APPENDIX

The following is the complete list of the paintings transferred from Germany and now stored at the National Gallery, according to its News Release of December 14, 1945:

Albrecht Altdorfer: Rest on the Flight into Egypt

Albrecht Altdorfer: Landscape with Satyr Family

Albrecht Altdorfer: Nativity

Albrecht Altdorfer: Christ’s Farewell to His Apostles

Christoph Amberger: Cosmographer Sebastian Münster

Jacopo Amigioni: Lady as Diana

Fra Angelico: Last Judgment

Austrian Master (ca. 1400): Christ, Madonna, St. John

Austrian Master (ca. 1410): Crucifixion

Hans Baldung Grien: Altar of Halle

Hans Baldung Grien: Graf von Löwenstein

Hans Baldung Grien: Pietà

Hans Baldung Grien: Pyramus and Thisbe

Giovanni Bellini: The Resurrection

Bohemian (ca. 1350): Glatyer Madonna

Hieronymus Bosch: St. John on Patmos

Botticelli: Giuliano de Medici, and frame

Botticelli: Madonna of the Lilies

Botticelli: St. Sebastian

Botticelli: Simonetta Vespucci

Botticelli: Venus

Dirk Bouts: Madonna and Child

Dirk Bouts: Virgin in Adoration

Peter Breughel: Dutch Proverbs

Peter Breughel: Two Monkeys

Angelo Bronzino: Portrait of a Young Man

Angelo Bronzino: Portrait of a Young Man

Angelo Bronzino: Ugolino Martelli

Hans Burgkmair: Holy Family

Giovanni Battista Caracciolo: Cosmos and Damian

Caravaggio: Cupid as Victor

Vittore Carpaccio: Entombment of Christ

Andrea del Castagno: Assumption of the Virgin

Chardin: The Draughtsman

Chardin: Still Life

Petrus Christus: Portrait of a Girl

Petrus Christus: St. Barbara and a Carthusian Monk

Joos van Cleve: Young Man

Cologne Master (ca. 1400): Life of Christ

Cologne Master (ca. 1350): Madonna Enthroned, Crucifixion

Correggio: Leda and the Swan

Francesco Cossa: Allegory of Autumn

Lucas Cranach, the Elder: Frau Reuss

Lucas Cranach, the Elder: Lucretia

Lucas Cranach, the Elder: Rest on the Flight into Egypt

Daumier: Don Quixote

Piero di Cosimo: Mars, Venus and Cupid

Lorenzo di Credi: Young Girl

Albrecht Dürer: Madonna

Albrecht Dürer: Madonna with the Goldfinch

Albrecht Dürer: Young Woman

Albrecht Dürer: Hieronymus Holzschuher

Albrecht Dürer: Cover for Portrait of Hieronymus Holzschuher

Adam Elsheimer: The Drunkenness of Noah

Adam Elsheimer: Holy Family

Adam Elsheimer: Landscape with the Weeping Magdalene

Adam Elsheimer: St. Christopher

Jean Fouquet: Etienne Chevalier with St. Stephen

French (ca. 1400): Coronation of the Virgin

French Master (ca. 1400): Triptych

Geertgen tot Sint Jans: John the Baptist

Geertgen tot Sint Jans: Madonna

Giorgione: Portrait of a Young Man

Giotto: Death of the Virgin

Jan Gossaert: Baudouin de Bourbon

Jan Gossaert: Christ on the Mount of Olives

Francesco Guardi: The Balloon Ascension

Francesco Guardi: St. Mark’s Piazza in Venice

Francesco Guardi: Piazzetta in Venice

Frans Hals: Hille Bobbe

Frans Hals: Nurse and Child

Frans Hals: Portrait of a Young Man

Frans Hals: Portrait of a Young Woman

Frans Hals: Singing Boy

Frans Hals: Tyman Oosdorp

Meindert Hobbema: Landscape

Hans Holbein: George Giesze

Hans Holbein: Old Man

Hans Holbein: Portrait of a Man

Pieter de Hooch: The Mother

Pieter de Hooch: Party of Officers and Ladies

Willem Kalf: Still Life

Willem Kalf: Still Life

Philips Konninck: Dutch Landscape

Georges de la Tour: St. Sebastian

Filippino Lippi: Allegory of Music

Fra Filippo Lippi: Adoration of the Child

Pietro Lorenzetti: St. Humilitas Raises a Nun

Pietro Lorenzetti: Death of St. Humilitas

Claude Lorrain: Italian Coast Scene

Lorenzo Lotto: Christ’s Farewell to His Mother

Bastiano Mainardi: Portrait of a Man

Manet: In the Winter Garden

Andrea Mantegna: Cardinal Mezzarota

Andrea Mantegna: Presentation in the Temple

Simon Mannion: Altar of St. Omer (two panels)

Simone Martini: Burial of Christ

Masaccio: Birth Platter

Masaccio: Three Predelle

Masaccio: Four Saints

Quentin Massys: The Magdalene

Master of the Darmstadt Passion: Altar Wings

Master of Flémalle: Crucifixion

Master of Flémalle: Portrait of a Man

Master of the Virgo inter Virgines: Adoration of the Kings

Hans Memling: Madonna Enthroned with Angels

Hans Memling: Madonna Enthroned

Hans Memling: Madonna and Child

Lippo Memmi: Madonna and Child

Antonello da Messina: Portrait of a Man

Jan Mostaert: Portrait of a Man

Aelbert Ouwater: Raising of Lazarus

Palma Vecchio: Portrait of a Man

Palma Vecchio: Young Woman

Giovanni Paolo Pannini: Colosseum.

Giovanni di Paolo: Christ on the Cross

Giovanni di Paolo: Legend of St. Clara

Joachim Patinir: Rest on the Flight into Egypt

Sebastiano del Piombo: Roman Matron

Sebastiano del Piombo: Knight of the Order of St. James

Antonio Pollaiuolo: David

Nicolas Poussin: St. Matthew

Nicolas Poussin: Amaltea

Raphael: Madonna Diotalevi

Raphael: Madonna Terranova

Raphael: Solly Madonna

Rembrandt: Landscape with Bridge

Rembrandt: John the Baptist

Rembrandt: Joseph and Potiphar’s Wife

Rembrandt: Vision of Daniel

Rembrandt: Moses Breaking the Tablets of the Law

Rembrandt: Susanna and the Elders

Rembrandt: Tobias and the Angel

Rembrandt: Minerva

Rembrandt: Rape of Proserpina

Rembrandt: Self Portrait

Rembrandt: Hendrickje Stoffels

Rembrandt: Man with Gold Helmet

Rembrandt: Old Man with Red Hat

Rembrandt: Rabbi

Rembrandt: Saskia

Rubens: Landscape (shipwreck of Aeneas)

Rubens: St. Cecilia

Rubens: Madonna Enthroned with Saints

Rubens: Andromeda

Rubens: Perseus and Andromeda

Rubens: Isabella Brandt

Jacob van Ruysdael: View of Haarlem

Andrea Sacchi(?): Allesandro del Boro

Sassetta: Legend of St. Francis

Sassetta: Mass of St. Francis

Martin Schongauer: Nativity

Seghers: Landscape

Luca Signorelli: Three Saints (altar wing)

Luca Signorelli: Three Saints (altar wing)

Luca Signorelli: Portrait of a Man

Francesco Squarcione: Madonna and Child

Jan Steen: Inn Garden

Jan Steen: The Christening

Bernardo Strozzi: Judith

Gerard Terborch: The Concert

Gerard Terborch: Paternal Advice

Giovanni Battista Tiepolo: Carrying of the Cross

Giovanni Battista Tiepolo: St. Agatha

Giovanni Battista Tiepolo: Rinaldo and Armida

Tintoretto: Doge Mocenigo

Tintoretto: Old Man

Titian: Venus with Organ Player

Titian: Self Portrait

Titian: Lavinia

Titian: Portrait of a Young Man

Titian: Child of the Strozzi Family

Cosma Tura: St. Christopher

Cosma Tura: St. Sebastian

Adriaen van der Velde: The Farm

Roger Van der Weyden: Altar with Scenes from the Life of Mary

Roger Van der Weyden: Johannes-alter Altar with Scenes from the Life of John the Baptist

Roger Van der Weyden: Bladelin Altar

Roger Van der Weyden: Portrait of a Woman

Roger Van der Weyden: Charles the Bold

Jan Van Eyck: Crucifixion

Jan Van Eyck: Madonna in the Church

Jan Van Eyck: Giovanni Arnolfini

Jan Van Eyck: Man with a Pink

Jan Van Eyck: Knight of the Golden Fleece

Lucas van Leyden: Chess Players

Lucas van Leyden: Madonna and Child

Velásquez: Countess Olivares

Domenico Veneziano: Adoration of the Kings

Domenico Veneziano: Martyrdom of St. Lucy

Domenico Veneziano: Portrait of a Young Woman

Vermeer: Young Woman with a Pearl Necklace

Vermeer: Man and Woman Drinking Wine

Andrea del Verrocchio: Madonna and Child

Andrea del Verrocchio: Madonna and Child

Watteau: Fête Champêtre

Watteau: French Comedians

Watteau: Italian Comedians

Westphalian Master (ca. 1250): Triptych

Konrad Witz: Crucifixion

Konrad Witz: Allegory of Redemption

On January 15, 1946, Mr. Rensselaer W. Lee, President of the College Art Association of America, sent the following letter to the Secretary of State:

My dear Mr. Secretary:

The members of the College Art Association of America, a constituent member of the American Council of Learned Societies, have been disturbed by the removal to this country of works of art from Berlin museums.

Information that we have received from abroad leads us to believe that the integrity of United States policy has been questioned as a result of this action. We have also been informed that adequate facilities and American personnel now exist in the American zone in Germany to assure the proper care of art treasures in that area.

We would therefore urge that the department of State clarify this action, and would strongly recommend that assurances be given that no further shipments are contemplated.

Copies of this letter were sent to members of the American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas.

The State Department replied on January 25:

My Dear Mr. Lee:

Your letter of January 15, urging the Department to clarify the action taken in removing to the United States certain works of art from German museums, has been received. In the absence of the Secretary, I am replying to your letter and am glad to give you additional information on this question.

The decision to remove these works of art to this country was made on the basis of a statement by General Clay that he did not have adequate facilities and personnel to safeguard German art treasures and that he could not undertake the responsibility of their proper care.

You indicated in your letter that you have been informed that adequate facilities and personnel now exist in the American zone for the protection of these art treasures. I must inform you that our information, based upon three separate investigations, is precisely to the contrary. The redeployment program has, as you no doubt realize, reduced American personnel in Germany and this reduction is applied to arts and monuments and this personnel as well as to other branches.

The coal situation in Germany is critical and has made it impossible to provide heat for the museums. General Clay cannot be expected to provide heat for the museums if that means taking it away from American forces, from hospitals, or from essential utility needs.

We are furthermore advised that the security situation was not such as to ensure adequate protection in Germany. In short, the Department’s information is such that it cannot agree with your premise.

It was realized that the “integrity of United States policy” might be questioned by some if these works of art were removed to this country. After a careful review of the facts, it was decided that the most important aspect was to safeguard these priceless treasures by bringing them to this country where they could be properly cared for. It was hoped that the President’s pledge that they would be returned to Germany would satisfy those who might be critical of this Government’s motives.

Sincerely yours,

For the Acting Secretary of State:

James W. Riddleberger
Chief, Division of Central European Affairs[6]

In April the author of this book received from Frederick Mortimer Clapp, director of the Frick Collection, New York, the following letter regarding the removal of German-owned works of art to this country. A copy of the resolution which accompanied this letter and a list of those who subsequently signed the resolution are also printed below.

1 East 70th Street
New York 21, New York
April 24, 1946

Dear

Since we believe that it is impossible to defend on technical, political or moral grounds the decision to ship to this country two hundred internationally known and extremely valuable pictures belonging indisputably, by prewar gift or purchase, to German institutions, notably the Kaiser Friedrich Museum of Berlin, we propose to memorialize the President in a resolution to be signed by a group of like-minded people interested in or associated with the arts.

We also intend to point out that no reason can be found for even temporarily alienating these works of art from the country to which legally they belong.

We represent no organized movement or institution. We merely wish as American citizens to go on record by appealing to our government to set right an ill considered action arising from an error of judgment which, however disinterested in intention, has already done much to weaken our national condemnation of German sequestrations of the artistic heritage or possessions of other nations under the subterfuge of “protective custody,” or openly as loot.

The moral foundations of our war effort and final victories will be subtly undermined if we, who understand the implications, pass over in silence an action taken by our own officials that, in outward appearance at least cannot be distinguished from those, detestable to all right thinking people, which the Nazis’ policy of pillage inspired and condoned.

The Monuments Officers attached to our armed forces with their specialized knowledge of the practical risks involved unanimously condemned the decision. Those Americans whose profession it is to study and preserve old paintings deplore it. On ethical grounds it is disapproved by the opinion of enlightened laymen.

We therefore consider the protest we will make to be our plain and simple duty, for it is our considered judgment that no explanation or excuse acceptable to the public conscience can be found for sending fragile old masters across the sea to this country. The physical hazards, the momentous responsibilities and the intellectual ambiguities inherent in such an act are only too grossly evident. The historical repercussions that will follow it can be imagined in the light of past situations of a similar kind. It is well known that the Nazis inculcated in the German mind a fanatical belief that we are destructive barbarians. All future deterioration of these pictures will now, rightly or wrongly, be laid at our door.

We should be glad if you would care to join us and others, who have already expressed to us their sense of the unjustified impropriety of the action to which we refer in demanding the immediate return to Germany of these panels and canvasses, the cancellation of all plans to exhibit them in this country and the countermanding at once of any contemplated further shipments.

The text of the proposed resolution is enclosed. As one of the principal reasons for submitting it to our government is to forestall further action of a similar kind with reference to pictures or objects of art belonging to German museums, as well as to rectify the existing situation, may I earnestly request you to signify your approval, if you are so minded, by signing the resolution and returning it to me before May 6.

Sincerely yours,

Signed: Frederick Mortimer Clapp.

On May 9, 1946, Dr. Clapp and Mrs. Juliana Force, director of the Whitney Museum, sent President Truman the following resolution, a copy of which was enclosed with the above letter:

RESOLUTION

Whereas in all civilized countries one of the most significant public reactions during the recent war was the horrified indignation caused by the surreptitious or brazen looting of works of art by German officials in countries they had conquered;

And Whereas that indignation and abhorrence on the part of free peoples was a powerful ingredient in the ardor and unanimity of their support of the war effort of democratically governed states in which the private opinions of citizens are the source and controlling directive of official action;

And Whereas two hundred important and valuable pictures belonging to the Kaiser Friedrich and other Berlin museums have been removed from Germany and sent to this country on the still unestablished ground of ensuring their safety;

And Whereas it is apparent that disinterested and intelligent people believe that this action cannot be justified on technical, political or moral grounds and that many, including the Germans themselves, may find it hard to distinguish between the resultant situation and the “protective custody” used by the Nazis as a camouflage for the sequestration of the artistic treasures of other countries;

Be It Therefore Resolved that we, the undersigned, respectfully request the President to order the immediate safe return to Germany of the aforesaid paintings, the cancellation of any plans that may have been made to exhibit them in this country and the countermanding without delay of any further shipments of the kind that may have been contemplated.

This resolution was signed by:

Dr. Clapp and Mrs. Force subsequently announced that they had received eight additional signatures which arrived too late to be affixed to the original copy of the resolution. They included: Frances A. Comstock, Donald Drew Egbert, Henry A. Judd, Sherley W. Morgan, Richard Stillwell—all of Princeton University; Robert Tyler Davis, Portland Museum, Portland, Maine; Frederick Hartt, Acting Director, Smith College Museum of Art; and George Rowley, Princeton Museum of Historic Art.

Statement by the American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas, Owen J. Roberts, Chairman.

National Gallery of Art, Washington 25, D. C.

Washington, May 14, 1946: The members of the Commission have received copies of a resolution signed by Dr. Frederick M. Clapp, Director of the Frick Collection; Mrs. Juliana Force, Director of the Whitney Museum of American Art, and others who criticize the action of the United States Government, taken at the Direction of the President and the United States Army Command in Germany, in bringing to this country certain paintings from German museums for safekeeping until conditions in Germany warrant their return. The Clapp resolution compares the action taken by the United States Government to looting operations carried on by the Nazis during the war.

The Commission has also noted the statements issued by the White House on September 26, 1945, and by the War Department on December 6, 1945, that the works of art of bona fide German ownership, which may be brought to this country for safekeeping, will be kept in trust for the German people and will be returned to Germany when conditions there warrant.

The Commission has also noted the statement issued by the late Chief Justice Stone, Chairman of the Board of Trustees of the National Gallery of Art, on December 14, 1945, that the Trustees of the National Gallery, at the request of the Secretary of State, had agreed to arrange for the storage space for such paintings as might be brought to this country by the United States Army for safekeeping, and that he felt the Army “deserved the highest praise for the care exercised in salvaging these great works of art and in making provisions for their safety until they can be returned to Germany.”

The Commission accepts without reservation the promise of the United States Government, as voiced by its highest officials, that the works of art belonging to German museums and brought to this country for safekeeping, will be returned to Germany when conditions there warrant.

The Commission is strongly of the opinion that the resolution sponsored by Dr. Clapp, Mrs. Force, and others is without justification and is to be deplored.

The following letters were released on June 10, 1946:

THE WHITE HOUSE

Washington
May 22, 1946

Dear Mrs. Force:

This is in acknowledgment of the letter to the President, signed by yourself and Dr. Frederick M. Clapp, Director, The Frick Collection, with which you enclosed a resolution signed by ninety-five of your colleagues in connection with the two hundred valuable paintings removed from Germany to this country for safekeeping.

These paintings were removed to this country last year on the basis of information to the effect that adequate facilities and personnel to ensure their safekeeping did not exist in Germany. Our military authorities did not feel that they could take the responsibility of safeguarding them under such conditions and it was therefore decided that they would have to be shipped to this country until such time as they could safely be returned to Germany. It was realized at the time that this action might lead to criticism but it was taken, nevertheless, because it was considered that the most important aspect was to safeguard these priceless treasures. It was hoped that the President’s pledge that they would be returned to Germany, contained in a White House press release on September 26, 1945, would satisfy those who might be critical of this Government’s motives.

I know of no plans to make any further shipments of art objects from Germany to the United States nor of any plans for the exhibition of the two hundred paintings now in this country. While a definite date for the return of these pictures has not as yet been set, I can assure you that this Government will honor its pledge to effect their return as soon as conditions warrant.

Very sincerely yours,

(signed) William D. Hassett
Secretary to the President.

DEPARTMENT OF STATE

Washington
May 22, 1946

My dear Mrs. Force and Dr. Clapp:

I have received your letter of May 9, 1946, and its enclosed resolution, signed by 95 of your colleagues, urging the President to order the immediate safe return to Germany of the 200 paintings which were brought to this country last year.

When these paintings were found by our forces in southern Germany every effort was made to assure their preservation. It soon became evident that adequate facilities and personnel to ensure their safe keeping could not be guaranteed. Consequently our military authorities, realizing the magnitude of their responsibility in preserving these priceless treasures, requested that they be relieved of this heavy responsibility and that the paintings be shipped to this country where they could be properly cared for. This Government reluctantly gave its approval to this request, knowing that such action would lead to criticism of its motives. The decision was taken because there seemed no other way to ensure preservation of these unique works of art. In order to dispel doubts as to the reasons for this action the White House released a statement to the press on September 26, 1945, which explained the situation and included a pledge that the paintings would be returned to their rightful owners. That pledge still holds good and while a definite date for the return of the paintings to Germany has not as yet been set, you may rest assured that this will be done as soon as conditions warrant.

The resolution also recommended that plans to exhibit these paintings in this country be cancelled and that further shipments of German works of art to this country be countermanded. I have never heard of any plans to make additional shipments of works of art from Germany to the United States nor do I know of any plans to exhibit the paintings which are now in this country.

Sincerely yours,

For the Secretary of State:

(signed) Dean Acheson
Under Secretary.

Following are Dr. Clapp’s and Mrs. Force’s replies, also released on June 10:

June 3, 1946

My dear Mr. President:

Permit us to thank you for your kind attention to the resolution, signed by us and ninety-five of our colleagues prominent on the staffs of museums or experts in the history and preservation of art, relative to the shipment to this country of two hundred famous paintings formerly in the Kaiser Friedrich and other museums of Berlin.

In addressing the resolution in question to you we felt that we were following the time-honored American custom of bringing to our government’s attention a consensus of opinion on the part of those who have special practical familiarity with old pictures and personal, sometimes long, acquaintance with European history and culture in its emotional and intellectual aspects.

Should you, in the course of events, undertake further inquiries into the problem created by the shipment referred to in our resolution, we shall be happy to be so informed.

Respectfully yours,

June 3, 1946

Dear Mr. Hassett:

In reply to your letter of the twenty-second permit us to say that should the President make further inquiries into the subject covered by our resolution with reference to two hundred pictures selected chiefly from the collections of the Kaiser Friedrich Museum and brought to this country, we should be pleased to be kept informed.

We, and our ninety-five colleagues in museums and universities who have had long experience with old paintings and are interested in the history and preservation of works of art, would also be glad to know when the pictures referred to are returned to Germany since we are as yet uninformed whether the conditions which are held not to warrant their return are of a practical or a political nature.

This question obviously cannot but be uppermost in our minds in view of the fact that present conditions in Germany are apparently such as to warrant leaving there thousands of German-owned works of art of great moment which belong not only to the Kaiser Friedrich Museum but to the museums of other cities in the American zone, including the great collection of the Alte Pinakothek in Munich, where under satisfactory conditions and auspices an exhibition of early German art, including masterpieces by Dürer, Grünewald and others, is now being held.

It is in fact one of our perplexities that we have never been told why our officials discriminated against important pictures and art objects (many times the number of those urgently transported to this country for safekeeping) which were also formerly in the Kaiser Friedrich and other museums, not forgetting those which were in South German churches. Were they just left to their fate?

If it were convenient at any time to pass on to the President our continued anxieties on these important points we should be happy to have you do so.

Sincerely yours,

June 3, 1946

Dear Mr. Acheson:

In reply to your letter of the twenty-second with reference to our resolution supported by the signatures of ninety-five of our colleagues prominent in museums or experts in the history and preservation of old masters and other works of art, permit us to say that, in the absence of Secretary Byrnes, we took the liberty of sending you the resolution.

We are aware of the statement released by the White House on September 26, 1945 explaining the situation and promising to return the pictures to Germany when conditions there should warrant such action. We are, however, still uninformed why the unanimous advice of the monuments officers, who had special training and technical knowledge not only of the conditions required for the preservation of old masters but of the certain dangers to which journeys subject them, was disregarded.

We have also never been told whether the conditions believed to jeopardize the safety of these important pictures were of a practical or of a political nature. Neither do we know why, out of the great and extensive collections of the Kaiser Friedrich only two hundred pictures were selected nor by whom the selection was made. More serious still no official mention has ever been made of the fact that there were in the possession of the other museums of Berlin and other cities, including the famous collection of the Alte Pinakothek in Munich, as well as in the churches of the American Zone, art objects and pictures many times more numerous than the paintings actually brought to this country for safekeeping. One cannot but ask: Were satisfactory conditions found for them or were they merely left to their fate?

These are questions that have given and still give rise to rumors, unhappy conjectures and ambiguous interpretations which we deplore. Unreasonably or otherwise the whole situation is confused by implications that we feel will not be laid until the pictures deposited in Washington have been sent back with the least possible delay to their rightful owners on whom devolves an unequivocable responsibility for their care and preservation.

Sincerely yours,