Yet another Extortion Racket
Anthony Sabatini
The following article appeared in the Montreal Gazette (p. A15) on September
5, 1997. My comments appear in square brackets ([]) within the article.
< begin article >
_Jewish group plans to document Nazi-looted art_
Cox News Service
WASHINGTON -- Thousands of pieces of artwork looted by the Nazis during the
Holocaust reside in museums and private collections around the world, but in
many cases their provenance is unknown. Now a Jewish organization plans to
establish a clearinghouse for information about lost Jewish art and artifacts.
[Of course. On the one hand it is claimed that these artworks were "looted by
the Nazis" and then, in the very same sentence, it is claimed that "their
provenance is unknown". Is the writes of this article really _that_ stupid or
does he think his readers are? And what about *non-Jewish* "art and
artifacts", or don't those count, too?]
The issue of looted artwork from the Holocaust has gained momentum in recent
months as worldwide attention has focused on the existence of hundreds of
millions of dollars in stolen gold and other real property lying dormant in
Swiss banks for more than half a century.
[Ah, yes, the _other_ extortion racket. What does the author mean by
"worldwide attention"? Did the 6+ billion people on the earth suddenly
collectively claim, "Hey! What about all that money looted by the Nazis during
WWII?" I mean, did peasants in China or Africa really think about this? Of
course not! The phrase is akin to when the media claims things like "public
opinion" and "the people say". IOW, twaddle. It does, however, help in giving
the topic an air of authenticity and more credibility.]
Recently, the Metropolitan Museum of Art in New York has faced controversy
over two paintings obtained by the museum that were apparently looted -- or
extorted -- from their rightful owners by the Nazi regime.
[And how, exactly, were these paintings identified? Of course, the article
doesn't tell us.]
The new clearinghouse -- the Holocaust Art Restitution Project -- will be
established under the auspices of the B'nai Brith Klutznick National Jewish
Museum, said Ori Z. Soltes, the museum's director and curator.
[Geez, these guys are quick to come up with a catchy name: "the Holocaust Art
Restitution Project". Marketing, a sad fact of modern life.]
The project will compile documents designed to help researchers establish the
fate of Jewish art collections during and after the Holocaust, but will not
act as an advocacy group on the disposition of specific pieces of art, Soltes
said. The information will be published and made available on the Internet.
[IOW, while this "group" is ready to pounce on any lucrative opportunity, it
abhors actually taking _responsibility_ for verifying and backing up any
claims to these 'treasures'. How very convenient. How...unsurprising.]
< end article >
When will these extortion schemes by so-called "Jewish interest groups" end?
Haven't they already bilked enough money from hapless Jews (and others) by
creating and disseminating paranoia-inducing propaganda? Take, for example,
Michael Lerner's (the ADL's ex-president or chairman) telling quote from his
book _Jews and Blacks: Let the Healing Begin_:
"The ADL, like the Simon Wiesenthal Center in Los Angeles, has built its
financial appeal to Jews on its ability to portray the Jewish people as
surrounded by enemies who are on the verge of launching threatening
anti-Semitic campaigns. It has a professional stake in exaggerating the
dangers, and sometimes allows existing racial or political prejudices in the
Jewish world to influence how it will portray the potential dangers."
When will these filthy opportunists end their shenanigans?
grea...@mindspring.com
Anthony Sabatini wrote:
>
> The following article appeared in the Montreal Gazette (p. A15) on September
> 5, 1997. My comments appear in square brackets ([]) within the article.
>
> < begin article >
>
> _Jewish group plans to document Nazi-looted art_
>
> Cox News Service
>
> WASHINGTON -- Thousands of pieces of artwork looted by the Nazis during the
> Holocaust reside in museums and private collections around the world, but in
Are you opposed to the German demand of Art taken and presently still
held by the Russian Government?
Were you talking about the German Government "Extortion Racket" trying
to get back Art treasures still held by the Russians? Eh, Sabitini?
Herman
Anthony Sabatini
grea...@mindspring.com wrote in article <341094...@mindspring.com>...
> Anthony Sabatini wrote:
> >
> > The following article appeared in the Montreal Gazette (p. A15) on
September
> > 5, 1997. My comments appear in square brackets ([]) within the article.
> >
> > < begin article >
> >
> > _Jewish group plans to document Nazi-looted art_
> >
> > Cox News Service
> >
> > WASHINGTON -- Thousands of pieces of artwork looted by the Nazis during
the
> > Holocaust reside in museums and private collections around the world, but
in
> > many cases their provenance is unknown.<snip>
>
> Are you opposed to the German demand of Art taken and presently still
> held by the Russian Government?
Yes. See below.
> Were you talking about the German Government "Extortion Racket" trying
> to get back Art treasures still held by the Russians? Eh, Sabitini?
Well, I wasn't specifically talking about that, but now that you mention it, I
agree wholeheartedly. The Germans lost their art pieces fair and square during
the War. It may not be morally right, but I've never heard of the victors
returning any spoils to the loser. If you want to me comment more
specifically, post an article about it and I'll reply with my comments.
BTW, thank you, Herman, for this half-hearted attempt at a serious,
non-offensive post.
pgroff
On 5 Sep 97 17:25:46 GMT, "Anthony Sabatini"
<anth...@not.a.valid.address> wrote:
(Article Snipped)
Mr. Sabatini, I had purchased a book some time ago, that maybe you
should read.
"The Rape of Europa." Lynn H Nicholas Published May 3, 1994 Reprinted
six times. I have the eighth printing.
ISBN 0-679-400069-9
Thus Mr. Sabatini , much was written before the formation of the
reclaimation of Holocaust Art.
Michael
On 5 Sep 97 17:25:46 GMT, "Anthony Sabatini" <anth...@not.a.valid.address>
wrote:
>The following article appeared in the Montreal Gazette (p. A15) on September
>5, 1997. My comments appear in square brackets ([]) within the article.
>< begin article >
>_Jewish group plans to document Nazi-looted art_
>Cox News Service
>WASHINGTON -- Thousands of pieces of artwork looted by the Nazis during the
>Holocaust reside in museums and private collections around the world, but in
>< end article >
Excellent analysis of media newspeak, Mr. Sabatini.
>When will these extortion schemes by so-called "Jewish interest groups" end?
>Haven't they already bilked enough money from hapless Jews (and others) by
>creating and disseminating paranoia-inducing propaganda? Take, for example,
>Michael Lerner's (the ADL's ex-president or chairman) telling quote from his
>book _Jews and Blacks: Let the Healing Begin_:
>
>"The ADL, like the Simon Wiesenthal Center in Los Angeles, has built its
>financial appeal to Jews on its ability to portray the Jewish people as
>surrounded by enemies who are on the verge of launching threatening
>anti-Semitic campaigns. It has a professional stake in exaggerating the
>dangers, and sometimes allows existing racial or political prejudices in the
>Jewish world to influence how it will portray the potential dangers."
>
>When will these filthy opportunists end their shenanigans?
Answer: NEVER! They will not stop themselves. They will have to be stopped.
natio...@juno.com
Michael
"http://www.natall.com"
National Vanguard Books
P.O. Box 330
Hillsboro, WV 24946
"No man has come to true greatness who has not felt
in some degree that his life belongs to his race."
----Phillips Brooks
grea...@mindspring.com
> Answer: NEVER! They will not stop themselves. They will have to be >stopped.
Are you also going to stop the Germans trying to retrieve Art looted by
the Russians in WWII?
> natio...@juno.com
> Michael
> "http://www.natall.com"
John Morris
In <01bcba20$4283b960$d5a2cdcd@odin>, on 5 Sep 97 17:25:46 GMT,
"Anthony Sabatini" <anth...@not.a.valid.address> wrote:
>The following article appeared in the Montreal Gazette (p. A15) on September
>5, 1997. My comments appear in square brackets ([]) within the article.
>
>< begin article >
>
>_Jewish group plans to document Nazi-looted art_
>
>Cox News Service
>
>WASHINGTON -- Thousands of pieces of artwork looted by the Nazis during the
>Holocaust reside in museums and private collections around the world, but in
>many cases their provenance is unknown. Now a Jewish organization plans to
>establish a clearinghouse for information about lost Jewish art and artifacts.
>[Of course. On the one hand it is claimed that these artworks were "looted by
>the Nazis" and then, in the very same sentence, it is claimed that "their
>provenance is unknown".
Does "in many cases" mean "in all cases," Anthony? You seem to be
equating the two.
> Is the writes of this article really _that_ stupid or
>does he think his readers are?
We won't go there.
> And what about *non-Jewish* "art and
>artifacts", or don't those count, too?]
A great deal of non-Jewish art has been returned to its rightful
owners over the decades since the war. Why should a Jewish group *not*
act as advocates for Jews? Is there something special about Jews that
makes you believe that they should not be allowed to act in their own
interests?
>The issue of looted artwork from the Holocaust has gained momentum in recent
>months as worldwide attention has focused on the existence of hundreds of
>millions of dollars in stolen gold and other real property lying dormant in
>Swiss banks for more than half a century.
>[Ah, yes, the _other_ extortion racket.
I understand that the Swiss banks released information on 2,000
dormant accounts and plan to release information on an additional
20,000 dormant accounts. Claimants will have to provide proofs of
claim just as they would for any other dormant accounts.
How is this an "extortion racket"? Are you suggesting that *Jewish*
property expropriated by the Nazi state should not pass to its owners
or their heirs?
> What does the author mean by
>"worldwide attention"?
The world media?
> Did the 6+ billion people on the earth suddenly
>collectively claim, "Hey! What about all that money looted by the Nazis during
>WWII?" I mean, did peasants in China or Africa really think about this? Of
>course not! The phrase is akin to when the media claims things like "public
>opinion" and "the people say". IOW, twaddle. It does, however, help in giving
>the topic an air of authenticity and more credibility.]
All you have done is taken a common phrase and applied a special
meaning to it. A very, very weak way of making a case.
>Recently, the Metropolitan Museum of Art in New York has faced controversy
>over two paintings obtained by the museum that were apparently looted -- or
>extorted -- from their rightful owners by the Nazi regime.
>[And how, exactly, were these paintings identified? Of course, the article
>doesn't tell us.]
So? If you don't know how art historians may have identified the
paintings, why do you assume that something sinister is going on?
>The new clearinghouse -- the Holocaust Art Restitution Project -- will be
>established under the auspices of the B'nai Brith Klutznick National Jewish
>Museum, said Ori Z. Soltes, the museum's director and curator.
>[Geez, these guys are quick to come up with a catchy name: "the Holocaust Art
>Restitution Project". Marketing, a sad fact of modern life.]
Would you object if the Louvre had called their efforts to retrieve
looted art "the French Art Restitution Project"? Somehow, I think not.
>The project will compile documents designed to help researchers establish the
>fate of Jewish art collections during and after the Holocaust, but will not
>act as an advocacy group on the disposition of specific pieces of art, Soltes
>said. The information will be published and made available on the Internet.
>[IOW, while this "group" is ready to pounce on any lucrative opportunity, it
>abhors actually taking _responsibility_ for verifying and backing up any
>claims to these 'treasures'. How very convenient. How...unsurprising.]
Read the quoted passage again. It says the exactly the opposite of
your paraphrase. Compiling documents to help researchers is precisely
what is meant by verifying claims. If the compilers will not stand by
(take responsibility for) their claims, then the current holders of
the artifacts are under no obligation to comply with their claims.
Lastly, the researchers will *not* act as advocates for the final
disposition, which means that they cannot profit from any "lucrative
opportunities."
>< end article >
>When will these extortion schemes by so-called "Jewish interest groups" end?
Begs the question. When will you identify an actual extortion scheme?
>Haven't they already bilked enough money from hapless Jews (and others) by
>creating and disseminating paranoia-inducing propaganda? Take, for example,
>Michael Lerner's (the ADL's ex-president or chairman) telling quote from his
>book _Jews and Blacks: Let the Healing Begin_:
>"The ADL, like the Simon Wiesenthal Center in Los Angeles, has built its
>financial appeal to Jews on its ability to portray the Jewish people as
>surrounded by enemies who are on the verge of launching threatening
>anti-Semitic campaigns. It has a professional stake in exaggerating the
>dangers, and sometimes allows existing racial or political prejudices in the
>Jewish world to influence how it will portray the potential dangers."
I once had a long chat with one of the historians employed by the
Canadian Justice Department to investigate war crimes allegations
against Canadian residents. He was very chary of the Wiesenthal
Center's identification of war criminals, since the number of
unsubstantiated claims which had to be investigated far outweighed the
numbers of bona fide cases which could be prosecuted (leaving aside
Justice's abysmal record in actual prosecutions). Basically, they were
viewed by Justice officials as a pain in the ass. I only say any of
this so you will accept that the SWC is not one of my favorite
organizations.
Nevertheless, I am curious as to why you think this often-repeated
quote by one Jew associated with one Jewish advocacy organization
should stand as proof of the corruption of all Jews for all time.
You did, after all, say that "they" (the Holocaust Art Restitution
Project qua Jews) were bilking Jews and others "by creating and
disseminating paranoia-inducing propaganda."
Oh. yes, I do recognize that you posed it as a question, but I also
recognize the function of a rhetorical question.
>When will these filthy opportunists end their shenanigans?
Begs the question. You have plainly not identified any "filthy
opportunists" or fairly characterized any of their activities as
"shenanigans."
The question which interests me is why you expend so much energy
vilifying Jews.
--
John Morris <John....@UAlberta.CA>
at University of Alberta <Scripture veteris capiunt exempla futuri>
--
The Nizkor Project is at http://www.nizkor.org/
Kenneth McVay OBC
In article <01bcba20$4283b960$d5a2cdcd@odin>,
Anthony Sabatini <anth...@not.a.valid.address> wrote to a subject of which he
knows little, the plundering of works of art by the Nazi regime. The following
may be of value to those who value facts more than Hitler-cleansing claptrap:
Archive/File: imt/nca/nca-01/nca-01-14-plunder-01
Last-Modified: 1996/06/19
Nazi Conspracy and Aggression, Volume One, Chapter Fourteen
[Page 1097]
Chapter XIV:
THE PLUNDER OF ART TREASURES
1. EINSATZSTAB ROSENBERG
A. Formation, Purpose, Powers.
On 29 January 1940 Hitler issued a decree in the following
terms:
"The 'Hohe Schule' is supposed to become the center for
national-socialistic ideological and educational research.
It will be established after the conclusion of the war. I
order that the already initiated preparations be continued
by Reichsleiter Alfred Rosenberg, especially in the way of
research and the setting up of the library.
"All sections of Party and State are requested to
cooperate with him in this task." (136-PS)
What began as a project for the establishment of a research
library developed into a project for the seizure of cultural
treasures. (141-PS)
On 1 March 1942 Hitler issued a decree in which he asserted
that Jews, Freemasons, and affiliated opponents of National
Socialism are the authors of the War against the Reich, and
that a systematic spiritual battle against them is a
military necessity. The decree thereupon authorized
Rosenberg to search libraries, archives, lodges, and
cultural establishments, to seize relevant material from
these establishments as well as cultural treasures which
were the property or in the possession of Jews, which were
ownerless, or the origin of which could not be clearly
established. The decree directed the cooperation of the
Wehrmacht High Command and indicated that Rosenberg's
activities in the West were to be conducted in his capacity
as Reichsleiter and in the East in his capacity as
Reichsminister. (149-PS)
This decree was implemented by a letter from Dr. Lammers,
Reichsminister and Chief of Chancellory, directed to the
"Highest Reich Authorities and the Services directly
subordinate to the Fuehrer." The letter reiterated the terms
of the Hitler decree and requested support of the Reich
authorities in Rosenberg's fulfillment of his task. (154-PS)
B. Scope of Activities.
Rosenberg's activities in fulfillment of the above decrees
were extended, in the West, to France (138-PS), Belgium (139-
PS), the Netherlands (140-PS), Luxembourg (137-PS), and
Norway and Denmark. (159-PS)
[Page 1098]
In the East activities were carried out throughout the
Occupied Eastern Territories (153-PS), including the Baltic
states and the Ukraine (151-PS), as well as in Hungary (158-
PS), Greece (171-PS), and Yugoslavia. (071-PS)
The function of the Rosenberg Organization included not only
the seizure of books and scientific materials specified in
the original Hitler Order (171-PS), but the seizure of
private art treasures (1015-B-PS), public art treasures (055-
PS), and household furnishings. (L-188)
C. Cooperating Agencies.
On 5 July 1940 Keitel (Chief of the OKW) informed the Chief
of the Army High Command (OKH) and the Chief of the Armed
Forces in The Netherlands that the Fuehrer had ordered that
Rosenberg's suggestion be followed, to the effect that
certain libraries and archives, chancelleries of high church
authorities, and lodges be searched for documents valuable
to Germany or indicating political maneuvers directed
against Germany, and that such material be seized. The
letter further stated that Hitler had ordered the support of
the Gestapo and that the Chief of the Sipo (Security
Police), SS-Gruppenfuehrer Heydrich, had been informed and
would communicate with the competent military commanders.
(137-PS)
Keitel issued a further order to the Chief of the OKH,
France, on 17 September 1940, providing:
"The ownership status before the war in France, prior
to the declaration of war on 1 September 1939, shall be
the criterion.
"Ownership transfers to the French state or similar
transfers completed after this date are irrelevant and
legally invalid (for example, Polish and Slovak
libraries in Paris, possessions of the Palais
Rothschild or other ownerless Jewish possessions).
Reservations regarding search, seizure and
transportation to Germany on the basis of the above
reasons will not be recognized.
"Reichsleiter Rosenberg and/or his deputy
Reichshauptstellenleiter Ebert has received clear
instructions from the Fuehrer personally governing the
right of seizure; he is entitled to transport to
Germany cultural goods which appear valuable to him and
to safeguard them there. The Fuehrer has reserved for
himself the decision as to their use.
"It is requested that the services in question be
informed correspondingly." (138-PS)
The above order was extended to Belgium on 10 October 1940
[Page 1099]
(139-PS), and an identical order was issued by the Chief of
the OKH to the Armed Forces Commander in The Netherlands on
17 September 1940. (140-PS)
Hitler's order of 1 March 1942 stated:
"Directions for carrying out this order in cooperation
with the Wehrmacht will be issued by the Chief of the
Wehrmacht High Command in agreement with Reichsleiter
Rosenberg." (149-PS)
Dr. Lammers' order of 5 July 1942 declared that the Chief of
the OKH, in agreement with Keitel, would issue regulations
governing the cooperation with the Wehrmacht and the Police
Services for assistance in making seizures. (154-PS)
An official of the Rosenberg Ministry for the Occupied East
declared the Wehrmacht to be one of the primary agencies
engaged in removing art treasures from Russia. (1107-PS)
Cooperation of the SS and the SD was indicated by Rosenberg
in a letter to Bormann on 23 April 1941:
"*** It is understood that the confiscations are not
executed by the regional authorities but that this is
conducted by the Security Service as well as by the
police. *** it has been communicated to me in writing
by a Gauleiter, that the chief office of the Reich
Security (RSHA) of the SS has claimed the following
from the library of a monastery: **." (071-PS)
The above letter also points out that there has been
"*** close cooperation on the widest scale with the
Security Service and the military commanders. ***
"This affair (Operations in Salonika) has already been
executed on our side with the Security Service (SD) in
the most loyal fashion." (071-PS)
The National Socialist Party financed the operations of the
Einsatzstab Rosenberg. (090-PS; 145-PS)
In a letter to Goering, 18 June 1942, Rosenberg voiced the
opinion that all art objects and other confiscated items
should belong to the National Socialist Party because the
Party has been bearing the brunt of the battle against the
persons and forces from whom this property was taken. (1118-
PS)
D. Cooperation of Hermann Goering.
On November 1940, Goering issued an order specifying the
distribution to be made of art objects brought to the
Louvre. This order lists as second in priority of
disposition, "Those art objects
[Page 1100]
which serve to the completion of the Reichsmarshal's
collection" and states that the objects will "be packed and
shipped to Germany with the assistance of the Luftwaffe."
(141-PS)
On 1 May 1941 Goering issued an order to all Party, State,
and Wehrmacht Services requesting them:
"*** to give all possible support and assistance to the
Chief of Staff of Reichsleiter Rosenberg's Staff,
Reichshauptstellenleiter Party Comrade Utikal, and his
deputy DRK -- Feldfuehrer Party Comrade von Behr, in
the discharge of their duties. The above-mentioned
persons are requested to report to me on their work,
particularly on any difficulties that might arise."
(1117-PS)
On 30 May 1942, Goering claimed credit for the success of
the Einsatzstab:
"*** On the other hand I also support personally the
work of your Einsatzstab wherever I can do so, and a
great part of the seized cultural goods can be
accounted for because I was able to assist the
Einsatzstab by my organizations." (1015-I-PS)
E. Method of Operation.
The staff of the Einsatzstab Rosenberg seized not only
"abandoned" art treasures but also treasures which had been
hidden, or were left in the custody of depots or warehouses,
including art treasures that were already packed for
shipment to America. (1015-B-PS)
Robert Scholz, Chief of the Special Staff for Pictorial Art,
described the thoroughness with which the Einsatzstab
conducted investigations and seizures:
"*** These seizures were carried out on the basis of
preliminary exhaustive investigations into the address
lists of the French Police authorities, on the basis of
Jewish handbooks, warehouse inventories and order books
of French shipping firms as well as on the basis of
French art and collection catalogs.
"*** The seizure of ownerless Jewish works of art has
gradually extended over the whole French territory."
(1015-B-PS)
In the East, members of Rosenberg's staff operated directly
behind the front in close cooperation with the infantry.
(035-PS)
Von Behr, in a progress report dated 8 August 1944,
described the method of seizing household furnishings:
[Page 1101]
"The confiscation of Jewish homes was effected in most
cases in such a way that the so-called confiscation
officials from house to house when no records were
available of addresses of Jews who had departed or
fled, as was the case for example, in Paris *** They
drew up inventories of these homes and subsequently
sealed them.........
"The goods are dispatched first, to large collecting
camps from where
they are turned over, sorted out and loaded for
Germany.
"*** work shops were established for cabinet-makers,
watchmakers, shoemakers, electricians, radio experts,
furriers, etc. All incoming goods were diligently
sorted out and those not ready for use were repaired.
Moreover special boxes were dispatched for the use of
special trades *** "For the sorting out of the
confiscated furniture and goods on the invisible
assembly line and for the packing and loading,
exclusive use was made of interned Jews. Because of its
experience as to confiscation, as to working systems
within the camps, and as to transportation, the Office
West was able to reorganize their entire working system
and thus to succeed in providing for the use in Germany
of even things,which appeared to be valueless such as
scrap paper, rags, salvage, etc. ***" (L-188).
F. Nature, Extent, and Value of Property Seized.
(1) Books, manuscripts, documents, and incunabula. A report
on the library of the "Hohe Schule," prepared by Dr. Wunder,
lists the most significant book collections belonging to the
library and confiscated by the Einsatzstab Rosenberg in
accordance with the orders of the Fuehrer, as follows (171-
PS):
(approx)
Alliance Israelite Universelle 40,000
Vols.
Ecole Rabbinique 10,000 Vols.
Federation de Societe des Juifs de France 4,000
Vols.
Lipschuetz Bookstore, Paris 20,000 Vols.
Rothschild Family, Paris 28,000 Vols.
Rosenthaliana, Amsterdam 20,000 Vols.
Sefardischen Jewish Community, Amsterdam 25,000
vols.
Occupied Eastern Territories 280,000 Vols.
Jewish Community, Greece 10,000 Vols.
"Special Action", Rhineland 5,000 Vols.
Other sources 100,000 Vols.
----------------
552,000
[Page 1102]
An undated report on the activities of the Einsatzstab
Working Group, Netherlands, lists Masonic Lodges and other
organizations whose libraries and archives have been seized.
The report states that 470 cases of books had already been
packed and reports materials seized from 92 separate lodges-
of the "Droit Humain", the "Groot Oosten", the "IOOF" and
the "Rotary Club". An additional 776 cases containing
approximately 160,000 volumes were seized from the
International Institute for Social History at Amsterdam. An
additional 170 cases were seized from the "Theosophischen
Society" and other organizations. (176-PS)
The report further states that the value of the above works
is between 30 million and 40 million Reichsmarks. Additional
materials to be derived from other sources, including
100,000 volumes from the "Rosenthaliana" collection, are
estimated to have a value of three times that of the above,
or an additional 90 million to 120 million Reichsmarks. The
estimated over-all value is thus between 120 and 160 million
Reichsmarks. (176-PS)
(2) Household furnishings. The entire furniture seizure
action, known as "Action M", is summarized in a report of
Von Behr, Chief of the Office West, dated 8 August 1944. The
report furnishes the following statistics on results up to 1
July 1944:
Jewish homes confiscated
71,619.
Loading capacity required - cu. ms
1,079,373.
Railroad cars required
26,984.
Foreign currency and securities confiscated
RM 11,695,516
Scrap metal, scrap paper, and textiles dispatched
kgms 3,191,352
(L-188)
The report goes on to list in detail the number of boxes of
miscellaneous items seized, including china (199 boxes),
curtains (72 boxes), coat hangers (120 boxes), toys (99
boxes), bottles (730 boxes), etc. The report concludes with
an itemized statement of the number of wagons dispatched to
various cities throughout Germany, to German camps, to SS
Divisions, the German State Railways, the Postal Service,
and the Police. (L-188)
(3) Works of Art (East). With reference to the work of the
Einsatzstab in the Eastern Territories, Robert Scholz
reported as follows:
"In the course of the evacuation of the territory
several hundred most valuable Russian ikons, several
hundred Russian
[Page 1103]
paintings of the 18th and 19th centuries, individual
articles of furniture and furniture from castles were
saved in cooperation with the individual Army Groups,
and brought to a shelter in the Reich." (1015-B-PS)
In August 1943, just prior to the loss of Charcow by the
Germans, 300 paintings of West European masters and
Ukrainian painters, and 25 valuable Ukrainian carpets,
mostly from the Charcow museum, were packed and shipped by
the Einsatzstab. (707-PS)
Reporting on the withdrawal from the Ukraine, Staff Director
Utikal accounted for the removal of the following materials:
From the Museum of Art at Charcow:
Ukrainian paintings 96
Western European paintings 185
Wood carvings and etchings 12
Carpets and tapestries 25
From the Ukrainian museum in Kiev:
Textiles of all sorts.
Collection of valuable embroidery patterns.
Collection of brocades.
Numerous items of wood, etc. (035-PS)
In addition Utikal reported shipment of a total of 131 cases
containing: 10,186 books, the catalog of the "East" library,
art folios, samples of magazines, Bolshevist pictures, and
Bolshevist films. Utikal also stated:
"Moreover an essential part of the prehistoric museum
was transported away." (035-PS)
Another report on the shipment of works of art from the
Ukraine, 12 September 1944, indicated the value of the
contents of 85 chests of art objects:
"There are a great many of the oldest ikons, works of
famous masters of the German, Dutch and Italian schools
of the 16th, 17th and 18th centuries, as well as works
of the best Russian artists of the 18th and 19th
centuries. On the whole, the contents include the most
valuable works of the known Ukrainian art possession,
which in themselves represent a value of many millions
after a cursory appraisal." (055-PS)
Attached to the above report is a detailed inventory listing
hundreds of individual objects.
Additional evidence as to the extent of material seized in
Kiev is found in a secret note, 17 June 1944, dealing with
measures taken prior to the Russian Occupation. The note
reported the taking of materials from museums, archives,
institutions, etc.,
[Page 1104]
during the autumn of 1943 on the order of the Einsatzstab
and of the Reichs-commissar. During October there were sent
to the Reich 40 railway trucks, carrying mostly goods
belonging to the Central Research Institute of the Ukraine.
The report concluded with the statement that when the
Soviets entered the town nothing of value was left. (1109-
PS)
On 28 September 1941, the General Commissar for White
Ruthenia reported the seizure of art treasures in the area
of Minsk, destined for Konigsberg and Linz. The value of
these confiscations was stated to amount to millions of
marks. (1099-PS)
(4) Works of Art (West). The Robert Scholz report declared
that:
"During the period from March 1941 to July 1944, the
Special Staff for Pictorial Art brought into the Reich:
29 large shipments including 137 freight cars with
4,17 cases of art works." (1015-B-PS)
The report stated that a total of 21,903 art objects of all
types had been counted and inventoried, and stated:
"With this scientific inventory of a material unique in
its scope and importance and of a value hitherto
unknown to art research, the Special Staff for
Pictorial Art has conducted a work important to the
entire field of art. This inventory work will form the
basis of an all-inclusive scientific catalog in which
should be recorded history, scope and scientific and
political significance of this historically unique art
seizure." (1015-B-PS)
The following is a summary of the inventory attached to the
report:
Paintings 10,890.
Plastics 583.
Furniture 2,477.
Textiles 583.
Hand-made art objects 5,825.
East Asiatic objects 1,286.
Antiquities 259.
----------
Total 21,903
(1015-B-PS)
The report stated that the above figures would be increased
since seizures in the West were not yet completed and it had
not been possible to make a scientific inventory of part of
the seized objects because of the lack of experts. (1015-B-
PS)
[Page 1105]
As early as 28 January 1941, Rosenberg stated, with
reference to properties
seized in France alone:
"*** the value involved will come close to a billion
Reichsmarks." (090-PS)
Scholz, in his report on activities from March 1941 to July
1944, expressed the value of the seizures as follows:
"The extraordinary artistic and material value of the
seized art works cannot be expressed in figures. The
paintings, period furniture of the 17th and 18th
Centuries, the Gobelins, the antiques and renaissance
jewelry of the Rothschild's are objects of such a
unique character that their evaluation is impossible,
since no comparable values have so far appeared on the
art market.
"A short report, moreover, can only hint at the
artistic worth of the collections. Among the seized
paintings, pastels and drawings there are several
hundred works of the first quality, masterpieces of
European art, which could take first place in any
museum. Included therein are absolutely authenticated
signed works of Rembrandt van Rijn, Rubens, Frans Hals,
Vermeer van Delft, Valasquez, Murillo, Goya, Sebastiano
del Piombo, Palma Vecchio, etc.
"Of first importance among the seized paintings are the
works of the famous French painters of the 18th
Century, with masterpieces of Boucher, Watteau, Rigaud,
Largielliere, Rattler, Fragonard, Pater, Danloux and de
Troy.
"This collection can compare with those of the best
European museums. It includes many works of the
foremost French masters, who up to now have been only
inadequately represented in the best German museums.
Very important also is the representation of
masterpieces of the Dutch Painters of the 17th and 18th
Centuries. First of all should be mentioned the works
of van Dyck, Saloman and Jacob Ruisdal, Wouvermann,
Terborch, Jan Weenix, Gabriel Metsu, Adrian van Ostade,
David Teniers, Pieter de Hooch, Willem van der Velde,
etc.
"Of foremost importance also are the represented works
of English painting of the 18th and early 19th
centuries, with masterpieces of Reynolds, Romney, and
Gainsborough. Cranach and Amberger, among the German
masters, should be mentioned.
"The collection of French furniture of the 17th and
18th centuries is perhaps even more highly to be
evaluated. This contains hundreds of the best preserved
and, for the most part, signed works of the best known
cabinet-makers from
[Page 1106]
the period between Louis XIV to Louis XVI. Since German
cabinetmakers played an important part in this golden
age of French cabinetry, now recognized for the first
time in the field of art, this collection is of
paramount importance. "The collection of Gobelins and
Persian tapestries contains numerous world-famous
objects. The collection of handicraft works and the
Rothschild collection of renaissance jewelry is
valuable beyond comparison." (1015-B-PS)
The report refers to 2 portfolios of pictures of the most
valuable works of the art collections seized in the West,
which portfolios were presented to the Fuehrer. Ten
additional portfolios are stated to be attached to the
report and additional portfolios are said to be in
preparation. Thirty-nine leatherbound volumes prepared by
the Einsatzstab contain photographs of paintings, textiles,
furniture, candelabra, and numerous other objects of art and
illustrate the magnitude and value of the collection made by
Einsatzstab Rosenberg.
--
The Nizkor Project | Remember: http://www.nizkor.org
-----------------------| Search: http://www.nizkor.org/search.html
Kenneth McVay, OBC |--------------------------------------------
Director | Home: http://www.nizkor.org/~kmcvay
Kenneth McVay OBC
In article <01bcba20$4283b960$d5a2cdcd@odin>,
Anthony Sabatini <anth...@not.a.valid.address> wrote to a subject of which he
knows little, the plundering of works of art by the Nazi regime. The following
may be of value to those who value facts more than Hitler-cleansing claptrap:
Archive/File: imt/nca/nca-01/nca-01-14-plunder-02
Last-Modified: 1996/06/20
Nazi Conspracy and Aggression, Volume One, Chapter Fourteen
2. THE GENERAL-GOUVERNEMENT
A. Confiscatory Laws and Decrees
In October 1939 Goering issued a verbal order to Dr.
Muehlmann asking him to undertake the immediate securing of
all Polish art treasures. (1709-PS)
On 15 November 1939, Hans Frank, Governor-General for the
Occupied Polish Territories, issued a decree providing in
part:
"Article 1. 1. All movable and stationary property of
the Former Polish State *** will be sequestered for the
purpose of securing all manner of public valuables."
(1773-PS) .
On 16 December 1939, Frank issued a decree providing in
part:
"Article 1. All art objects in public possession in the
General Gouvernement will be confiscated for the
fulfillment of public tasks of common interest insofar
as it has not already been seized under the decree on
the confiscation of the wealth of the former Polish
State in the General Gouvernement of 15 November 1939
(Verordnungsblatt GGP, p. 37).
"Article 2. With the exception of art collections and
art objects which were the property of the former
Polish State, art objects will be considered as owned
by the public:
"1. Private art collections which have been taken under
protection by the special commissioner for the seizure
and safekeeping of the art and cultural treasures.
"2. All ecclesiastical art property with the exception
of
[Page 1107]
those objects required for the daily performance of
liturgic actions.
"Article 3. 1. In order to determine whether art
objects are public property in the sense of this
regulation, every private and ecclesiastical art
possession has to be registered with exact data on the
kind, nature and number of pieces.
"2. Everyone who possessed or at the present time is in
possession of or else is entitled to dispose of such
objects of art since 15 March 1939, is obliged to
register the same." (1773-PS)
In order to implement the above decree, the following
registration decree wa issued in the name of the Governor
General by Dr. Muehlmann, Special Deputy for the Securing of
Art Treasures:
"Article 2. 1. Objects of artistic, cultural-historical
and historical value which originate from the time
before 1850, have to be registered.
"2. The registration includes the following:
"a. Paintings.
"b. Sculpture.
"c. Products of handicraft (for instance antique
furniture, chinaware, glass, golden and silver objects,
Gobelins, rugs, embroideries, lacework, paramente,
etc.).
"d. Drawings, engravings, woodcuts, etc.
"e. Rare manuscripts, musical manuscripts, autographs,
book-paintings, miniatures, prints, covers, etc.
"f. Weapons, armors, etc.
"g. Coins, medals, seals, etc.
"3. Regarding the art objects mentioned in section 2,
detailed information has to be given if possible, on
the master, the time of production, the contents of the
representation, measurements and material (for
instance, wood, canvas, bronze, etc.) ." (1773-PS)
The seizures authorized by the above decrees ripened into
confiscation and assumption of ownership by the General
Gouvernement, with the issuance of the following decree by
Frank on 24 September 1940:
"Article 1. The property sequestered on the basis of
Article 1, section 1 of the decree on the confiscation
of the wealth of the former Polish State within the
General Gouvernement of 15 November 1939
(Verordnungsblatt GGP, Pg. 37) will be transferred to
the ownership of the General Gouvernement." (1773-PS)
Heinrich Himmler, as Reichscommissioner for the Strengthen-
[Page 1108]
ing of Germanism, issued an "urgent decree" to the regional
officers of the Secret Police in the Annexed Eastern
Territories and the Commanders of Security Service in Krakau
(Charkow), Radom, Warsaw, and Lublin. The decree, 11
February 1939, was circulated on 116 February 1939, the
same date as the promulgation of the decree of Dr.
Muehlmann, above referred to (1773-PS). The Himmler decree
contained administrative directions for execution of the Art
Seizure program. (R-143)
B. Purpose of Art Seizures.
The purpose of the Seizure Program is indicated in the
aforementioned Himmler decree:
"1. To strengthen Germanism in the defense of the Reich
all articles mentioned in Section II of this decree are
hereby confiscated. This applies to all articles
located in the territories annexed by the Fuehrer's and
Reich Chancellor's decree of 10 December 39, and the
General Government for the Occupied Polish Territories.
They are confiscated for the benefit of the German
Reich and are at the disposal of the Reich Commissioner
for the Strengthening of Germanism."
*******
IV
"All confiscations made before this decree by
authorities of the Reich Fuehrer SS and the Chief of
German Police and the Reich Commissioner for the
Strengthening of Germanism are hereby confirmed. They
are to be regarded as made for the benefit of the
German Reich and are at the disposal of the Reich
Commissioner for the Strengthening of Germanism."
(R-143)
The methodical nature of the Art Seizure Program, and the
existence of a general policy of confiscation of art
treasures, indicated in section V of Himmler's decree:
"In due course the usual questionnaires for cataloguing
confiscated articles are to be sent to the Chief
Custodian East." (R-143)
The intention to enrich Germany by the seizures rather than
merely to protect the seized objects is indicated in a
report by Dr. Hans Posse, Director of the Dresden State
Picture Gallery:
"I was able to gain some knowledge on the public and
private collections as well as clerical property in
Cracow and Warsaw. It is true that we cannot hope too
much to enrich ourselves from the acquisition of great
Art works, of paint-
[Page 1109]
ings and sculptures, with the exception of the Veit-
Stoss Altar and the plates of Hans Von Kulmbach in the
Church of Maria in Cracow ..and several other works
from the National Museum in Warsaw. ***" (1600-PS)
The avowed purpose of the art treasure seizures was the
promulgation of German Culture throughout the Occupied East:
"*** the result is put down in the catalogue together
with reproductions, and this is a definite proof of the
penetration of the East by the German Cultural urge."
(1233-PS)
C. Nature, Extent, and Value of Property Seized.
Virtually the entire art possession of Poland, private as
well as public, was seized by the General Gouvernement (1233-
PS). In a catalogue of the more important works of art
seized by the General Gouvernement, paragraph 1 of the
Foreword contains the following admission:
"On the basis of the decree of the General Governor for
the Occupied Polish Territories of December 16,1939,
the Special Delegate for the Safeguarding of Treasures
of Art and Culture was able in the course of six months
to secure almost the entire art treasure of the
country, with one single exception: the Flemish Gobelin
series from the castle in Cracow According to the
latest information, these are kept in France, so that
it will be possible to secure them eventually." (1233-
PS)
The nature and extent of materials seized by the General
Gouvernement is indicated in Document 1709-PS. The document
inventories the objects seized, and divides them into two
classifications: those of primary importance ("Reich-
important"), and those of secondary importance. Articles of
primary importance, totaling 521 separate objects, are also
set forth in a descriptive catalogue. (1233-PS)
The articles catalogued include paintings by German,
Italian, Dutch, French, and Spanish masters, rare
illustrated books, Indian and Persian miniatures, woodcuts,
the famous Veit-Stoss hand-carved altar, handicraft articles
of gold and silver, antique furniture, articles of crystal,
glass and porcelain, tapestries, antique weapons, rare
coins, and medals. The objects were seized from both public
and private sources, including the National Museum in Cracow
and the National Museum in Warsaw, the cathedrals of Warsaw
and Lublin, a number of churches and monasteries, the
Chateau of the Kings in Warsaw, university and other
[Page 1110]
libraries, and a large number of private collections of the
Polish nobility. (1709-PS)
Items placed in the second category are of the same nature
as those placed in category I. Approximately 500 separate
items are catalogued, many of the items including a large
number of separate objects treated under a single catalogue
heading. (1709-PS)
The value of the objects seized from 22 collections is
stated to be 9,437,000 Zloty. The materials referred to are
only a portion of those selected as being of secondary
importance. No valuation is given as to the balance of the
items of secondary importance or as to the 521 objects
selected as being of primary importance. (1709-PS)
D. Evidence That Seizures Were Not Merely for Protective
Purposes.
In Dr. Posse's report (1600-PS), a number of items are
referred to which may be found in the catalogue of art
objects "made secure" (1233-PS):
"I was able to gain some knowledge on the public and
private collections as well as clerical property in
Cracow and Warsaw. It is true that we cannot hope too
much to enrich ourselves from the acquisition of great
Art works, of paintings and sculptures, with the
exception of the Veit-Stoss altar and the plates of
Hans von Kulmbach in the Church of Maria in Cracow, the
Raphael, Leonardo and Rembrandt from the collection
Czartoryski, and several other works from the National
Museum in Warsaw, *** works of a rather high value of
whose existence we in Germany had already known. Richer
and more extensive is the Polish stock of 'objects
d'art', such as handicraft in gold and silver, of
German origin to a large part, particularly from the
Church of Maria and the Cathedral of Wawel, tapestries,
arms, porcelains, furniture, bronzes, coins, valuable
parchment scrips, books, etc. ***"
*******
"As I said before, I shall not be able to make
proposals regarding the distribution as long as an
inventory of the entire material does not exist.
However, I should like to reserve for the museum at
Linz the three most important paintings of the
Czartoryski collection, namely the Raphael, Leonardo
and Rembrandt which are at present in the Kaiser-
Frederick Museum in Berlin. We in Dresden are
particularly interested in the interior decorations of
the castle of the Kings in War-
[Page 1111]
saw since Saxonian architects and artists have created
them; therefore, the suggestion is made that the
salvaged parts of it (panellings, doors, inlaid floors,
sculptures, mirrors, glass chandeliers, porcelains,
etc.) be used for the interior decoration of the
Pavillion of the 'Zivinges' in Dresden." (1600-PS)
The following items listed in the above report are also
listed in the catalogue:
Item
Catalog No.
Veit-Stoss Altar
241
Hans Vol Kulmbach Works
22
Raphael
141
Leonardo
134
Rembrandt
81
Church of Maria Handicraft 262-265, 279,
280
From Jagellonic Library 166, 167,
186,
199-203, 206, 209,
212, 215-224
(See 1233-
PS, 1600-PS.)
Appendix 8 of Document 1709-PS lists a large number of
objects which were turned over to Architect Koettgen. The
items listed include, in addition to paintings, tapestries,
etc., plates, dishes, cups and saucers, vases, cream
pitchers, glasses, a bread basket, a service tray, and other
items of table service. These objects were turned over to
the architect for the purpose of furnishing the Castle at
Cracow and Schloss Kressendorf for the Governor. (1709-PS)
A number of objects were transported out of Poland and
placed in Berlin in the Depot of the Special Deputy or in
the safe of the Deutsche Bank (1709-PS). Items at this
location are also listed in the catalog (1233-PS) as numbers
4, 17, 27, 35, 42, 45, 47, 51, 138, 141, 145, and 148.
Thirty-one sketches by Durer were taken from the collection
Lubomierski in Lemberg:
"The Special Deputy has personally handed over these
sketches in July 1941 to the Reichsmarshal who took
them to the Fuehrer at headquarters where they remain
at the present time. On express direction of the
Fuehrer they will stay in his possession for the time
being." (1709-PS)
All art objects seized were screened for those which were
important from the German point of view:
"The Reich-important pieces were collected in a
catalogue of the so called 'First Choice'. One copy of
this catalogue has been submitted to the Fuehrer who
reserved to himself the first
[Page 1112]
decision as to location and use of the art objects of
the 'First Choice' ". (1709-PS)
Dr. Muehlmann, the "Special Deputy for the Safeguarding of
Art Treasures" in the General Government, has confirmed that
it was the policy and purpose of the art seizure program to
confiscate the art treasures and to retain them for the
benefit of Germany:
"I confirm, that it was the official policy of the
Governor GeneraI, Hans Frank, to take into custody all
important art treasures, which belonged to Polish
public institutions, private collections and the
Church. I confirm, that the art treasures, mentioned,
were actually confiscated, and it is clear to me, that
they would not have remained in Poland in case of a
German victory, but that they would have been used to
complement German artistic property." (3042-PS)
Kenneth McVay OBC
In article <01bcba20$4283b960$d5a2cdcd@odin>,
Anthony Sabatini <anth...@not.a.valid.address> wrote to a subject of which he
knows little, the plundering of works of art by the Nazi regime. The following
may be of value to those who value facts more than Hitler-cleansing claptrap:
Archive/File: imt/nca/nca-01/nca-01-14-plunder-03
Last-Modified: 1996/06/20
Nazi Conspracy and Aggression, Volume One, Chapter Fourteen
LEGAL REFERENCES AND LIST OF DOCUMENTS
RELATING TO THE PLUNDER OF ART TREASURE
Charter of the International Military Tribunal, Article
6(b). Vol. I, Pg. 5
International Military Tribunal, Indictment Number 1,
Sections III; VIII (E). Vol. I, Pg. 15, 43
Note: A single asterisk (*) before a document indicates
that the document was received in evidence at the
Nurnberg trial. A double asterisk (**) before a
document number indicates that the document was
referred to during the trial but was not formally
received in evidence, for the reason given in
parentheses following the description of the document.
The USA series number, given in parentheses following
the description of the document, is the official
exhibit number assigned by the court.
[Page 1113]
*015-PS; Letter and report of Rosenberg to Hitler, 16
April 1943, concerning seizure of ownerless Jewish art
possessions. (USA 387). Vol. III, Pg. 41
035-PS; Report, 26 October 1943, regarding security
measures by Main Division Ukraine during withdrawl of
armed forces. Vol. III, Pg. 75
055-PS; Report, 12 September 1944, concerning works of
art shipped from the Ukraine. Vol. III, Pg. 99
*071-PS; Rosenberg letter to Bormann, 23 April 1941,
replying to Bormann's letter of 19 April 1941 (Document
072-PS). (USA 371). Vol. III, Pg. 119
*090-PS; Letter from Rosenberg to Schwartz, 28 January
1941, concerning registration and collection of art
treasures. (USA 372). Vol. III, Pg. 148
*136-PS; Certified copy of Hitler Order, 29 January
1940, concerning establishment of "Hohe Schule". (USA
367). Vol. III, Pg. 184
*137-PS; Copy of Order from Keitel to Commanding
General of Netherlands, 5 July 1940, to cooperate with
the Einsatzstab Rosenberg. (USA 379). Vol. III, Pg. 185
138-PS; Copy of Order from Keitel to Commanding General
of France, 17 September 1940, to cooperate with the
Einsatzstab Rosenberg. Vol. III, Pg. 186
[Page 1114]
139-PS; Reineke order, 10 October 1940, concerning
instructions to be given to Military Administration in
Belgium to cooperate with Einsatzstab Rosenberg. Vol.
III, Pg. 187
140-PS; Reineke order, 30 October 1940, supplementing
order of 17 September 1940 (Document 138-PS) Vol. III,
Pg. 187
*141-PS; Goering Order, 5 November 1940, concerning
seizure of Jewish art treasures. (USA 368). Vol. III,
Pg. 188
*145-PS; Oder signed by Rosenberg, 20 August 1941,
concerning safeguarding the cultural goods in the
Occupied Eastern Territories. (USA 373). Vol. III, Pg.
189.
*149-PS; Hitler Order, 1 March 1942, establishing
authority of Einstazstab Rosenberg. (USA 369). Vol.
III, Pg. 190
151-PS; Rosenberg Order, 7 April 1942, concerning
safeguarding of cultural goods, research material and
Scientific Institutions in Occupied Eastern
Territories. Vol. III, Pg. 191
153-PS; Rosenberg Order, 27 April 1942, for formation
of central unit for seizure of art treasures in
occupied Eastern Territories. (USA 381). Vol. III, Pg.
192
154-PS; Letter from Lammers to high State and Party
authorities, 5 July 1942, confirming Rosenberg's
powers. (USA 370). Vol. III, Pg. 193
*158-PS; Message, 1 June 1944, initialled Utikal, Chief
of Einsatzstab, concerning missions in Hungary. (USA
382). Vol. III, Pg. 199
*159-PS, 6 June 1944, initialled Utikal, Chief of
Einsatzstab, concerning missions in Denmark and Norway.
(USA 380) Vol. III, Pg. 199
[Page 1115]
*171-PS; Undated report on "Library for Exploration of
the Jewish Question" by the Hohe
Schule District Office. (USA 383), Vol. III, Pg. 200
*176-PS; Report on Einsatzstab Rosenberg, Working Group
Netherlands, signed Schimmer. (USA 707) Vol. III, Pg.
203
707-PS; Letters, June-October 1943 concerning
evacuation of the museum of Charkow. Vol. III, Pg. 516
1015-B-PS; Report on activities of Special Staff for
Pictorial Art, October 1940 to July 1944. Vol. III, Pg.
666
*1015-I-PS; Letter from Goering to Rosenberg, 30 May
1942. (USA 385]
1015-GG-PS; Inventory of art objects -- attached to a
report (Document 1015-B-PS). Vol. III, Pg. 671.
1099-PS; Letter from Kube, General Commissar White
Ruthenia, to Rosenberg, 28 September 1941. Vol. III,
Pg. 781
1107-PS; Office memorandum, 17 May 1944, in Rosenberg
Special Ministry concerning the Wehrmacht's function in
removing treasures from the USSR. Vol. III, Pg. 789.
1109-PS; Note signed by Dr. Ullman, 17 June 1944,
concerning Bolshevic Atrocity Propaganda. Vol. III, Pg.
791
*1117-PS; Goering Order, 1 May 1941 concerning
establishment of Einsatzstab Rosenberg in all Occupied
Territories. (USA 384) Vol. III, Pg. 793
1118-PS; Letter from Roseberg to Goering, 18 June 1942,
and related correspondence. Vol. III, Pg. 793
*1233-PS; Printed catalog undated, concerning secured
objects of art in the Government General (Poland). (USA
377) Vool. III, Pg. 850.
[Page 1116]
*1600-PS; Bormann correspondence, 1940-1941, concerning
confiscation of religious art treasures. (USA 690) Vol.
IV, Pg. 128
*1709-PS; Report of Special Delegate for art seizures,
July 1943. (USA 378) Vol. IV, Pg. 211
*1773-PS; Decree on sequestration of property of former
Polish State in the General Government, 15 November
1939, published in The Law of the General Government,
pp. E810, E845, E846. (USA 376) Vol. IV, Pg. 346
*2523-PS; Account of conversation between Goering and
Bunjes. (USA 783) Vol. V, Pg. 258
*3042-PS; Affidavit of Dr. Kajetan Muehlmann, 19
November 1945. (USA 375) Vol. V, Pg. 754
3766-PS; Report prepared by the German Army in France
1942 concerning removal of French art objects through
the German Embassy and the Einsatzstab Rosenberg in
France. Vol. VI, Pg. 646
3814-PS; Correspondence between Hans Frank, Lammers and
various witnesses to the conduct of Frank, February
1945. Vol. VI, Pg. 739
*L-188; Report of 8 August 1944, on confiscation up to
31 July 1944. (USA 386). Vol. VII, Pg. 739.
R-143; Himmler decree, 1 December 1939, concerning
procedure for confiscation of works of art, archives,
and documents. Vol. VIII, Pg. 246
Lloyd J. Spencer
Kenneth McVay OBC wrote:
Now, kind sir, could you tell me when the Israelis were interrogated concerning
their confiscation of art and antiquities in the Region of Palestine? For
instance, the purchase and archiving of the Dead Sea Scrolls without permission of
the Government of Jordan?
What? Too late? Oh, my goodness.
Well, what Allied Trial has been convened for this theft of art by the Israelis
and the desecration of hundreds of burial places in the name of archeologoical
advances?
None?
Oh, my. Doesn't that seem rather one-sided then? I mean to hold the Germans
responsible for trifing in art works in their territories, but not doing the same
for the Israelis in theirs?
Can you explain this state of affairs.
Lloyd J. Spencer
Kenneth McVay OBC wrote:
Pardon me, sir. But could you kindly lead me to the Dresden Drawing Room where the
atrocities of the Brits and Yanks in creating a fire storm and killing 300,000
civilians in seven evenings in the war's last week might be reviewed?
What?
You say it wasn't brought up at the Nuremberg Trial?
Why, I thought that trial was there to uncover all war crimes.
It wasn't?
Oh. The Nazis' crimes were worse than the crimes of the Allies? Oh. Well, did you
get testimony from the dead at Dresden to verify that statement? Or from their
surviving relatives who escaped yet experience the atrocity? No?
Oh, my, sir. Oh, my.