÍasteD Dênk firm Àusalruck Èu brlngen. Ich b8bê lhxe nllf€ Llloao alankbêre! enpfuiaten, dlê loh nlcb Eehr wohL ln Ihle ]Jag€ versetz€!. kolnte, êIs lch gezru.ngèn ralr lÈnen êlnlg€ Roalnen aus ilen scbdaea (u- ohêtr zu !1ckên. Von kollegleleu EÍÁpflntlen eus ríar rDêin eiDziget frost, ilsB llnrên Je lnn€r rooh ale! ldiíenanteil elt aler vÍrmilerla- rên geEullulg fur lbr láuÊeun l/erblleb, iált alen verbiaal]-LclrêtEn erUSelr Ibr 6êh! ergebêaer k, t'r'r"'u oÍ the looted works of aft from Allied countries thàt The alleged present whereabouts o{ the were destined for Linz and stored at Castle missing drawings

After the end of V/orld !íar II the n:mour spread East-German officials have repeatedly assured the that the Koenigs drawings were burned during the Netherlands authorities that the 33 drawings afrcrdays o{ the war, like the official card canlogue of restiturcd h 1987 w€re the only ones that remained lT rhe Linz collections also kept at Castle Veesenstein behind in the German Democratic Republic in However, in posrwar publications some scholars have 1945146. h follows therefore that the greaterpart o{ exprc"sly stared rhrr rhe drawing.. which rhel the 491 drawings still missing were taken to the described, were in the Dresden Kupfersrich Kabinen Soviet Union:nd are still hidden there. The presence or taken to the Sovier Union.33ln his 1966 oeuvre o{ missing drawings in the Sovier Union is conÍirmed canlogue Móhle included two drawings by Àdam by a letter dated 17 Àugust 1983 by à B€rlin lawyer ElsheiÍner (car.no. 177 and 178), which were then in ro the curator oÍ drawings in Museum Boymans van 20 the collection oÍ Pro{essor A.À. Sidorow in Moscow Beuningen, in which a drawing by Hans Baldung (now in the Puschkin Museun in Moscov) Grien Írom the missing Koenigs collection (cat no. Professor Franz Vinzinger has actually se€n 96) is offered Íorsale on the paft of h; client. The drawings from the Koenigs collection in rhe Dresden letter also suggests that from fie same source, who at Print Room, which he reponed to Museum thar time was in the Soviet Union, more impoÍrant Boymans van Beuningen shortly before he died; of a drawings could be purchased by the museum After drrw:ng by Schongauer he stared eartier 'Lerder:'t sie the Netherlands Ámbassador in \íest Germany had bei Kriegsende mn den iibrisen Zeichnungen der pointed out in a letter to rhis lawyer that the Srate of Sammlung Koenigs in Dresden verschotlen"re In the The Netherlands would pursue claim to the draw- introduction to his monograph on \íolf Hubea ings iÍ they were to appear on the an market, nothing published in 1979, Vinzinger summarized the history has been heard of them. A few years aÍterwards, the o{the Koenigs Collection and the sale to the Nazis above-mentioned drawing by Hans Baldung Grien and mendoned the ranspott to the Soviet Union and .udderly rurned up in the Ln Voodner Collecrion. rhe fact rhat since that time the dr3wings have b€en mis'ing, but not derrroyed.'0 \i/ollgang Schulz i. The financing of the Cerman acquisirions e. cn more .pec,ric in hi. de.criprion oÍ a mi*ing drawing by Lambert Doomer (cat.tro. 476) in his In eastern European countries, the collecting ofart oeuvre catalogue oÍ t9z4: the drawing w:s stored in by the Nazis rcok the Íorm of confiscation, while in Ca"r'e Vec

Directly aÍtcr the ciose of the war a special bureau, rhe Srichting Nederlands KunÍbezn (SNK), under Democraric Republic too has Restitution of missing drawings from the The German the applicability o{ the legal instruments Koenigs Collection recognized in question by returning to The Nerherlands as late as 1987 the ll missing drawings from the On the basis of theJoint Declaration and relevant January Koenigs Collecrion that were found in Dresden and Netherlands legislation, a missing drawing bv Leipzig. Albrecht Diirer, which because of its large forrnat In 1988 a drawing by Ambrosius Holbein was (8a,6 x l6,a cm) was framed behind glass and repatriated, after it had been le{r at rhe British Mu therefore treated as a painting, was found bv the seum {or an expertise in October 1987 and was dulv Americans in rhe Linz repository at Àlt-Aussee and b-oushr ro the rrrcntion of rhe Durch rurhorit'e'' to The Netherlands in 1953.i6 'eturned

24 Notes (Palma le6a:80)i no 160(D ó. sálcBdlin (Bodnd. GrauPe) 12 Màv Gioyióê,inY Tintorero, iny l96 t:82), no 36t (Ïtian' RIoD Riiksin$nuut voor oorloCs 1930. = B the fóUover, inr 196a:8a). no l88 (l!alir. fn$ docunedtatie/ Ndh{hnds Stàtc 7.In thc h$ column ofchrt to halÍ l6thc.. inÍ 1964:e2).L CJ.Iredchs' \íár Do.umenÈtion' aualnumb*s oÍdnwings bdonging lnsitut Ío. 1: de 17dè ee,u th6e shools e sileí. takins into à(ounr hdlàanre t.k.nin4en ' ($jksprentenkab;nd) leTl rhd(1) the lwo c.bbuÍialbutu (505 ÀmÈrdim Doc. 6818.. = At Laoti,S In!,igdtiaa dravinst re dot incltdcd in thc I. Gxhib..at.), no 20 (Remigio Canhgauinr. U,n atdl Ào/,/r , váshington 1 MàY (atii IlVoheÍrno' cÍesoiy (ltalian school), (2) tbe rlbum ol in* 1964:73), no,60 to (PseldoGh{Ídi' drasrnp,s br Benozzo Gózzo I linv Í 562) in{ 196aj66), no 6t Dóc. 6srR.E = Có"solidd|.l l"tèracatión dáwinss, and rh (l) ll inÍ 1964:lóz) Peicr Scharborn, D/a@-Er Rqa No 4 |Lnz: Hile,\ M4teun conhns 20 rrribdêd to GovrJnd h Renbr.ndt, hii dnantnaB P'Pil5 dnd and Lthati by LÍ SL Eana\5 dnwinss lormÍl) s c*esorv Thc Hisue 198t,no 3'1(inv Dccemher 1945,suPPlencnt I MiY thdcíore included inthê /;l,oer, (spannh $hool) re nów sived to 1969.222). 15. Dunnr [hc CeÍmri oc.uPàronof tó doc.63sB Doc. 685B,h = áttachncn$ C qÍ tárye\ 3 Koenies inv. L 485 TheNerheÍhnds rhÉ bánk Micdl. a cÍmln Nàzi, q $j(he; re8Z, pp. rls rlc. no 12. Pl óvred bv AloÈ thc cÀFlógue. *ho ilh;.lly took o"Í and e*Ploited lhe r. The Dublietión thd êq uillY ó4; sce no. 199 oI Presênt busine$ óí the Aó$crdam 0evish) á is 10. F.om J Q van Reglcren Áltcna .ontributes to Lrgts Í:-e th.Iour 685B.e' bY licter dealerJ. Goudsikka (RIoD, doc volume scries óí rhe RrPeÍor? leJ Koeíss boughidrawi.gs Eldd (inY N- 191)' a íóllover catalop,e5 de ae tet \Ï\e Hque t938' B.ueshelrhe 167), leer l:ul Rubens iÀ M!(erm Bovdánt!rn Bcuninreí, 1953, 1964 and 1937), á chronologi.állv of DnEr Gát.no Rembnndt in{ l94o/T7ànd l;40/Ts sec: B{t\i Ídnqed ánd bnlPublic (in{ V lo5) and the shooloí 'nvenL"íy 'nder (R.30). him onlY two Me;Èr ánd Bdndd Àikeni' exhib at. qhs óÍrhe DÀt rhree áid r h,lfcenturics Lus, r icldeJ r8bGr'no 1r)àndR Dre sni un6i di @ Uezian i obnd6i. th hc ** rt'h b kre ltsiLli',n dáwinqs. ;v Dt e. iRê;handr (hool. cil,rr rc88, no. vcnice (!ondaziónc Giorgio Cini) r985, indkpênsible tool in r{ins Provcnan'es Kocnigs in thc laa).ln rêturn. Kóedigs g,vc Lugt àt leNr no.l2 ind l3{purchased by 10 onc bJ ÁndreJ dêlss@ H. Opp€nhcimer salc àt Christie s on 2. Th€ íollovins biosdPhical dáh are ,sodnwinss \Jn oiade 1e36,los s3 ind 55)- iiom:Lugt 1956,p. 149, underno' (io" 5z5l)rnd one by Adrnen July dcrived 1/. RIOD, doc.63sB g.P. 17.18. r{c, ríd A.v.EM. Mcijs r ÍodudiÓn to (inr.452l). 18. RIOD,doc 68t g. P.34 85 NneLeeath .enturJ Fl. .h Ll. SR t'ibliosÊphJ/c\hibFon5 exhib..at Po$c recorded his 1.2. Ioc6teÍ lalo rnd Von Hádeln lell 19. mdnulously Dra@ings t'ran tbe il^e,n Rorndn,,an fróm the tecond' dailv busin*s, spendi"as ck. i" a P$o'"j ,e!tt{e,, Baltimore, Maryla.d IL Sales of dn*inss s dÉíy(lcr6 42)rnd'nÍouroíri!iáldrnc5 (BaltimoreMuslm oÍ Àr), Los Ànsel€s Kocn'ss collecron Ln the poses'onolh in Londo (a.r.rareri.r./r. s h,.h Íc kePt in the {Los Áíqcls county Museun oÍ Àd)' hsE,àll rtsothebr\ (los 68 7l),23 3 19ó0 (los 8- cdnànisches N:tió.almurun in [oí vodb, Texas (Kimbdl À* Muscum) 20.11,195/ 15). {.5.1960 (lots 124_132)' 24 11 1960 (lotl5r'26b Lq6a 2a. sce. Ne.lrldnds Pdtncir.t: l. Luets pêrson!l.oPies oí sále (loE 80 lol),10.5 le6l Jnd rcveill strlê\ K nealazieèn odn ótua" stende c&losues *e no* in ÀeRijksbumu llor br.77.81) "Íher "a "oo' I talàdn 58 (te72), P.47. Pet íich n KunÍhkrórische Docunênhtie t 4. L.c.l. FÍe:;chs, r i5lacbzn rcDoÍted ro hrve dicd in l98t or rq36 for Àrt Histo'v) i' eleninEen II:de 1tdèen 16dc ee,u' (Nethèrlands InÍituE 'ti .loc.6stB h. Jh.hmenÍ bo Am$erdrn (RijksPrcnEnkáb;nd) 1981 RloD (cxhib.cd.). lT (!rocd'inÍ 1964:7e)' 4, See Iriedl:indcr 1918 no (Lsimile no.lO1(Palna Giovtnc. inv 1964:77)' no 2;. Thr -" bciudB.d rrom,h.'Íio,' t. sc Frcdlànd{ 1926 inYentory (D. 1964:81)'no 289 nórcs regarding a.ns and ednion of thc Sarigny dnwinss) 117 Tintoreno, inÍ d6s die isc iumbeB in lose's dnry Accord;nE to m K""nblàxet 3 (1987), PP llA-t.,6 smóluns{halkn seblieben (\íinzingeÍ 1979. pp 9_10) * nnss the*lèdionvas nádc in the 14. RIOD. .loc. 6858.9. P. 769 Vo$ p.92 no 2l5l iotrdan rrint noom ,nd mrinly hrd ben appo;ntd succssor to lo$e Á 41. Schulz 1974, unde. 'Dcz, 1940 an gcplàntes Muscum Linz coffisred oílose and Hinnem b,Êslins pcr 1:pÍill94l. on rhê adliceoiPossc víkauft ausselÀsen schlos vlesên$cin about which noFcdmrn dnwinss vert hinÉell ànd vith a recommandation by lhe i Dresdcnj 1e.6.194s gabe ansowÈt lunábk Íor the fiihreFMlsum md whnh ReichsminisÈr ól Propasandá JorPh b. Ub wde not. Thcvdlknóvn Germrn Ít coebbels (RloD. doc 685! s, 'Ihe.eÍnued dnwinss e nainlY hisb i,ProJ.DiMaxJ friedlinder,who supplerènr, p. 2). The Presence óí thc 42. ri{eese.sein Dnrêr, schons dGchool) ród solis livêd.arbr in The Hrgue, nay Po$ibly KoeniAs dràvings ;n Casde by 41. oP.d,pp 65 68. See hareben invólvcd in the seledion. As a íl9km.Íron D.esden) w* repoted bY CÍ. K!hió, to givc Po$et su-e$or vo$ du.ing rlso RIOD,dóc.6858 g, suPPlcment,P 2 Jew he ws prc$ed by the NÀzis 44. RIOD, doc. 6358.9, hisnpenise on moblecr rhel wcrc inre..osation by rhe Àit Loodng P.85 dóc. 6858.8, co ideire róÍ purchse, undÍ Ih,sr ól InveÍiBàtion Unit in septembcr 1945. This 4s. RIOD, óÍ his spairl pcmit b.ing crncelled, which cdtle vs ónc oÍ the rên rcPositofts d5. RIOD, doc. 68sB.g, brred his deporÍion to : cón.enÍation looEd works of rt for the musum in cffip kÍ. A.\en n , Kanihdfldel i" Linz and co aincd mainly lat and dnwinss. 47. RIOD, doc. 6858.e, 50 Nedefu"d 1 94a 194t, ltf,stcÍÁ^n t9a6, acquisitions s wcll :s pinc P 48, RIOD, doc.6858 69 70, r01,298). Áboutvó$ preFncê in csde 9, 1945,Éê: E Klbin, 2J. CÍ. RIOD, doc. 6858 g,P 87 V**d$ein in erly 25 a9. Iorthe sunniry hsalinformdioi 24, Venen^. oP.cit., pp. 441 442 So"dtd"t't ds Linz. Die K"nÍsdnnl"hs prcsented in this *dion ádd;n the 25. RIOD, doc. 6358.h. ÀÈchdent l8 Adoll Hi!tu A"lbau, ven\hthn.vlan. Drevióus scction I an ercady indebtcd to Pó$e álso ne ioíslheunpàid sum ol Rd ,h2. E tb lr d{ K"n Íqa.hÍhtr j-\í Kesren addJulianJ. R'ndÀll zto.ooo Dlth su;lders fó. no$ iecênt Tbis Unit vas deatcd on2l purchsei. from r letid of the snc dde 3t. Kubin, oA.t,p.210. vos was 50, Novêmbcr 194a; ihad ns head_quresin ro Reicb$han*Uór Dr H H Lammetr n ello-èd bytheRu$i.ns to só to vhe.e hc \vJ*hinston andns Íicld headguar$ in 1ppa6 thn the hÍer sun w* ihe PÍice Viêsbaden on 29 July 1945, fiom Loídon (RIOD, doc.63sB e,P 1). Ior I êv prinrin8s Êor thc van ravdled ro Dresden ud rcpored hinsclÍ 51. RIOD, doc.6358 g,P 85 Seuningeó colledión, induding a Rubens to the AnericÀns Hewsu*enróÁlt by the 52. se the ddiled dncu$;ón ofthe oil skdch (doc. 68sB., suppl , P 7) Au*@, whde hê ws ineÍogdcd 9 bistory ol thê eh minerePositories in 2ó. Seê ván Beuningent obiturry in Àr Looting lnvesiSÍión Uni!íron oP.dr..pp. 79-140. Ni.,ue Rattndáh$e Coar.nt oÍ Ausuíuítil15 Seprenbei Kubin, s3. c.H. Snyrh, REdtriat;an of An Tuesdryll Mry 1955 (p 5) Van 36. RIOD, dóc. 6858.9, P 79. the CólLcains Point i" M,ni.b aret Bcuninsen vs dn(tor of rhc Sleeókólcn li. Àccórdins to Krbinthe Linz lron wu / /1, Mlan*n/The Hague 1988. HmdelsvÍccnisins N.v. (SHv), Àc inventories were kePt in Dresdeó (Kubin, woll Dk Knn Dil Anrhncict Handdsvdenisins ánd the ,/..n., p. 161), bÍt á(ordins tó thc À. C.Ftien$\. Etu,be drunatircbe wdna,f di Rdta"8 d{ N.v Mii. vachtvaán, and def,b( oÍ the Lóótins Invstigdion Unn thc) veie ,n whnh vs no! d6ÍoYed bY K"Lt,Íóàtze den ZbaEn chmbtr ófcomm{e in Roserdrn The \rcsen*€ió, "acb welrÊri.g, Briunsch*eig 1989. SHv hd dor rehtioísvith thê Gcrman Íire íRIOD, doc. 6358.À p.8l) Kubin{P 54. Die wie"er Zeit'nq" An^bldtt, t .oál syndicÍê (RIoD, dos van 162)poin* out thd Vo$ duri.e his iítcÍosdón by the Unir s.id norhins Icbruary 1986 (pp,25_60) ánd óf thc orics BundsÊ6azblau dR RePubltk 22. RIOD. doc. 586B.e. P.114 abou!d*tiudion inve lu' lqgb The rcPnnr ol 28. D. H:nnemá, Fhsen rn niin leDtn r8. Rcznicek 1961.P.232;seccat no Oí.na,r, I ItrndÍr rhe Máu{brch handlbt, vhich hÀd erlier ak Rn en n^e"ndirecte'\ published in the rr^rldlz'r Am$erdrd"ízdnelaaí 1971.p.102 39, \6nziígcr 1962, PP 4l '14 bcn Zeittng no.202 oÍ 2 SePrenbcr 29. KocnigsinÍno. D.L 42 ànd D I 40. Quote 'Seinê (Koeniss ) Wiener Zeichnunsen bdáídcn sich zulctzt als 1969,ánd the reópenins ot thè .láims Pe_ thê diclc by Andrev lo. Cf.c. zámpaandÁ o delh Leihgàbe ir Museu m BoYminÍvan .iod ws result oítrn "Á lesacy ófshame Nrzift loor Clliis^, La?la cohqleb di Dnrer,Mil$ Beun'nsen in RotteÍdàm lc4l \urde ein Decker, (Dec 1e84),PP I968 (ClNici dell'Àne 2l), no l0lB_E- v-lrl dÍko{bÍen Bhur Íu, ds inÁustià" in -4ÀT,e! geplánte Hitle6 in Linz 55 76, c J, í1. 'Weltmuseun Cf. Vcncnra, dPdt,PP.120_172 IL RIOD- doc. 6358.h. Àsachdent l8 mvunse.. Zuniichí v(bnchtê nan sie 55. 12. RIOD.685B.h, altachmênt 61 nNh Dresdcn, von wo sie nach dÍ vi.kclt ÍaNhtêd Íul1 tille *À sPecial Niêderlage zusánmcn mit den gcs:ntên Advisor on cultural Ex.hanse b the DresdenÍ K.binett mch Ru$land Reichscómmision- for Occupiêd Duth cnínhn wurden. sên diesr zên sind sê Tenno ,Ss-obd*n fnhtcl t'tih!Í vd$hqunden. Dic le$inde dcs Ktrbinds kamen spàtei.ich Dresdcn zlriick DoÍ rr. wd.ÍSchnidt, Zun Gelcit . in: rtd rbdin Abrde sstelh, ddsdàbei Chritian DitEich, vemi5ste Zenh ans.n ruch dic Zeichnunscn der sadnlunB dd K"?írnnh Kdbi"etts Dresden, Kóenigs zurÍ.ke6taFer worden seied Èt Dresden {staátliche Kun$sanmlunsen) noo :nseÍrensEr NrhfoKchuógon 1q37. pp.5 c See rlso C. Dtr'.h, cs mn ni;h! sclunsên, dóSchnkdder " Kri.ss'e, lu{ê dc' K upfe^ti.h Krbi_ H!bd Zeichn!nscn sanz áuízuklrreó nsÈs Dresdcn. Kdalós d( vrymnÍen ódu sie nóchnàls z! G6nht zu jcdoch ZeichnuíBcn {Kbdnt', D6d.,?/ bekonneí. Es sibt Hinwcisediliir' About the catalogue

This catalogue is based on the old summary all, its prirnary purpose. Nevertheless, s'e hoPe tha! it typescripr inventory of the Koenigs Collection made will also meet scholarly needs; the addnion of by Dr.J.H.F. Liitjens in the rhirties and a list oÍ the exhibitions, herature and object references, as wellas drawings sold to the Nazis in 1941 In both handlists provenances, a bibliography and several indexes was 26 dre drawings are divided into schools according to in prn promprcd by rhL .econdary obiective Koenigs' system described above Vhereas the old Many drawings still carry old anriburions, which inventory {ollows the accession numbers, the list is i' due to Ll-e lacr rhat e'Lher phorographs do not exisr alphabetically arranged by artists' names. The form of or because there was simply not suf{icient time to the latter has been adopted for the present catalogue, .oluh experrs on

This catalogue would not have been completed À \t:nM Meij (1e72-), who both generouslv shared within rhe very limited rime oÍ one year without the their knowledge on the history ofthe collection support oÍ severai colleagles. My Engiish manuscript{or the introduction was speakers and Jacob Voonhuis has been of great assistance carefully checked through bv the native zt throughour the project, both in helping to trace {ellow art historians M. Kirbv TallenJohn provenances in sale catalogues and in searching Íor Loughman andJacob VoorthD;s references in the vast amount o{ literature on the Last but not least I would like to thank - in many different artists represented in the rnissing alphabetical order - Mrs. AJ Blankert, Eric Domela collecrion. \fhen the deadline was drawing near, Eloy Nieuwenhuis Nyegaard, Rudi Ekkart, Emke Elen Koldewey joined the team as an extra reinforcement Clifford Kocq van Breugel' ?iet van der Eeden, Research for this catalogue was mainly done at the Thera lolmer-von oven,Jeroen Giltaij' Carlos van Rijksbureau voor Kunsthistorische Documentatie Hasselt' Ed de Heer, Koos deJong,J V. Kersten, (Netherlands Institute Íor Art History) and the F.FR. Koenigs, WO Koenigs, Arjen de Koonen, adjoining Koninklijke Bibliotheek (Dutch Royal Hans Kraan, Ger Luyten, Daan MacGillavrv, Library) at The Hague. \íe are especially indebted to Julian J Randall, E. SchokJ