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Gurlitt Collection
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Franz Marc's Pferde in Landschaft (Horses in Landscape), one of the artworks

discovered in the Gurlitt collection (probably 1911, gouache on coloured paper).
The Gurlitt Collection (alternatively known as the "Gurlitt Trove", "Gurlitt
Hoard", "Munich Art Hoard", "Schwabing Art Trove", etc.) was a collection of around
1,500 art works assembled by the late German art dealer Hildebrand Gurlitt
(1895�1956) which was passed first to his wife Helene, and on her death to their
son Cornelius Gurlitt, who died in 2014. The collection attracted international
interest in 2013 when it was announced as a sensational 2012 "Nazi loot discovery"
by the media as a result of actions by officials of Ausgburg in Cornelius Gurlitt's
apartment in Schwabing, Munich, investigating Gurlitt on suspicion (later shown to
be unfounded) of possible tax evasion. German authorities seized the entire
collection, although Gurlitt was not detained. Gurlitt repeatedly requested the
return of the collection on the grounds that he had committed no crime, but
eventually agreed that the collection could remain with the Prosecutor's office for
evaluation in case any Nazi-era looted works could identified. In 2014, a new
agreement was reached that the collection would be returned to Gurlitt but he died
shortly thereafter, leaving all his property � including two Munich apartments plus
a house and additional works stored at his residence in Salzburg, Austria � to the
Museum of Fine Arts Bern in Switzerland, which agreed to accept the collection
(minus any works suspected of being looted) in November 2014. Hildebrand Gurlitt,
who had assembled the collection, was suspected of incorporating a number of looted
items and, potentially, works acquired in dubious circumstances during the second
world war and preceding period in Nazi Germany, in addition to works acquired
legitimately and/or passed down through his family; the provenance of a significant
subset of items is still under investigation.
The collection contains Old Masters as well as Impressionist, Cubist, and

Expressionist paintings, drawings and prints by artists including Claude Monet,
Pierre-Auguste Renoir, Paul C�zanne, Paul Gauguin, Henri Matisse, Eug�ne Delacroix,
Edgar Degas, Henri de Toulouse-Lautrec, Franz Marc, Marc Chagall, �douard Manet,
Camille Pissarro, Auguste Rodin, Otto Dix, Edvard Munch, Gustave Courbet, Max
Liebermann, Wassily Kandinsky and Paul Klee, among many others, as well as works by
family members who were themselves artists. A considerable portion of the
collection is in the form of prints and other "dealer stock" in addition to a
smaller, but still noteworthy number of unique and more valuable works; initial
sensationalist claims of the value of the collection being "in excess of 1 billion
dollars" based on its size alone have proved to be unfounded, however the
collection is certainly worth tens of millions of dollars. Legally, Cornelius was
the owner of all the works upon their discovery since in Germany, legal claims on
potential looted works expire after 30 years, however since 2012 he agreed to
voluntarily return any works that were shown to be looted to the heirs of the
families concerned, a provision that has been carried on by the new custodians of
the collection. To date, six pieces have been returned, being works by Henri
Matisse, Max Liebermann, Carl Spitzweg, Camille Pissarro, Adolph von Menzel and
Paul Signac, while a profit-sharing agreement was reached with the heir of another
family for a work by Max Beckmann prior to its sale in 2011.
Contents
1 Formation
2 Post-war
3 2012 discovery by German tax authorities
4 Schwabing Art Trove Task Force, and successors
5 Death of Cornelius Gurlitt, and after
6 Value
7 Legal issues
8 November 2014 and onwards
8.1 Swiss Museum acceptance
8.2 Works identified for return to original owners
8.3 Public displays
9 Contents
9.1 Documentation
9.2 Works held (and in some cases sold) by other family members
9.3 Other works previously sold
9.4 Other information
9.5 Selected contents listing
10 See also
11 References
12 Further reading
13 Bibliography
14 External links
Formation
Hildebrand Gurlitt was an art historian, museum director and art dealer in Germany
during the 1930s. He was particularly interested in modern art of the day,
befriended a number of artists and purchased their works for the museums under his
control; when he became a dealer he often exhibited their works for sale, and on
occasion purchased items he particularly liked for his own collection. From the mid
1930s onwards, he also purchased and, in some cases, onsold artworks, often bought
for low prices, from private individuals including Jewish owners who were under
duress to pay extortionate taxes, or were otherwise liquidating assets in order to
flee the country. On the one hand he claimed he was helping the owners in their
predicament, since there were few dealers who were prepared to undertake such
transactions, but on the other he was not averse to enriching himself in the
process, as well as providing no cooperation to post-war claimants seeking to
reclaim or obtain compensation for such works sold under duress.[1]
In 1937, the German Government under Hitler decided, that, under Hitler's
instructions, much modern German art was classified as "degenerate" (not fitting to
be called art in Hitler's view) and was confiscated from museums all over Germany;
a travelling Degenerate Art Exhibition was set up where some of these pieces were
displayed to the public, to show their so-called "degenerate" nature. The
government then decided that a system would be set up to sell as many as possible
of the confiscated items abroad, to raise hard currency for Government coffers.
Four dealers including Gurlitt were then given permission to trade such pieces,
seeking overseas buyers in return for an agent's commission (the others being Karl
Buchholz, Ferdinand M�ller and Bernhard B�hmer). When such pieces failed to sell,
as was frequently the case, Gurlitt and others were often able, legitimately or
illicitly, to add them to their personal collections, or purchase them for a low
value. Gurlitt's name appears against many of the entries on a listing compiled by
the Ministry of Propaganda and now held by the Victoria and Albert Museum that
provides details of the fate of each object, including whether it was exchanged,
sold or destroyed.[2]
Max Liebermann's Two Riders On The Beach in the Gurlitt collection and now passed
on to the descendants of the original Jewish owner
Following the fall of France, Hermann G�ring appointed a series of Reichsleiter
Rosenberg Taskforce approved dealers, including Gurlitt, to acquire French art
assets - mainly comprising works looted from museums and from the previously
wealthy collectors of the day - for Hitler's planned F�hrermuseum which he wanted
to build in Linz; some of the works also went to swell G�ring's personal art
collection.[3] Gurlitt, who had already embarked on purchasing trips to Paris on
behalf of German Museums, purchased around 200 works in Paris and the Netherlands
between 1943 and 1944, not including works acquired for his own collection, of
which 168 were intended for the F�hrermuseum.[4] Gurlitt undoubtedly used his thus
"officially sanctioned" purchasing trips to Paris, which was at that time awash
with artworks including old masters, of dubious provenance and including many items
now recognised as being looted, to further enrich his own holdings, and also became
very wealthy from commissions on the enormous amounts of money being paid by
Hitler's regime for artworks at that time.
Gurlitt also purchased paintings on his own behalf from artists who were being
persecuted by the Nazis, among them Max Beckmann who by 1944 was living in exile in
the Netherlands, prior to departing for the United States in 1947. Gurlitt and his
associate Erhard G�pel, local buyer for Hitler's planned F�hrermuseum, purchased
five works from Beckmann in September 1944, including Bar, Brown which Gurlitt
retained for himself. After Gurlitt's death the painting was offered for sale by
both his widow (unsuccessfully) and subsequently by his son Cornelius, when at
auction by Ketterer in Stuttgart in 1972 it realised 90,000 Deutschmarks to
Cornelius after auctioneer's fees (the same painting later re-sold at Sotheby's in
London for 1.2 million pounds). Beckmann's family did not dispute the distribution
of the sale proceeds and considered that the original purchase by Gurlitt had been
legitimate, albeit under reduced circumstances of the artist.[5]
Post-war
Hildebrand was captured with his wife and twenty boxes of art in Aschbach
(Schl�sselfeld) in June 1945. Under interrogation after capture, Gurlitt and his
wife told United States Army authorities that in the fire bombing of Dresden of
February 1945 much of his collection and his documentation of art transactions had
been destroyed at his home in Kaitzer Strasse.[6] One hundred and fifteen pieces
were taken from him by American and German authorities, but returned to him after
he had convinced them that he had acquired them lawfully. Gurlitt successfully
presented himself to his assessors as a victim of Nazi persecution due to his
Jewish heritage, and negotiated the release of his possessions. Whether or not
portions of his collection and records of business transactions were destroyed in
Dresden as Gurlitt claimed, additional portions apparently had been successfully
hidden in Franconia, Saxony and Paris, from which they were retrieved after the
war.[7]
By 1947, Gurlitt had resumed trading in art works and also took up a position as
Director of the Art Association for the Rhineland and Westphalia, based in
D�sseldorf. In 1949 his mother died (his father, Cornelius senior, having died in
1938) and he may have inherited additional works held by the family at that time,
if not previously; according to his papers (later found to be less than 100%
trustworthy), Monet's painting of Waterloo Bridge, subsequently one of the most
valuable in the collection, was purchased by his father as a gift to his mother at
some point from 1914 onwards, and had passed already to Hildebrand in 1923 as a
wedding present.[8][9] He continued to purchase works for his own collection,
including Courbet's Village Girl with Goat for which he paid the then very large
sum of 480,000 French Francs,[10] and lent works from his collection for several
travelling exhibitions: one such show, "German Watercolors, Drawings and Prints: A
Mid-Century Review" included 23 works from Hildebrand's collection and toured the
United States up to and beyond his premature death at age 61 in a car crash in
1956.[11] On his death, the collection passed to his wife Helene, and on her death
in 1964, mainly to their son Cornelius, with some items also passed to Cornelius'
sister. Knowledge of the collection appears to have persisted in the minds of his
contemporaries in the German art dealing world, and in some cases with their
successors in business, but eventually - particularly with the passage of more than
four decades - faded from public awareness.
The bulk of Hildebrand's collection survived with his son Cornelius, who lived a
quiet, virtually reclusive life with the artworks inherited from his father for
over forty years, with portions of the collection kept at his two addresses in
Munich, Germany and Salzburg, Austria; additional items appear to have been held by
Cornelius' sister Benita, who later married and moved away to Stuttgart with her
husband. Apart from any monies inherited after his parents' deaths, Cornelius
survived by selling a small number of items from the collection, notably in 1988
and 1990, with the proceeds paid into a Swiss bank account which he would visit at
four- to six- week intervals to withdraw money for his living expenses. Another
painting, Max Beckmann's The Lion Tamer, was sold at auction in 2011, most likely
to cover medical bills; Cornelius had already agreed to share the around �800,000
proceeds equally with the heir to the Jewish family that had originally possessed
the painting.[12]
2012 discovery by German tax authorities

On 22 September 2010, German customs officials at the German�Switzerland border
stopped Cornelius on the return leg of one of his Swiss visits and found him to be
carrying �9,000 in cash, within the legal limit for cash transfers across the
border but which was notified as suspicious to the German tax authorities; under
questioning, he explained that it was proceeds from the sale of a painting. Since
Cornelius had no occupation and no obvious means of income, the tax office
suspected that he might be involved in the illegal transfer of artworks across the
border without paying the relevant taxes, and obtained a warrant in 2011 to search
his apartment in Schwabing, Munich, to see if they could find any evidence to
support their supposition.[13][14][15] On 28 February 2012 officials of the
Augspurg Prosecutor's Office entered his apartment and found not records of past
sales, but a reported 121 framed and 1,258 unframed works, the major part of the
collection inherited from his father, with an initial reported worth of one billion
Euros (approx. $1.3 billion),[16] although this value eventually proved to be a
significant overestimate. The collection was confiscated, under a process that was
subsequently challenged in court since Cornelius had committed no crime under
German law; it was also subsequently claimed that the scale of the action was
disproportionate to any supposed tax irregularities.
Authorities initially banned reporting on the raid, which only came to light in
2013.[16][17] Initial media hysteria with sensational headlines such as "Artworks
Worth $1.6 Billion, Stolen by Nazis, Discovered in German Apartment" proved to be
an overstatement; writing in 2017, the German Lost Art Foundation concluded that
"Looking at the art trove as a whole, it becomes clear that it is not so much a
collection of highly valuable artworks worth billions as was initially assumed, but
rather a mixture of family heirlooms and dealer stock. It does contain some very
high quality, outstanding pieces, but most of it consists of works on paper,
including a large number of serial graphic works."[18]
Speaking to Der Spiegel magazine in November 2013, Cornelius insisted that his
father had obtained the works legally and stated that he would not voluntarily
return any of them to previous owners, although subsequently he said that in
respect of the latter statement he was misquoted.[19][20] Feeling threatened by the
intense media attention, Gurlitt's brother-in-law offered 22 works in his
possession to the police for safe keeping.[21]
Portrait de Monsieur Jean Journet by Gustave Courbet, 1850, one of the works found
in the Salzburg portion of the collection; location previously unknown since 1914.
Gurlitt repeatedly requested the return of his collection but did not obtain legal
representation until December 2013 when a Munich court appointed an official
"Custodian" on his behalf, Christoph Edel, who initiated action against the
Prosecutor's Office for the return of the collection to Gurlitt. Gurlitt also told
Edel about the additional artworks stored at his Salzburg address; Edel was given
permission by Gurlitt to remove these for safe keeping, a task which was carried
out in February 2014. This portion of the collection, numbering 254 items contained
works by Monet, Renoir, Gauguin, Liebermann, Toulouse-Lautrec, Courbet, C�zanne,
Munch and Manet, some of extremely high quality, and were removed to a secure
location where their provenance could be investigated further; the Augsburg
Prosecutor's Office would not have access to them.[22] Access to the Salzburg works
was provided, in a "secret location", to BBC reporter Stephen Evans, who showed
some of them in a brief video segment made available by the BBC in March 2014.[23]
One painting, "Portrait de Monsieur Jean Journet" by Gustave Courbet, had
disappeared in 1914 and had previously been believed to have been lost in the
second world war.[24]
In April 2014, Edel obtained an agreement with the Augsburg prosecutor whereby the
collection confiscated in Munich was to be returned to Gurlitt in exchange for his
co-operation with a government-led task force charged with returning any stolen
pieces to the rightful owners which Gurlitt signed.[25] However, Gurlitt was by
then very ill and died on 6 May 2014, never seeing the paintings again.[26] His
will bequeathed all his property to the Museum of Fine Arts Bern, Switzerland,
after all legitimate claims of ownership against it had been evaluated.[27][28]
Schwabing Art Trove Task Force, and successors

An entity called the Schwabinger Kunstfund (Schwabing Art Trove) Task Force was set
up in November 2013 under the direction of Ingeborg Berggreen-Merkel to research
the provenance of the paintings in the Gurlitt trove. However, after several years
of operations it was widely criticized for having few results and little
visibility.[29] The taskforce initially identified around 590 works as "possibly
looted", but after two years of research had published provenance reports on only
five items from the collection; under a flood of criticism, the taskforce was
disbanded in December 2015. "We are disappointed," said Ronald Lauder, president of
the World Jewish Congress.[30][31][32] Its activities and some of its personnel
were passed to a new "Centre for Lost Cultural Property", project name "Gurlitt
Provenance Research", under the direction of Dr. Andrea Baresel-Brand.[33]
By December 2018, the Gurlitt Provenance Research project reported that it had
completed its activities, with the results being presented on the German Lost Art
Foundation website.[34] 1,039 items were investigated; of these, 315 were
identified as confiscated from German museums during the "degenerate art" campaign,
and thus not subject to suspicion of looting, so their responsibility could be
passed directly to the Kunstmuseum Bern. The remaining 724 were assessed according
to a "traffic light" system: green for works "proven or highly likely not to be
Nazi-looted art" (28 items); yellow for "provenance during the period between 1933
and 1945 is not entirely clear; there are gaps in the provenance", i.e., requiring
further investigation (650 items); and red for works "proven or highly likely to be
Nazi-looted art" (4 items). A further 42 works were not reviewed, but also believed
not to represent looted artworks, either because they could be assigned to
additional works known to originate from German museums (22 items), be commercially
mass produced goods (2 items), or have a reasonable explanation for their presence
in Gurlitt family holdings, for example being created by family members, and/or
created after 1945 (18 items). These "traffic light" categorizations are carried
through to the complete lists of items as published on the Kunstmuseum Bern
website.
Death of Cornelius Gurlitt, and after

Cornelius Gurlitt died on 6 May 2014.[35] In his will, written shortly before his
death, Cornelius named the Museum of Fine Arts Bern (Kunstmuseum Bern) in
Switzerland as his sole heir.[27] People close to Gurlitt told an American
newspaper that he decided to give the collection to a foreign institution because
he felt that Germany had treated him and his father badly.[36] The legacy included
the paintings Cornelius' had kept in Salzburg, which German authorities had not
confiscated because their remit did not extend to property held in Austria. His
decision created further controversy over the appropriateness of the museum
accepting this bequest. The will stipulated that the museum would be required to
research the provenance of the paintings and make restitution as appropriate.[37]
The museum decided to initially accept only those works for which original legal
ownership by the Gurlitts could be established, including items acquired from the
"degenerate art" collection and those passed down from other family members, and
has entered into a joint agreement with German and Swiss authorities about the
further researching of items in this bequest.
Cornelius' family (cousins) also entered the discussion, raising questions about
the legality of the will, based on his state of mind at the time. His cousin, Uta
Werner, filed a claim of inheritance on the artwork. Werner's lawyer, Wolfgang
Seybold, argued that Gurlitt's relatives were the rightful heirs, however this
claim was rejected by relevant authorities.[38] Around 590 pieces remain in Germany
pending further investigation to determine whether they were confiscated from
individuals under the Nazi regime, and a further 380 have been definitively
identified as removed from museums by the Nazis as "degenerate art" so will pass to
Bern without further obstruction.[39]
Art objects continued to surface after Cornelius' death. In July 2014, a new
discovery was made in his Munich apartment: a Rodin marble and a Degas sculpture,
along with some Roman, Greek, Egyptian and Asian objects, which had been missed
when the apartment was originally searched in 2012.[40][41] In September, an early
pastel landscape by Claude Monet was discovered in a suitcase Gurlitt had left in
the last hospital where he had stayed.[42]
Value
Initial media reports that the collection was worth in excess of $1 billion[43],
based apparently on its size alone plus descriptions of one or two contained works,
have proved to be an over-estimate, bearing in mind that a substantial component of
the collection contains printed graphic works on paper whose individual value may
be in the order of no more than 1,000 euros per item, or possibly even less.[44]
[45] Nevertheless, the collection does contain a number of significant, high value
items including, among others, a Claude Monet painting that "valued at $12
million", a Matisse painting ("$20 million") (both[46]), a major C�zanne 1897
painting La Montagne Sainte-Victoire, as well as Liebermann's Two Riders on the
Beach which subsequently realised almost 1.9 million pounds at auction (see below),
and others including original works by Manet, Degas, Renoir and more. The overall
value of the collection may thus conservatively be stated to be in the order of at
least several tens of millions of dollars, although no official valuation is
presently available.
Legal issues
German newspapers questioned the prosecutor's right to seize the collection.[47]
[48] Property rights in cases of works of art acquired during the Nazi period are
highly complex.[49] After the war the Nazi law legalizing possession of stolen
works of "degenerate art" was deliberately upheld by the Allied Control Council in
order that the trade in artworks could continue.[50]
Unlike in Austria,[51] there is no law in effect in Germany requiring the return of

Nazi-looted art, as long as the items in question can be proven to have been, at
any point in time, legally acquired. As signatories of the 1998 Washington
Agreement, Germany agreed that all of its public institutions would check their
inventories for Nazi-looted goods and return them if found. However, this is on a
strictly voluntary basis and, 15 years later, very few museums and libraries[52]
have done so. Individuals are under no legal requirement whatsoever to return Nazi-
looted art. A failure on the part of the German government to return the rightful
possessions of Cornelius Gurlitt might have been a violation of his property rights
as guaranteed in the German constitution.[53]
On 4 December 2013, prominent German art historian Sibylle Ehringhaus, who was one
of the first experts to view the artworks in the spring of 2012, gave an interview
in the newspaper Augsburger Allgemeine, demanding the immediate return of the
complete collection to Gurlitt. However, she had looked at the works very briefly
and had not researched their provenance because, as she stated in the interview,
"Cornelius Gurlitt commissioned neither myself nor anyone else" to perform such
research. Chief Prosecutor Reinhard Nemetz vehemently denied her appeal, yet
apparently failed to cite any concrete legal grounds for the seizure.[54][55]
On 20 November 2014, the German jurist Jutta Limbach, the head of the Limbach
Commission on Nazi-looted art, confirmed the opinion of the German S�ddeutsche
Zeitung newspaper that the Bavarian "State Prosecutor used an incorrect application
of the tax liability law to seize" the artworks of Cornelius Gurlitt.[56]
November 2014 and onwards

Swiss Museum acceptance
On 24 November 2014, the Museum of Fine Arts in Bern agreed to accept the Gurlitt
estate. Museum officials stated that no art looted by the Nazis would be permitted
to enter the museum's collection.[57] Some 500 works were to remain in Germany
until their rightful owners could be identified.
Works identified for return to original owners
Quai de Clichy, Temps gris by Paul Signac
Portrait of a Seated Woman by Thomas Couture

Three pieces were singled out for immediate return: Henri Matisse's Femme Assise to
the descendants of the Jewish art dealer Paul Rosenberg, Max Liebermann's Two
Riders on the Beach to the great-nephew of the industrialist and art collector
David Friedmann, and Carl Spitzweg's Playing the Piano to the heirs of music
publisher Henri Hinrichsen, who was murdered at Auschwitz.[58] Two Riders on the
Beach was subsequently auctioned at Sotheby's, London in June 2015,[59] where it
fetched the unexpectedly high price of almost 1.9 million pounds.[60] In 2017, it
was announced that the Camille Pissarro painting La Seine vue du Pont-Neuf, au fond
le Louvre, found in Gurlitt's Salzburg house had been restituted to the heirs of
Max Heilbronn, a Paris businessmen from whom it had been confiscated in 1942,[61]
and that a drawing by Adolph von Menzel Interior of a Gothic Church had been
returned to the descendants of Elsa Helene Cohen.[62] In October 2017 it was
announced that the painting Portrait of a Seated Woman by Thomas Couture had been
identified as a looted work and would be returned to the descendants of the
original owner, Jewish French politician Georges Mandel[63] (the actual return
taking place in January 2019),[64] and in September 2018 four drawings by the
artists Charles-Dominique-Joseph Eisen, Augustin de Saint-Aubin and Anne Vallayer-
Coster that were among items previously sold by Benita Gurlitt were identified as
originally stolen and would also be returned by their new owner.[65] In March 2019,
it was announced that the paint�ing Quai de Clichy by Paul Signac, purchased by
Hildebrand Gurlitt in Paris in the 1940s, had also been identified as Nazi-
con�fis�cat�ed art, having been seized in 1940 by German soldiers from the
apartment of French re�al es�tate bro�ker Gas�ton Pros�per L�vy, and that "a claim
has been reg�is�tered for the re�turn of the paint�ing".[66][67] The work was
eventually handed back in July 2019.[68]
A slightly different case was presented by Paul C�zanne's 1897 painting La Montagne
Sainte-Victoire, possibly the most prestigious in the entire trove, which was known
to have been in the C�zanne family in 1940, and appeared in Gurlitt's holdings some
time between then and 1947, when Gurlitt mentions the painting in a letter, however
its status as a looted item was not able to be unequivocally established. In 2018
in what has been described as a "historic agreement", C�zanne's great-grandson has
acknowledged the Bern museum's ownership of the work in exchange for the ability to
exhibit it in the artist's hometown; exhibition rights to the painting will thus be
shared between the Kunstmuseum Bern and the Mus�e Granet in Aix-en-Provence.[69]
Public displays
The first public display of pieces from the Gurlitt Collection took place at an
exhibition curated by the Bern Fine Art Museum, running from November 2017 to March
2018, which featured 160 works from the Cornelius Gurlitt bequest, which had
previously formed part of the original 1937 "degenerate art" exhibition.[57][70]
Concurrently, an exhibition of some 250 works whose status was uncertain was
displayed in Bonn, Germany, entitled "Gurlitt: Status Report - An Art Dealer in
Nazi Germany", including works from D�rer to Monet and from Cranach to Kirchner and
Rodin; both shows were then scheduled to travel to be displayed at the Martin-
Gropius-Bau exhibition hall in Berlin.[71] Portions of the Bern exhibition can be
seen on this video,[72] while excerpts of the Berlin exhibition can be viewed here.
[73] Links to the catalogues for both exhibitions are given below, in the "Further
reading" section.
Contents
Documentation
�douard Manet - Marine, Temps d'Orage - one of the oil paintings from Cornelius'
Salzburg house
The content of the collection previously in the possession of Cornelius Gurlitt has
been gradually documented over the several years since its rediscovery, especially
since November 2014 when the Museum of Fine Arts in Bern legally accepted the
Gurlitt estate. Two listings, which are believed to be complete, are available
online, one for the items originally in the Munich apartment (approximately 1,350
records) and one for the Salzburg items (254 records). The lists are described as
"works in progress" and are subject to update or amendment as new information is
available; the Munich list[74] runs to 196 pages, and the Salzburg list[75] runs to
95 pages.
Works held (and in some cases sold) by other family members

In addition to the works owned by Cornelius, his sister Benita inherited some works
from the collection; reportedly, in 2013, 22 of these were voluntarily surrendered
to police for "safe keeping" by the by-then deceased Benita's husband, Nikolaus
Fr�ssle, previously kept at their home in Stuttgart.[76][21] Details of these works
have not been released except that they included four medieval paintings which
belonged to Cornelius, which were then added to his estate.[77] Benita had also
consigned some items for sale at a previous date, including four drawings,
originally the property of the Jewish Deutsch de la Meurthe family in Paris, which
were voluntarily returned to representatives of the family in 2018 by the unnamed
present owner (see above section "Works identified for return to original owners").
Benita's husband Nikolaus also consigned Max Liebermann's pastel drawing The Basket
Weavers for sale via a Berlin auction house in 2000, where it sold to a private
Israeli collector for 130,000 Deutschmarks (around U.S. $70,000), more than double
its pre-sale estimate.[78] Following a 2016 legal action against the auction house
to reveal the identity of the purchaser, that person (a Holocaust survivor) was
traced and agreed to sell the painting back to David Toren, heir of the original
owner from which it was stolen by the Nazis, for the original auction price paid,
and the work has subsequently been on display at the New York Center for Jewish
History.[79][80]
Other works previously sold

Paul Klee - Swamp Legend - in the Collection at Hildebrand's death, subsequently
sold (presumed by Helene) in or before 1962
Other paintings which had previously been in the collection but sold prior to its
2012 rediscovery included a Paul Klee landscape painting sold by Hildebrand in
1950,[81] the Picasso Portrait of a Woman with Two Noses and two items by Rudolf
Schlichter and Georg Schrimpf sold by Helene in 1960 as noted above, Beckmann's
Bar, Brown and The Lion Tamer by Cornelius, and Macke's Woman with a Parrot, which
was sold in 2007 for �2.4 million and (according to Hickley) was most likely
consigned by Benita. The eleven works sold by Cornelius in 1988 included a Degas
pastel and items by Otto Dix, Erich Heckel, Christian Rohlfs, Max Pechstein and
Otto M�ller; according to gallery owner Eberhard Kornfeld, Cornelius also sold four
other works on paper via him in 1990, originally from the 1937 "degenerate art"
holdings.[82] Paul Klee's Swamp Legend, purchased by Hildebrand from the
"degenerate art" holdings, was still in his possession at his death and then sold
some time between 1956 and 1962 (when it appeared at auction), probably by his
widow; after several changes of ownership, this work ended up in Munich's
Lenbachhaus Museum, where in 2015 it was under protracted legal action from the
heirs of original owner Sophie Lissitzky-K�ppers for its restitution.[83] An
agreement was finally reached in 2017 for the Museum to retain the painting but for
compensation (estimated at between �2�4 million, or $2.33�4.65 million) to be paid
to the heirs of the original owner.[84]
Other information
A supposedly signed, but previously unknown Marc Chagall work "Allegorical scene
with embracing lovers", held by Hildebrand Gurlitt since at least 1945, was
examined by the Comit� Chagall, the definitive authority on the artist's work, in
2015 and was determined to be a forgery ("counterfeit work");[85] it is included in
the list below with authorship as "Unknown". The Gurlitt Provenance Research
Project was unable to document the painting's ownership prior to its acquisition by
Hildebrand during the war years, however according to a 2013 newspaper report, the
painting had originally been seized by the Gestapo from the Jewish Blumstein family
in Riga.[86]
Other works in the collection are by Gurlitt family members, which include 90 by
Cornelius' great-grandfather, the landscape painter Louis Gurlitt, and 130 by
Cornelia Gurlitt, Cornelius' aunt, a talented but relatively unknown artist who
died in tragic circumstances in 1919.[87] A page of putative drawings by Henry
Moore, also in the collection, was investigated in an episode of the BBC TV
programme Fake or Fortune? and found to be not only genuine, but also had been
legitimately purchased from a London exhibition by the artist in 1931 by Dr Max
Sauerlandt, head of the Museum f�r Kunst und Gewerbe in Hamburg; from there the
drawing entered the confiscated, "degenerate art" exhibition and was subsequently
purchased by Hildebrand Gurlitt in 1940, remaining undocumented to curators of
Moore's legacy until its emergence in the holdings of Cornelius Gurlitt in 2012.
[88]
Selected contents listing

A partial listing of works in the Gurlitt Collection (excluding works by family
members, etc.), with links to images and descriptions, can be generated via the
German Lost Art Database as per this search. A subset of these works (together with
some others not listed on the database), giving an indication of some of the more
significant items and/or artists represented in the collection, is presented in the
table below.
Artist Work title Work type Link image

Arellano, Juan de (?) Still life with flowers in a vase Painting
http://www.lostart.de/EN/Fund/478467 image
Backhuysen, Ludolf (?) Ships at sea Painting
Beckmann, Max Zandvoort Strandcaf� (Zandvoort Seaside Caf�) Watercolour
Boudin, Eug�ne Rade de Bordeaux (The Harbour of Bordeaux) Painting
Brueghel, Jan (d. J.) River landscape Painting
Busch, Wilhelm Landscape Painting http://www.lostart.de/EN/Fund/532965
image
Cals, Adolphe-F�lix Bateau sur la gr�ve, Honfleur / Boat on the Shore at
Honfleur Painting http://www.lostart.de/EN/Fund/522269 image
Canaletto, Antonio Santa Giustina in Pr� della Valle, Padua / The Prato della
Valle with Santa Giustina in Padua Print http://www.lostart.de/EN/Fund/477904
image
Casanova, Francesco Herdsmen with cattle and sheep Watercolour
C�zanne, Paul Les baigneurs (grande planche) / The Bathers, large plate Print
C�zanne, Paul Montagne Sainte-Victoire (Landscape with Mont Sainte-Victoire)
Painting pdf image
C�zanne, Paul (?) Feuilles dans un pot vert (Leaves in a green pot) Watercolour
Chagall, Marc L'homme barbu assis, avec un violon sous le bras / Bearded man,
sitting, with a violin under his arm Print
Christoph, Hans Paar / Couple Watercolour
Corot, Jean-Baptiste-Camille Landscape with tree (Ville d'Avray?) Drawing
Corot, Jean-Baptiste-Camille Souvenir de Pierrefonds / Memory of Pierrefonds
Painting http://www.lostart.de/EN/Fund/532939 image
Corot, Jean-Baptiste-Camille Harvest scene Painting
Courbet, Gustave Marine � mar�e basse avec des bateaux / Coastal landscape at low
tide with boats Painting http://www.lostart.de/EN/Fund/478428 image
Courbet, Gustave Les mouettes / Seascape with seagulls Painting
Courbet, Gustave Still life with peaches Painting
Courbet, Gustave Vue du Parc des Cr�tes sous la Neige (View of the Parc des Cr�tes
under Snow) Painting http://www.lostart.de/EN/Fund/532961 image
Courbet, Gustave Jean Journet partant � la conqu�te de l'harmonie universelle
(Jean Journet Set Forth to Conquer the Universal Harmony) Painting
Courbet, Gustave Portrait of a woman (Portrait of the Artist's Sister Juliette?)
Courbet, Gustave The villager with kid Painting
Couture, Thomas Portrait de jeune femme assise / Portrait of a Young Woman,
Seated Painting http://www.lostart.de/EN/Fund/478471 image
Daumier, Honor� Don Quichotte et Sancho Pansa / Don Quixote and Sancho Panza
David, Jacques-Louis Female head study (recto) Study of a male corpse, laid out
on a carved bed (verso) Drawing http://www.lostart.de/EN/Fund/533093 image
de Heem, David Cornelisz Still life with flowers, oranges and butterfly
Degas, Edgar Deux demi-figures nues / Two female nudes, half-length
Preliminary study for "Danseuses jupes jaunes" Drawing
Degas, Edgar (?) Baigneuse nue dans sa baignoire / Female nude in a bathtub
Drawing http://www.lostart.de/EN/Fund/478426 image
Degas, Edgar (?) Baigneuse (Bathing Female Nude), Wax model Sculpture
Degas, Edgar Trois danseuses � mis-corps (Three dancers in half-figure)
Delacroix, Eug�ne Cavalier oriental avec un turban / Oriental Horseman with Turban
Watercolour http://www.lostart.de/EN/Fund/478050 image
Diaz de la Pe�a, Virgilio Narcisso Arbres et sous-bois (Trees and brushwood)
Watercolour http://www.lostart.de/EN/Fund/533029 image
Dix, Otto Dompteuse / Animal trainer (female) Watercolour
Dix, Otto Dame in der Loge (Lady in a theatre box) Watercolour
Dix, Otto Selbstportr�t, rauchend / Self-portrait of the artist, Smoking
Dupr�, Jules (?) Voilier par mer agit�e / Open sea with sailing boats Drawing
Dupr�, Victor Paysage avec un village / Landscape with village Painting
D�rer, Albrecht Hercules at the Crossroads; The Effects of Jealousy Print
http://www.lostart.de/EN/Fund/478043
D�rer, Albrecht Der Reuter (Ritter, Tod und Teufel / Knight, Death and Devil)
Print http://www.lostart.de/EN/Fund/478046 image
Ernst, Max Woman, Soldier, House Graphic
Fantin-Latour, Henri Le Lever (Rise) Painting
Felixm�ller, Conrad Paar in Landschaft / Couple before landscape Watercolour
Forain, Jean-Louis Portrait de femme / Portrait of a woman with hat, in
profile Painting http://www.lostart.de/EN/Fund/478437 image
Fraa�, Erich Mutter und Kind / Mother and Child Watercolour
Fragonard, Jean-Honor� Un Parc Italien (Parc avec Fontaine encadr�e d�escaliers) /
Italianate Park with a fountain, framed by stairs Drawing
Fragonard, Jean-Honor� N�iades et anges / Naiads and angels Drawing
Gauguin, Paul Portrait study of a Tahitian woman Drawing
Gauguin, Paul Femmes, Animaux et Feuillages / Women, Animals and Leaves Print
Gauguin, Paul Te Po (La grande Nuit), (Te Po [Eternal Night]) Painting
G�ricault, Jean Louis Andr� Theodore Lioness Drawing
Goyen, Jan Josephsz van Three farmers near a dead tree Painting
Goyen, Jan Josephsz van Zeegezicht met vissers en boten / Seascene with fishermen
and boats Painting http://www.lostart.de/EN/Fund/533003 image
Graff, Anton Portrait of Johanna Dorothea Richter, Ludwig Richter's mother
Griebel, Otto Die Verschleierte / Woman with veil Watercolour
Gr�no, Johan Cup, decorated Crafts and other folk arts
Guardi, Francesco de Capriccio architettonico con campiello e chiesa Painting
Guardi, Francesco de Capriccio con sottoportico e sfondo di chiesa (Capriccio
with portico and church in the background) Painting
Hildebrandt, Eduard [�]n Rio de Janeiro, im Vordergrund ein Flo� / Coastal
landscape; Port entrance at Rio de Janeiro, with a raft in the foreground
Holbein, Hans (der J�ngere) Der Kaiser (Die Bilder des Todes, Blatt 7) / The
Emperor (The images of death, no. 7) Print
Hulsdonck, Jacob van Still life with fruit basket, grapes and beetle Painting
Huysum, Justus van (1) Still life with peaches and grapes under a tree Painting
Ingres, Jean-Auguste-Dominique Visage de femme, les yeux ferm�s / Head of a
woman, eyes closed Drawing http://www.lostart.de/EN/Fund/478165 image
Kandinsky, Wassily Wassiljewitsch Radierung f�r die �Deutsche Kunstgemeinschaft�
(Etching for the �Deutsche Kunstgemeinschaft�) Print
Kessel, Jan van [the Elder] Insecten en vlinders / Insects and butterflies
Kirchner, Ernst Ludwig Two female nudes beneath a parasol Drawing
Klee, Paul untitled Gouache Drawing pdf (p. 168) image
Liebermann, Max Reiter am Strand / Riders on the beach Painting
Liebermann, Max Selbstportrait des K�nstlers mit Skizzenbuch (Self-portrait of
the artist with sketch book) Drawing http://www.lostart.de/EN/Fund/477935
image
Liebermann, Max Trauerfeier / Funeral procession Watercolour
Manet, Edouard Marine, Temps d'orage (Ships at sea in stormy weather)
Painting pdf image
Manet, Edouard (attributed; formerly Courbet, Gustave (?)) Still life with fruits
Matisse, Henri Femme assise dans un fauteuil / Woman sitting in an armchair (aka
"Woman with a fan") Painting http://www.lostart.de/EN/Fund/477894 image
Menzel, Adolph Inneres einer gotischen Kirche / Interior of a Gothic Church
Michel, Georges Paysage avec un village et un moulin � vent / Landscape with
village and windmill Painting http://www.lostart.de/EN/Fund/478393 image
Millet, Jean Francois La r�colte des pommes de terre / Peasants harvesting
potatoes Drawing http://www.lostart.de/EN/Fund/478206 image
Monet, Claude Oscar Vue de Sainte-Adresse / View from Sainte-Adresse
Monet, Claude Oscar Waterloo Bridge, temps gris (Waterloo Bridge, Grey Weather)
Moore, Henry Sketches for a sculpture Drawing pdf (p. 81) image
Morisot, Berthe Three young girls (possibly three studies of Jeannie Gobillard)
Munch, Edvard Sjalusi I (Jealousy I) Print
Picasso, Pablo Hercule tue le Centaure Nessus / Hercules Kills the Centaur
Nessus Drawing http://www.lostart.de/EN/Fund/478195 image
Picasso, Pablo T�te de femme, de Profil (Female Portrait, in Profile) Print
Pissarro, Camille Jacob Rue le soir / Street at night Drawing
http://www.lostart.de/EN/Fund/478144
Pissarro, Camille Jacob Quai de Rouen (Grand Pont), (Pier in Rouen [Main Bridge])
Print http://www.lostart.de/EN/Fund/533026 image
Prudhon, Pierre-Paul [Prud'hon] Adam et �ve chass�s du paradis terrestre / Adam
and Eve Expelled from Paradise Painting
Renoir, Auguste Lisi�re de village / Trees and houses on the outskirts of a
village Painting http://www.lostart.de/EN/Fund/478462 image
Renoir, Auguste Portrait de jeune fille / Portrait of a young girl Drawing
Renoir, Auguste Female nude in half-length Painting
Renoir, Auguste Man with pipe (Portrait Victor-Henri Friedel) Painting
Renoir, Auguste Baigneuse debout s�essuyant (Standing female nude, drying
herself) Drawing http://www.lostart.de/EN/Fund/532957 image
Renoir, Auguste Trois personages (Three female figures) Drawing
Rijn, Rembrandt Harmensz. van Landscape with a Farm Building and the "House with
the Tower" Print http://www.lostart.de/EN/Fund/478042 image
Rijn, Rembrandt Harmensz. van Der blinde Tobias / The Blindness of Tobit Print
Roche, Odilon Nu f�minin agenouill� / Kneeling female nude, seen from behind
Rodin, Auguste Nu f�minin avec un manteau ouvert / Female nude with open coat
Rodin, Auguste Study of a standing female with partially open robe Watercolour
Rodin, Auguste Cariatide avec la Sph�re (Caryatid with Urn) Sculpture
Rodin, Auguste La Dana�de Sculpture http://www.lostart.de/EN/Fund/532991
image
Rodin, Auguste �tude pour le buste de Victor Hugo (Study for bust of Victor
Hugo) Drawing http://www.lostart.de/EN/Fund/533013 image
Rouault, Georges Henri Deux nues allong�es (Two reclining nudes) Drawing
Rousseau, Th�odore Environs de Fontainebleau / Environment of Fontainebleau
Ruysdael, Jacob Salomonsz. van Gezicht op Haarlem (View of Harlem) Drawing
Seurat, Georges Femme tricotant (Couseuse � La Brodeuse) / Woman Knitting;
alternatively, Woman Sewing Print http://www.lostart.de/EN/Fund/478044 image
Seurat, Georges Promeneuse / Promenading Lady Drawing
Signac, Paul Quai de Clichy. Temps gris (Opus 156) (Clichy Dock. Grey Weather
[Opus 156]) Painting http://www.lostart.de/EN/Fund/532975 image
Signac, Paul Sisteron / Landscape with Viaduct and river (Sisteron)
Spitzweg, Carl Das Klavierspiel / Playing the piano Painting
Tiepolo, Giovanni Battista Testa machile visto dall'alto / Head of a bearded man
seen from above Drawing http://www.lostart.de/EN/Fund/478192
Tiepolo, Giovanni Domenico Putti / Angel Drawing
Toulouse-Lautrec, Henri de Etude de femme / Study of a Woman Print
Toulouse-Lautrec, Henri de Un Monsieur et une Dame, program for "l'Argent" Print
Toulouse-Lautrec, Henri de La Cal�che (The Carriage) Painting
Toulouse-Lautrec, Henri de Study for Elles: Femme en Corset - Conquete de
Passage Drawing http://www.lostart.de/EN/Fund/533072 image
Unknown (formerly Marc Chagall attribution (forgery)) Sc�ne all�gorique avec un
couple s�embrassant / Allegorical scene with embracing lovers Painting
Waldm�ller, Ferdinand Georg Portrait of Two Ladies Painting
Watteau, Antoine (?) / Gillot, Claude (?) Groupe d�enfant parodiant un d�fil�
militaire / Group of children, imitating a parade Drawing
Whistler, James Abbott Mac Neil The Draped Figure, Seated Print
Ziem, F�lix Vue de la Baie des Anges du Cap d'Antibes / View of the Baie des Anges
from Cap d�Antibes Painting http://www.lostart.de/EN/Fund/478396 image
See also
Looted art
Nazi plunder
References
Hickley, 2015: pp. 46-47, 128-129.
Victoria and Albert Museum (2014). "Entartete" Kunst: digital reproduction of a
typescript inventory prepared by the Reichsministerium f�r Volksaufkl�rung und
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Politische Strafjustiz (in German) in the Frankfurter Allgemeine Zeitung, 25
November 2013, by Volker Rieble.
Dittmar, Peter (7 November 2013). "Verbrechen lohnt sich". J�dische Allgemeine (in
German).. This article refers in particular to works of degenerate art, whose
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Erzeugnissen entarteter Kunst (Act on the Confiscation of Works of Degenerate Art)
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The Central and Regional Library of Berlin is the only library in Germany to have
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German). "German museums are accordingly, albeit rather hesitantly, searching for
looted art in their collections, and from time to time works are returned. This is
cumbersome, mostly unspectacular and takes far too long, but it is still the right
way. But Cornelius Gurlitt is a private person, and therefore the principles of the
Washington Agreement do not apply to his artworks. He cannot be forced, and it
appears the government wants to seize the works, which is hardly possible in the
face of the constitution."
See Interview: Kunstexpertin fordert R�ckgabe aller Bilder an Gurlitt, Augsburger
Allgemeine, 4 December 2012 (in German) or a translation Archived 4 March 2016 at
the Wayback Machine of the article in English.
Augsburger Staatsanwaltschaft weist Vorw�rfe der Kunstexpertin zur�ck Augsburger
Allgemeine, 5 December 2012 (in German)
S�ddeutsche Zeitung, Ein Bild l�sst sich abhangen, Schuld nicht (in German;
English: "A picture may be taken down, but not the guilt"), interview by Heribert
Prantl and Kia Vahland, 20 November 2014, p. 19.
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Makes Its First Appearance at Kunstmuseum Bern". artmet.com. Retrieved 12 February
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trove". www.kulturgutverluste.de.
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by Thomas Couture as Nazi-looted art". www.kulturgutverluste.de. Retrieved 3 August
2019.
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artdaily.com. Retrieved 3 August 2019.
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identifies four works of Nazi-confiscated art". www.kulturgutverluste.de. Retrieved
3 August 2019.
"Signac painting in Gurlitt hoard identified as Nazi loot".
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identifies new case of Nazi-confiscated art". www.kulturgutverluste.de. Retrieved 3
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Found in the Gurlitt Trove to Its Rightful Heirs". artnet News. Retrieved 28 August
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"C�zanne's Heirs and the Kunstmuseum Bern Reach a Historic Agreement Over a
Mysterious C�zanne in the Gurlitt Trove". artnet News. 3 July 2018. Retrieved 3
August 2019.
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Retrieved 12 February 2018.
"GURLITT: STATUS REPORT. AN ART DEALER IN NAZI GERMANY - Art and Exhibition Hall
of the Federal Republic of Germany - Bonn". www.bundeskunsthalle.de.
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Retrieved 3 August 2019 � via www.youtube.com.
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Retrieved 3 August 2019 � via www.youtube.com.
http://www.kunstmuseumbern.ch/admin/data/hosts/kmb/files/page_editorial_paragraph_f
ile/file/1020/141127_gurlitt_muenchen.pdf?lm=1417117036
http://www.kunstmuseumbern.ch/admin/data/hosts/kmb/files/page_editorial_paragraph_f
ile/file/1021/141127_gurlitt_salzburg.pdf?lm=1417098980
Barnett, Louise (10 November 2013). "Art dealer paid Nazis just 4,000 Swiss Francs
for masterpieces". The Daily Telegraph. Retrieved 10 November 2013.
Hickley, 2015: p.181.
Hickley, 2015: p. 157.
Perlson, Hili (4 April 2016). "Holocaust Survivor Sues German Auction House to
Locate Family's Nazi Looted Paintings". artnet news. Retrieved 27 August 2019.
"Return of the Basket Weavers". Leo Baeck Institute. 19 March 2018. Retrieved 27
August 2019.
Hickley, 2015: p. 127.
Hickley, 2015: p. 150, 151, 156, 165.
Hickley, 2015: p. 164-165.
Cascone, Sarah (26 July 2017). "'26 Years Is Too Long!': Settlement Finally
Reached in Battle Over Paul Klee From Nazi 'Degenerate Art' Show". artnet news.
Retrieved 27 August 2019.
"Gurlitt Provenance Research Project: Object record excerpt for Lost Art ID:
477889" (PDF). Retrieved 3 August 2019.
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Bild". artdaily.com. Retrieved 1 September 2019.
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Foundation, Henry Moore. "Fake or Fortune: A Henry Moore in the Gurlitt Hoard".
Henry Moore Foundation.
Further reading
German watercolors, drawings and prints [1905�1955]. A midcentury review, with
loans from German museums and galleries and from the collection Dr. H. Gurlitt,
Catalogue of the exhibition in New York City, San Francisco and Cambridge MA, 1956
Feliciano, Hector; Vernay, Alain (1998). The Lost Museum: The Nazi Conspiracy to
Steal the World's Greatest Works of Art. New York: Basic Books. ISBN 0-465-04191-4.
Hoffmann, Meike, ed. (2010). Ein H�ndler "entarteter" Kunst: Bernhard A. B�hmer und
sein Nachlass. Berlin: Walter de Gruyter. ISBN 978-3-05-004498-9.
Petropoulos, Jonathan (2000). The Faustian Bargain: The Art World in Nazi Germany.
New York: Oxford University Press. ISBN 0-19-512964-4.
Bibliography
Hickley, Catherine. "The Munich Art Hoard: Hitler's Dealer and his Secret Legacy."
Thames & Hudson, London, 2015, 272 pp. ISBN 9780500292570
Ronald, Susan. "Hitler's Art Thief: Hildebrand Gurlitt, the Nazis, and the Looting
of Europe's Treasures." St. Martin's Press, New York, 400 pp. ISBN 9781250061096
Collins, Jacob R. "The Gurlitt Trove: Its Past, Present and Future". Undergraduate
Thesis, University of Vermont, 2016, 54 pp.
External links
Media related to 2012 Munich artworks discovery at Wikimedia Commons
German Lost Art Foundation: Gurlitt Art Trove

BBC inspects art stash
Video: "Hitler's Art Dealer" - short documentary, c. 2017 by Mounia El Aboudi /
University of the Arts London
Video: "Bestandsaufnahme Gurlitt � Behind the Art" - 2017 video, 25 mins, based
around the 2017 Bonn and Bern exhibitions
BBC Arts: Nazi art dealer's secret hoard revealed after half a century Article, 9
November 2017
Kunstmuseum Bern (2017). Gurlitt Status Report: "Degenerate Art" - Confiscated and
Sold (Exhibition Guide) (PDF). Bern: Kunstmuseum Bern.
Kunstmuseum Bern (2018). Gurlitt Status Report Part 2: Nazi Art Theft and its
Consequences (Exhibition Guide) (PDF). Bern: Kunstmuseum Bern.
vte
Degenerate art
vte
Art and World War II
Categories: Former private collectionsArt and cultural repatriation after World War
IIArt historyCultural history of World War IILootingStolen works of art
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Wiki Loves Monuments: Photograph a monument, help Wikipedia and win!

Franz Marc's Pferde in Landschaft (Horses in Landscape), one of the artworks

The collection contains Old Masters as well as Impressionist, Cubist, and

2012 discovery by German tax authorities

Schwabing Art Trove Task Force, and successors

Death of Cornelius Gurlitt, and after

Unlike in Austria,[51] there is no law in effect in Germany requiring the return of

November 2014 and onwards

Works identified for return to original owners

Quai de Clichy, Temps gris by Paul Signac

Portrait of a Seated Woman by Thomas Couture

Works held (and in some cases sold) by other family members

Other works previously sold

Selected contents listing

Artist Work title Work type Link image

German Lost Art Foundation: Gurlitt Art Trove

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