Looted art in the Third Reich | DW Documentary
发布时间 2020-02-10 19:00:03 来源
This was once a center of the Nazi Party in Munich. And here, where the Nazis planned the systematic seizure of Jewish assets, today a belated restitution for those crimes is being worked on.
这曾经是纳粹党在慕尼黑的中心。而在这里，纳粹党策划了对犹太人财产的系统掠夺，如今正努力进行对这些罪行的迟来的赔偿。
The batch of documents that have arrived at the Central Institute for Art History in Munich are a treasure trove for the art world. Providence researcher Michael Hoppe has received the entire archive of the Ullius-Buller Art dealership from the years 1933 to 1945 to work through. It could be a huge opportunity to locate lost artworks from Jewish collections.
在慕尼黑中央艺术史研究所收到的一批文件对艺术界来说是一座宝库。普罗维登斯研究员迈克尔·霍普收到了乌利乌斯-布勒艺术交易公司1933年至1945年的全部档案，这可能是一个巨大的机会，用于寻找犹太收藏品中失落的艺术作品。
This can be like looking for a needle in a haystack. We have at least 8,500 photos like this to digitize. We have a total of nearly 40,000 of burles transactions that we're working on and figuring out. So we have a lot of work ahead of us.
这就像大海捞针一样。我们至少有8500张类似的照片需要数字化处理。总共有近40000起脱衣舞交易的事务需要我们处理和解决。因此，我们面前有很多工作要做。
HOMA VICTOR CLAMP HARM YUReling Wicks-to-A-Climparm, Rudolf Mosse, Zikrit Lemne, Ato Rubenstein, James Bligehuda, Fritz Goodman, Agatiz Oemann. These are important names, but we must always remember that they're simply representative of very, very many faiths in the Nazi era. Given the large number of objects we provenance researchers work with, and the many names we encounter that we can't even properly identify, cases like these are very important as examples, they enable us to demonstrate how the mechanism of expropriation and looting functioned, and how certain objects ended up in museums. And of course, each object has a very moving story to tell of the fate of its former owners.
赫马·维克多·克兰普，哈姆·尤里灵克·维克斯-阿-克林普，鲁道夫·莫瑟，齐克里特·勒姆内，阿图·鲁本斯坦，詹姆斯·布里戈哈达，弗里茨·古德曼，阿加提兹·奥曼。这些都是重要的名字，但我们必须时刻谨记，它们只是纳粹时代众多信仰的代表。考虑到我们在考古研究中处理的大量文物和我们无法准确识别的许多名字，像这样的案例非常重要，它们使我们能够展示出掠夺和抢劫的机制如何运作，以及某些文物是如何最终进入博物馆的。当然，每个文物都有一个非常动人的故事，可以讲述它的前任所有者的命运。
The town of Füllingen is located in southwestern Germany. This is where the Jewish couple Ernst and Agatiz Oemann, who were Avidar collectors, lived from the late 1920s, until they were forced to flee Nazi Germany in late 1935. Providence researcher Iris Schmeiser was examining the collection of Liebechaus Museum in Frankfurt. She was checking its legality when she found that the museum had a Madonna figure that had belonged to the Zalmans.
福林根镇位于德国西南部。这是犹太夫妇阿格尼兹和恩斯特·奥曼生活的地方，他们是阿维达尔收藏家，在20世纪20年代末期开始，直到1935年底被迫逃离纳粹德国。普罗维登斯研究员艾丽丝·施迈泽正在调查法兰克福的利别肖博物馆的收藏。她在核实其合法性时发现，博物馆藏有一尊属于扎尔曼家族的圣母像。
I think we can imagine how the Zalmans lived in the late 1920s, what kind of a feeling it must have been to live in a house full of art. I'm trying to imagine where the Madonna might have stood.
我认为我们可以想象出20世纪20年代末，萨尔曼一家是如何生活的，住在一个充满艺术氛围的房子里是一种怎样的感受。我试着想象圣母玛利亚可能站立的位置。
The Alabaster Madonna and Child dating from the 14th century was sold to Liebechaus in 1936 by the Munich Art dealer Julius Bühler on behalf of the Zalmans. The owners were forced to put it up for sale when they fled the country. There is a house in the moment there. You can sense from this photo that the house was empty when it was taken, and I recognize this knob on the stairwell. Now we have the carpeting and the wallpaper. It's hidden under the current decor. I think it's a very important thing to say about the St. Yaufnam, the finance and the right thing. These are pictures that the right-ling tax office took in the couple's absence. It's important to note that it was in their absence. But they are nonetheless extremely valuable sources because they provide a few puzzle pieces that allow us to reconstruct how this space looked when Ernst and Agata, Salman lived here.
14世纪的雪花石膏圣母与圣子雕塑于1936年由慕尼黑艺术商朱利叶斯·比勒代表萨尔曼家族向利贝豪斯出售。当萨尔曼一家逃离国家时，他们被迫将雕塑拍卖。照片中可以看到一个房子。从照片中可以感觉到，照片拍摄时房子是空的，我还能认出楼梯间的把手。现在我们有地毯和墙纸了，它们被隐藏在现有的装饰下面。我认为关于圣叶芙南堂、财务和正确的事情，这是非常重要的。这些照片是右翼税务局在这对夫妇不在的时候拍摄的。值得注意的是，它是在他们缺席的情况下拍摄的。尽管如此，它们仍然是非常有价值的资料，因为它们提供了一些谜题，让我们能够重建恩斯特和阿加塔·萨尔曼住在这里时的空间样貌。
Ernst and Agata, Salman moved into the house called Erlenhöf in the summer of 1927. In the neighboring town of Enningen, Ernst Salman had a highly successful cotton-weaving mill. His wife was the one who built up the art collection, and she had another rather extravagant hobby. Well, apparently this is where Agata, Salman landed her airplane and took off from this field. If there was a little runway or not, I don't know. Perhaps there was. But anyway, this is the spot.
在1927年夏天，恩斯特和阿加塔·沙尔曼搬进了名为埃尔伦霍夫的房子。在附近的恩宁根镇，恩斯特·沙尔曼经营着一家非常成功的棉纺织厂。他的妻子是那个建立艺术收藏的人，她还有一个相当奢侈的爱好。嗯，显然这是阿加塔·沙尔曼降落飞机并从这片区域起飞的地方。我不知道是否有一个小跑道，或许有吧。不管怎样，这就是那个地方。
Felix de Marez-Oyens is the son of Agata, Salman's first husband. He lives in Paris where he's an art dealer and an expert on rare books. He now represents a group of the Salman heirs. Did you call it a Märchenschloss? A Märchenschloss, a fairy tale house. Only 11 objects from the family's considerable collection have been found so far in five German museums and three private collections abroad. Felix de Marez-Oyens is visiting Erlenhöf for the first time. Until now, he only knew it from photographs.
费利克斯·德·马雷斯·奥延斯是阿加塔的儿子，也是萨尔曼的前夫。他住在巴黎，是一位艺术品经销商和罕见书籍专家。他现在代表了一群萨尔曼的继承者。你称这座屋子为“童话城堡”吗？这是一座童话般的房子。到目前为止，在德国的五家博物馆和三个国外私人收藏中，只发现了来自这个家族庞大收藏的11件物品。费利克斯·德·马雷斯·奥延斯第一次来到埃伦赫夫。之前，他只通过照片了解这个地方。
The desk in this picture, which was a garter, standing here at an angle, it was from that desk that she started her correspondence with Julius Böhler, or the necessity and then the planning of the several sales at Adolf Weinmüller's auction house in Munich in 1936.
这张照片中的书桌，曾是一个袜子固定的，它以一个倾斜的角度站在这里，她正是从这张书桌开始与朱利叶斯·勃勒之间的通信，或者说是为了需要和随后在1936年在慕尼黑的阿道夫·魏恩米勒拍卖行的几次拍卖做计划。
On December 18, 1935, Agata-Zalman got in touch with art dealer Julius Harry Böhler. We are currently trying to sell our factory and liquidate our estate. Might you possibly be interested in selling our collection? Before she received an answer, the Salmans had to flee the country and leave behind everything they had built up here.
1935年12月18日，阿加塔-萨尔曼联系了艺术经销商朱利叶斯·哈里·波勒。我们目前正在试图出售我们的工厂并清算我们的遗产。您可能有兴趣出售我们的收藏品吗？在她收到答复之前，萨尔曼一家不得不逃离这个国家，留下他们在这里建立的一切。
At the moment, it became clear that the Salmans had left. The authorities imposed the so-called Reich flight tax. That was nearly 140,000 Reichmarks that the Salmans had to scrape together and pay in a hurry. The tax, originally enacted to stem the flight of capital from Weimar Germany, became in the hands of the Nazis a way of seizing Jewish property. These supposed debts to the state were posted in the official government bulletin, the Deutsche Reichs-Sansiger. The Salmans were also listed here.
眼下，显然萨尔曼一家已经离开了。当局实施了所谓的德意志逃离税。这意味着萨尔曼家必须赶紧凑够将近14万帝国马克并支付。这项税收最初是为了遏制资金从威玛德国流失，然而在纳粹手中，却成为了掠夺犹太人财产的一种方式。这些所谓的对国家的债务被发布在官方政府公报《德国帝国刚正报》上，而萨尔曼一家也被列在其中。
In 1936, more and more Jews began to flee from Germany. Many of those who owned artworks turned to their longtime art dealer Julius Böhler. In many cases, they were being forced to hurriedly sell-off works they had originally bought through him. In the spring of 1936, Böhler answered Agata-Zalman's letter. Regarding your collection in Erlenhof, I have looked up the items in the catalogues and I would be happy to sell them for you. This is the building where the Böhler art dealership was located back then. The dealership, which had once been named antiquary to the Royal Prussian Court, had a reputation for trustworthiness among its clients. This shows how well-established he already was in Munich around 1900, and also that he had the financial clout to put up a building like this, with more than 20 exhibition rooms. It could basically be called a miniature Bavarian National Museum, and it shows how this trade was flourishing in those years.
1936年，越来越多的犹太人开始逃离德国。其中许多拥有艺术品的人转向了他们长期合作的艺术商朱利斯·伯勒。在很多情况下，他们被迫匆忙出售最初是通过他购买的艺术品。在1936年春天，伯勒回复了阿加塔-扎尔曼的信件。关于你位于埃伦霍夫的收藏，我已经查阅了目录，并且非常愿意替你出售。这是当时伯勒艺术商店所在的建筑物。这家商店曾经被封为普鲁士皇家庭古旧品经销商，并在其客户中享有信誉。这表明他在1900年左右已经在慕尼黑确立了很好的地位，同时也说明他有足够的财力兴建这样一座建筑物，拥有20多个展览室。可以说，这基本上可以被称为小型的巴伐利亚国立博物馆，展示了这个行业在那些年里的繁荣。
In the early 20th century, sales to wealthy Jewish clients all over Germany were booming for the dealership. Reputable collectors like James Zemann, Alfred Prinsheim, and James von Blige wrote a purchase art at Böhler's. When the Nazis seized power, this clientele broke away practically overnight. I not only imagine Julius Böhler walking through here, but also his clients, including collectors who might have been in dire straits and bringing objects that they were being forced to sell in their predicament. From Florence, where she was living in exile, Agatha Zalman again turned to Böhler. She still believed they might be able to meet. I'm considering selling the German artworks first. I believe that if we could discuss this in person, we could come to a satisfactory arrangement. An appraisal of our works at Ellenhof should probably take place after our conversation. This correspondence shows her difficult situation, the pressure she was under, and her desperation. After they'd left all their property behind, to have to carry on this correspondence from abroad with the dealer, but also with the tax office as to how they could keep them from confiscating all of their property.
在20世纪初，这家经销商的销售额在德国各地的富裕犹太客户中非常火爆。像詹姆斯·泽曼、阿尔弗雷德·普林斯海姆和詹姆斯·冯·布里格这样的知名收藏家曾在伯勒的购买艺术品。当纳粹夺取政权后，这批客户几乎一夜之间就离开了。我不仅想象出了朱利斯·伯勒走过这里的场景，还有他的客户，包括那些可能陷入困境的收藏家，他们不得不被迫卖掉自己的物品。流亡在佛罗伦萨的阿加莎·扎尔曼再次转向伯勒寻求帮助。她仍然相信他们可能能够解决问题。我正在考虑首先出售德国艺术品。我相信如果我们能亲自讨论这个问题，我们可以达成令人满意的安排。我们在埃伦霍夫的作品评估可能要在我们交谈之后进行。这封信凸显了她的困境、来自税务局的压力以及她的绝望。他们抛下所有财产后，不得不从国外与经销商以及税务局保持这种通信，以避免他们没收全部财产。
The objects I just scanned are all objects from the Zalman collection that are registered in the online lost art database as still missing. These are not only works of fine art, but also handicrafts, furniture, everyday objects. You can almost recreate in your imagination what the family home looked like. It's interior decor. That's what makes this so moving. We have a total of around 40,000 transactions that we've been able to reconstruct for the period that the Böhler archive covers. Of course, only part of that dates from the period 1933 to 1945. Since many dealers worked together, including people like Vainmüla and Bühler, I'm sure that this archive, this trove of documents, will allow us to shed light on more questions. This might well include questions about the Zalman collection.
我刚扫描的这些物品都是扎尔曼收藏中的物品，它们在在线失窃艺术数据库中被注册为仍然失踪。这些不仅仅是艺术品，还有手工艺品、家具、日常用品。你几乎可以在想象中重建出这个家庭的样子，包括室内装饰。这就是使得这个故事如此感人的原因。我们总共有大约4万起的交易记录，这是我们已经能够重建的贝勒档案涵盖的时期。当然，其中只有一部分属于1933年至1945年的时期。由于许多商人共同合作，包括范穆拉和布勒这样的人，我相信这个档案、这个文件宝库将使我们能够解开更多问题的谜团。这可能包括有关扎尔曼收藏的问题。
Today, the Eulias-Böhler Art Dealership is run from the family home in Starnberg near Munich by the fifth generation of the dynasty. Florian Állklöb Mührler turned over his grandfather's correspondence to the Bavarian Economic Archive back in 1995. This is our true home and always will be. Recently, he handed over the company's entire archive to the Central Institute for Art History. I don't have any more records here. It's all in public hands. It's important to me to make it all transparent. I'm no friend of sweeping things under the rug. We've tried to do that for far too long.
如今，Eulias-Böhler艺术经销商由该家族的第五代在斯塔恩贝格，靠近慕尼黑的家中运营。弗洛里安·阿尔科比·默勒在1995年将他祖父的通信转交给巴伐利亚经济档案馆。这是我们真正的家，也将永远是。最近，他把公司的整个档案交给了中央艺术史研究所。我这里没有更多记录了。一切都在公众手中。向大家展示一切对我来说很重要。我不喜欢掩盖事实。我们已经试图这样做太久了。
But what did Julius Harry-Biller tell his family about his business dealings? He liked to sit up there and look out at the lake. And when he was there, we usually hid or tried to stay out of the way. We weren't allowed to bother grandfather. That's the way it was. My mother would say, Grandpapa is there. Don't make so much noise. That seems normal if you've grown up with it. Yeah, we should have been different. But that's how it was.
朱利叶斯·哈里-比勒对他的商业交易告诉他的家人什么呢？他喜欢坐在那里，看着湖水。当他在那儿的时候，我们通常都躲起来，尽量不打扰他。我们不被允许打扰祖父。就是这样的。我妈妈会说，祖父在那里，别这么吵闹。如果你是这样长大的，这种情况似乎很正常。是的，我们应该与众不同。但事实就是这样。
That was a fairly unusual act to turn over all the company records for research purposes. Did Michael Hop and her team have a hard time persuading him? We talked with him for a long time, and he said we could come and visit. He still had the archive with the index cards and the portfolios of photographs.
将所有公司记录交给研究目的是一种相当不寻常的行为。迈克尔·霍普和他的团队说服他是否很困难？我们和他谈了很长时间，他说我们可以去拜访。他还保存着索引卡和照片作品集的档案。
That was an amazing moment when we went down into the cellar and found these steel cabinets with the photo portfolios about the objects that were sold. Around 9,000 photo portfolios were preserved. In addition, there are the index cards about the sold objects, which can tell us from which collection or from which cellar an object came, and also who ultimately bought it. The archive from the Bühler Art dealership is providing provenance researchers with essential data. For the years 1933 to 1945, they document several thousand transactions.
当我们下到地下室，发现了这些带有物品照片合集的钢柜时，这是一个令人惊讶的时刻。大约有9000个物品照片合集被保存下来。此外，我们还找到了有关售出物品的索引卡，这些卡片可以告诉我们一个物品来自哪个收藏品或者哪个地下室，以及最终是谁购买了它。Bühler艺术交易所的档案为鉴定研究者提供了必不可少的数据。它们记录了1933年至1945年期间的数千次交易。
In the summer of 1936, the Julius Bühler Art dealership saw its turnover climb to six times that of the previous years to nearly 1.3 million Reichmarks. Bühler profited from the situation. Among his biggest purchasers were the Pinocatake Museums in Munich. The name Julius Bühler appears again and again on the lists of provenance in their depositories.
在1936年的夏天，尤利乌斯·比勒艺术经销商的营业额增长了六倍，达到近130万帝国马克。比勒从这种局势中获得了利益。他最大的购买者之一是慕尼黑的皮诺伽达卡博物馆。尤利乌斯·比勒的名字再次出现在他们的收藏中的起源清单上。
For instance, for numerous objects from the collection of the Berlin banker James von Blicerader, provenance researcher Andrea Bambi has devoted a detailed study to the collection. James von Blicerader was the son of Gerson von Blicerader, who was an important banker in Berlin. The family, or he himself, owned an art collection that is documented in an auction catalogue from the Lebka Auction House in Berlin, where the collection was sold in 1938. The sale included many paintings, but also very valuable decorative objects, such as pieces of furniture, etc.
例如，对于柏林银行家詹姆斯·冯·布里塞尔德的收藏中的许多物品，来源研究人员安德烈亚·班比进行了详细的研究。詹姆斯·冯·布里塞尔德是柏林重要银行家格尔森·冯·布里塞尔德的儿子。该家族或者他本人拥有一批艺术品收藏，这在柏林的莱布卡拍卖行的拍卖目录中有所记录，该收藏于1938年被拍卖。拍卖包括许多绘画作品，还有非常有价值的装饰物品，比如家具等。
After James von Blicerader died of natural causes in Berlin in 1937, his entire collection was auctioned off by the Lebka Auction House, and the integrity of the collection that the family had accumulated over two centuries was lost forever. The rest of the Blicerader family was persecuted by the Nazis and forced to sell off the estate under duress. Among the objects sold at the auction was the raising of Lazarus, painted around 1530 by a southern German master.
1937年，詹姆斯·冯·布利赛德尔因自然原因在柏林去世后，他的整个收藏品被莱布卡拍卖行拍卖。这个家族在两个世纪中所积累的收藏品的完整性永远地失去了。布利赛德尔家族的其他成员受到纳粹的迫害，被迫在压力下出售房产。在拍卖会上出售的物品之一是《拉撒路的复活》，这是一幅由德国南方的大师于1530年绘制的作品。
One of the most active bidders in the room was Julius Böhler, and he purchased the painting. We have the invoices from the Lebka Auction House to the Julius Böhler Art dealership here in Munich. There it was sold to Böhler for 3,600 Reichmarks, and three-quarters of a year later, Herman Göring bought it for the enormous sum of 8,000 Reichmarks, so it more than doubled in the space of nine months. Of course, someone like Böhler knew that when he sold it to Göring, he didn't need to ask a cheap price.
在场最活跃的竞标者之一是朱利叶斯·勃勒，他购买了这幅画。我们有来自莱布卡拍卖行的发票，发给慕尼黑的朱利叶斯·勃勒艺术经销店。在那里，这幅画以3600帝国马克的价格卖给了勃勒，三个季度之后，赫尔曼·戈林以巨额的8000帝国马克购买了它，所以在九个月内翻了一番以上。当然，像勃勒这样的人知道，当他把它卖给戈林时，不需要开很低的价格。
Herman Göring, a leading Nazi who had been made Supreme Commander of the Luftwaffe in 1935, was one of the biggest beneficiaries of looted art. He accumulated a huge collection of artworks, many of them from Jewish owners. He was particularly keen to acquire medieval and renaissance artworks, especially female nudes. For Providence researchers, any hint that a work belonged to the Zomlung Göring, or Göring collection, is a suggestion that it may be looted art.
赫尔曼·戈林是纳粹党的主要领导人，在1935年被任命为空军最高指挥官。他是被掠夺艺术品的最大受益者之一，积累了大量艺术品，其中许多来自犹太人的所有者。他特别热衷于收集中世纪和文艺复兴时期的艺术品，尤其是女性裸体作品。对于普罗维登斯（研究人员）来说，任何暗示一件作品属于佐姆隆·戈林（Zomlung Göring）或戈林收藏的迹象都暗示可能是被掠夺的艺术品。
For Julius Böhler, as for a lot of them, such as the Weinmüller Auction House, the fact that the Jewish art dealerships, which had had a strong presence and which were the big players, no longer existed, meant the market was completely turned around. That was something the Nazis exploited. There was a tense financial situation at the time, which became evident in the art business. After 1933, the so-called Aryan dealers like Adolf Weinmüller exploited it to establish their own firms and push the Jewish firms out of the markets.
对于尤利乌斯·勃勒（Julius Böhler），以及像魏恩缪勒拍卖行这样的很多人来说，犹太人经营的艺术经销商不复存在，这意味着市场完全发生了变化。纳粹利用了这一点。当时的经济形势非常紧张，这在艺术行业中显而易见。1933年后，像阿道夫·魏恩缪勒这样的所谓的雅利安人经销商利用这种形势建立了自己的公司，并将犹太公司逐出了市场。
The Weinmüller Auction House was Böhler's first choice for auctioning off the Zomlung collection. They didn't tell the Zomlungs that since early 1936, he himself had been a 50% silent partner of the auction house and took a cut of its profits. That Weinmüller dealt in quote, unethical things or traded in looted art. What is called looted art today. Back then, they didn't have that term, I think. And why my grandfather was involved in it and when? I don't know anything about that.
鲍勒（Böhler）为拍卖佐姆隆收藏品选择了魏因米勒拍卖行，这是他的首选。他们并没有告诉佐姆隆一家，从1936年初开始，他自己就是魏因米勒拍卖行的沉默合作伙伴，拿走了其中的利润。魏因米勒曾经涉及所谓的不道德交易，或者称为掠夺艺术品的交易。当时他们并没有这个名词，我想。关于我祖父为何参与其中以及何时参与，我一无所知。
In the summer of 1936, items from the Zomlung collection were sold at an auction billed as an old German art collection. The proceeds of 40,000 Reichmarks were not enough for the Zomlungs to pay their Reich flight tax. In addition to that, Julius Böhler picked out a number of especially valuable pieces from the collection and bought them himself at the auction. That was in order to sell them later for many times the price that he paid at the auction.
1936年夏天，Zomlung收藏的物品在一场被宣传为一批德国古董艺术品的拍卖会上被出售。这次拍卖会的收入为4万帝国马克，然而这笔钱对Zomlung一家来说并不足以支付他们的帝国飞行税。除此之外，尤利乌斯·伯勒从这个收藏中挑选出了一些特别有价值的作品，并在拍卖会上以自己的名义购买了它们。他这样做的目的是为了之后以远高于拍卖会价格的价格将它们再次出售。
Some of the buyers were public museums. Böhler was very familiar with his Zomlungs collection since his dealership had helped them assemble it. Now he was dismantling it and profiting all the more. At the big auction in the summer of 1936, he bought the Madonna and Child and sold it just a year later at a profit to the Leibic House Museum in Frankfurt. He sold it for six times the amount. The money that flowed in from the sale of the art collection went directly to the tax office or to the art dealer who had been commissioned with the sale. The Salmans themselves didn't see any of it.
其中一些买家是公共博物馆。由于他的经销商帮助他们收集了宗龙斯的收藏品，勃勒先生对此非常熟悉。现在他正在拆除收藏品，并从中获利更多。在1936年夏天的大型拍卖会上，他买下了圣母与圣子像，并在一年后以高价将其卖给了法兰克福的莱比希豪斯博物馆。他以六倍的价格卖出了它。从艺术品的销售中流入的资金直接支付给税务局或委托销售的艺术品经销商。萨尔曼一家人一分钱都没拿到。
It's hard to separate. Did he maybe want to help Agata Salman by saying, you're under time pressure and I know a way we can get this done quickly. At the same time, he was a dealer and making a profit. That's the morally questionable element. Factually, you can imagine that if a dealer can get hold of more goods or has a chance at getting high quality goods cheaply, he would be acting uneconomically if he didn't take advantage of the situation.
这很难分开。他也许是想帮助阿加塔·萨尔曼，他可能会说：“你时间紧迫，我知道一种能快速完成任务的方法。”与此同时，他是个商人，也想获取利润。这是道德上可疑的部分。事实上，你可以想象，如果一个商人能够获得更多的商品或有机会以低价购得高质量商品，如果他没有利用这种情况的话，从经济角度来看他会表现得不经济。
On the other hand, dealers like Julius Böhler and Adolf Vignrula and many more were quite aware of the predicament the Jewish collectors were in at the time. There were instances in which he brought the artworks of persecuted owners to them abroad and then there were cases in which he was clearly a profiteer. Once we're finished with the Böhler project, I think we'll be able to put a percentage to his actions. To what extent was he a profiteer? How much did he help people and how much did he do people harm?
另一方面，像朱利叶斯·鲍勒（Julius Böhler）和阿道夫·维格努拉（Adolf Vignrula）等经销商非常清楚当时犹太收藏家所面临的困境。有时他会将那些受迫害的艺术品带到海外为他们找到买家，但也有明显是为了牟利的情况。在我们完成鲍勒项目之后，我想我们将能够对他的行为进行评估。他到底是多少程度上在牟利？他帮助了多少人，又对多少人造成了伤害？
It's still unclear how closely Julius Böhler was connected with the Nazi regime. What is clear is that none of the participating partners in his dealership were Nazi party members. But as Reich propaganda minister Josef Gugel's made clear, the party was intent on ensuring that all forms of culture would be subordinated to the regime. Thanks to the Nazi's cultural policies as numerous works of dubious provenance have ended up in the holdings of German museums. This dark legacy in public collections is something that to this day imposes a burden of responsibility.
尚未清楚朱利叶斯·伯勒(Julius Böhler)与纳粹政权的关系有多密切。清楚的是，他经销商中的合作伙伴都不是纳粹党党员。但正如纳粹党宣传部长约瑟夫·古格尔(Josef Gugel)所明确表示的那样，该党有意确保所有形式的文化都服从于该政权。由于纳粹的文化政策，许多具有可疑来源的作品最终进入了德国博物馆的收藏中。这种公共收藏中的黑暗遗产至今仍对人们产生责任感的负担。
One of the bizarre aspects of the Nazis, alongside the genocide, alongside the Holocaust, is that the leaders try to deck themselves out with art. That's long been a tradition among those who hold power. But in this case, the humanity that is essentially the basis of art is coupled with the inhumanity of their political and military actions. And we will never entirely resolve this paradox.
纳粹党的一个奇怪之处是，他们除了进行大屠杀、大屠杀事件之外，还试图通过艺术来装点自己。这一直是有权力者的传统。然而，在这种情况下，艺术所基于的人性与他们的政治和军事行动所展现的非人性相结合。我们将永远无法完全解决这个悖论。
In 1936, Adolf Hitler visited the Italian fascist leader Benito Mussolini in Florence. By then, Ernst and Agata Zalmann had once again been forced to flee, this time to France. They left behind their former vacation home in Florence and other valuable art objects. Not long after their arrival, France fell under German occupation. The Zalmann's were interned in the Gores concentration camp. At the same time, Hermann Göring had discovered France as a new source of art to loot. He asked Julius Büller to act on behalf of the Third Reich in France. Büller refused, and Göring reportedly left the art dealer's mansion in a rage and never bought works from him again.
1936年，阿道夫·希特勒访问了意大利法西斯领导人贝尼托·墨索里尼在佛罗伦萨的家。此时，恩斯特和阿加塔·扎尔曼再次被迫逃亡，这次是来到了法国。他们抛下佛罗伦萨的度假屋和其他贵重艺术品。不久之后，法国沦为德国的占领地。扎尔曼夫妇被关押在戈尔斯集中营。与此同时，赫尔曼·戈林将法国视为新的艺术掠夺来源。他要求尤利乌斯·布勒代表第三帝国在法国行动。布勒拒绝了，并据报道，戈林愤怒地离开了艺术商的豪宅，再也没有从他那里购买作品。
The marker was driven by the frenzy on the part of the Nazi elite. They developed this image of the great art collector, who was also a representative of Nazi ideology. Having an especially valuable art collection was a mark of status. So these people were prowling the art market, although they weren't necessarily all that knowledgeable. Or they didn't have the best advisors. So that meant that the art dealers who were there, like Vainmüller, for example, were all able to sell mediocre to inferior goods to this Nazi elite at absurdly high prices.
这个标记是纳粹精英部分的狂热推动的。他们塑造了一个伟大艺术收藏家的形象，同时也代表着纳粹意识形态。拥有特别珍贵的艺术收藏品成为了身份的象征。所以这些人在艺术市场上四处搜寻，尽管他们并不一定很了解艺术，或者没有最好的顾问。这意味着像瓦因米勒这样的艺术经销商都能以荒谬的高价将次品甚至劣质商品卖给这些纳粹精英。
One blatant example was the painting Girl Feeding the Chickens by Hans Tomma. Basically, this painting is emblematic of that time. In accordance with his new taste in art, Ernst Büchner, the director of the Pinocothec Museums, bought numerous works by Hans Tomma, a darling of the regime. He financed the purchases by giving Büller a number of valuable works in exchange. Strangely enough, he made the decision to draw on works that had been sacrosanct. He gave away a Renoir and a Monet. Those abitally missed gaps in our collection today.
一个明显的例子是汉斯·汤玛的油画《喂鸡的女孩》。基本上，这幅画象征着当时的时代。根据他对艺术的新品味，皮诺切克博物馆的馆长恩斯特·比希纳购买了汉斯·汤玛的许多作品，他是当时政权的宠儿。他通过给布勒一些有价值的作品来资助这些购买。奇怪的是，他做出了动用一些曾被视为神圣不可侵犯的作品的决定。他送走了一幅雷诺阿和一幅莫奈。这些空缺至今在我们的收藏中都是一大遗憾。
In other words, he took two significant works by artists of the calibre of Renoir and Monet and handed them over to Büller, an art dealer. In the massive records we received, we have reports of several thousand transactions by the Julius Büller art dealership in the years 1933 to 1945 alone. So it will be a huge amount of effort to digitize all this, and it will be a huge effort if we're going to analyze and assess all of the transactions. But we have to do it because any one of these transactions could provide a decisive clue to an expropriated, looted, or in some way, illegitimately traded piece of art.
换句话说，他将列奥尼尔和莫奈这两位重量级艺术家的两件重要作品交给了艺术经纪人布勒尔。在我们收到的大量记录中，仅在1933年至1945年间，朱利斯·布勒尔艺术经纪公司就有数千宗交易的报告。因此，要将所有这些记录数字化将需要巨大的努力，如果我们要分析和评估所有交易，也将是一项巨大的工作。但我们必须这样做，因为这些交易中的任何一笔都可能提供重要线索，用于查明被征用、掠夺或以某种方式非法交易的艺术品。
When World War II ended in 1945, Germany was in ruins. Gradually the crimes of the Nazis came to light. In that summer, Hermann Göring's remaining art treasures were discovered hidden in a train near Bärstiskaten. But that was only the tip of the iceberg when it came to the plunder of artworks. As soon as the cleanup of the ruins began, it was clear that how to deal with looted cultural assets was going to be an issue, and so was restitution of real estate or material goods to the persecuted families. And at the time, ways were found of addressing it.
当第二次世界大战于1945年结束时，德国已经成为一片废墟。纳粹的罪行逐渐浮出水面。在那个夏天，赫尔曼·戈林的剩余艺术珍宝被发现藏在一个靠近巴尔斯蒂斯卡滕的火车里。但这只是掠夺艺术品的冰山一角。随着废墟的清理工作开始，如何处理被掠夺的文化财产和将房地产或物质财产归还给受迫害的家庭成为了一个问题，而当时也找到了解决的办法。
In August 1945, Allied forces set up the Munich Central Collecting Point. It was a depot for looted artworks and cultural artifacts with a view to restoring them to their owners or possible heirs. It was located in a former Nazi Party administration building, which today houses the Central Institute for Art History.
1945年8月，盟军成立了慕尼黑中央收集点。该收集点是一个仓库，用于存放被掠夺的艺术品和文化遗物，旨在将它们归还给原主或可能的继承人。该收集点位于一个前纳粹党政府大楼内，今天则是中央艺术史研究所的所在地。
Gradibly, the topic of looted art under national socialism was somewhat forgotten. It may have been on people's minds immediately after the war, during the reparation process. But then over the decades, it fell into oblivion in the public consciousness. Of course, there were people in the museums who knew that there was a problem. But they weren't really interested in following up on the topic. If Ernst Buchna, my predecessor, three generations back, as it were, played an active role in the old and new Pianaco-take museums at a period when they had been bombed and the ruins had to be rebuilt, then that was definitely a mistake. Even his intense involvement with the Nazi system. But at the same time, there were clearly people here in Bavaria who wanted him as someone who was knowledgeable about the museum business. They wanted him to help rebuild the collection, rebuild the buildings, revive the institutions and organizations.
逐渐地，纳粹时期被掠夺艺术的话题有些被遗忘了。也许在战后不久的时候，在赔偿过程中，人们曾经关注过这个问题。但是随着时间的推移，它逐渐从公众意识中消失了。当然，博物馆里有人知道存在问题，但他们并不真正想深究这个话题。如果我的前任欧内斯特·布赫纳在修复这些被轰炸摧毁的古老和新的皮亚纳科-塔克博物馆时扮演了积极的角色，那绝对是个错误。即使他与纳粹体制有着密切关系。但与此同时，显然在巴伐利亚这里有人希望他作为博物馆业务的专家，帮助重建收藏品、建筑以及振兴机构和组织。
We also have to keep in mind that at the time, West Germany wanted to enjoy its post-war economic miracle and wanted to believe that the Nazi era and Nazi guilt had been overcome.
我们还必须记住，当时西德希望享受战后的经济奇迹，并且希望相信纳粹时代和纳粹的罪行已经被克服。
In 1998, more than four decades after the end of the war, the Washington Conference on Holocaust-era assets marked a decisive moment for the families affected by expropriation. We must dig to find the truth. This means that researchers must have access to old archives. And by that, I don't mean partial, sporadic or eventual access. I mean access in full everywhere now. The American diplomat Stuart Eisenstadt had initiated the gathering. 44 countries signed the Washington Declaration, committing themselves to a set of 11 principles regarding artworks confiscated by the Nazis. To create a sense of urgency, it's a moral obligation. Things are not moral. Washington principles were not legally binding treated. They created a moral obligation to find just and fair solutions.
1998年，战争结束后的四十多年后，华盛顿研讨会关于大屠杀时期资产的会议成为了受征用影响的家庭的转折点。我们必须挖掘真相。这意味着研究人员必须能够访问旧档案。而我所指的，并不是部分、零星或偶尔的访问。我指的是现在随处可得的完全访问。美国外交官斯图尔特·艾森斯塔德发起了这次聚会。44个国家签署了华盛顿宣言，承诺遵守11项关于纳粹没收艺术品的原则。为了营造紧迫感，这是一种道义义务。事情并不道义。华盛顿原则并没有作为法律约束。它们创造了一种道义义务，以寻找公正和公平的解决方案。
Until the Washington Conference, the topic of Nazi-luded art was not on the agenda. Apart from the descendants or the heirs or in some cases survivors who had been forced to flee, no one was really interested in it. The Washington Conference fundamentally changed that. Representatives of non-governmental organizations and four dozen governments came together to talk about this topic. And that put it back on the agenda. It is perhaps regrettable that it wasn't Germany, where these deeds were carried out that provided the first impetus in 1998. But overall, because it came from the Jewish community, it ended up generating huge momentum.
在华盛顿会议之前，关于纳粹掠夺艺术的话题并不在议程上。除了那些被迫逃离的后代、继承人或幸存者外，没有人真正对此感兴趣。华盛顿会议从根本上改变了这种情况。非政府组织和四十多个国家的代表聚集在一起讨论这个议题。这使得它重新回到了议程中。或许遗憾的是，最早提出这个倡议的不是德国，而是犹太社区。但总的来说，由于它来自犹太社区，它最终产生了巨大的推动力。
The Holocaust was not only the greatest genocide in history, 6 million Jews and millions of others. It was the greatest theft in history. And the Third Reich didn't steal all these artworks and cultural objects and books and instruments just to get more money for the Reich. That was a part of it, but that wasn't it. It was that this was a part and parcel of the genocide. It was cultural genocide. It was to eliminate everything connected to Jewish culture, Jewish ownership, root and branch. And many of the artworks that we're talking about, when the press gets it okay, they read about the masterpieces. But most of the art that was looted had much more sentimental and family value than it did value in the open market. And so the Washington principles were designed to find what we called fair and just solution.
大屠杀不仅是历史上最大的种族灭绝事件，夺去了600万犹太人和数百万其他人的生命。它也是历史上最大的盗窃行为。第三帝国并非仅仅为了获取更多资金而窃取了所有这些艺术品、文化物品、书籍和乐器。那只是其中一部分原因，但并非全部。这是大屠杀的一部分和主要手段。这是文化灭绝，目的是消除一切与犹太文化、犹太所有权以及根源有关的东西。我们讨论的许多艺术品，当媒体报道可以的时候，它们被称为杰作。但是，被掠夺的大部分艺术品在开放市场上的价值远不及它们在情感和家庭价值上的重要性。因此，《华盛顿原则》旨在寻求所谓的公正和合理的解决方案。
We gather here this week not to achieve miracles, but rather to do everything within our power to replace dark with light, injustice with fairness, contention with consensus and falsehood with truth. The jointly agreed search for truth and justice continues to this day.
我们在这一周聚集在这里，并不是为了实现奇迹，而是尽我们所能将黑暗替换为光明，不公正替换为公平，争议替换为共识，虚假替换为真理。共同寻求真理和正义的努力至今仍在继续。
A global digital network has provided new opportunities for Providence researchers in recent years. Germany puts more than 10 million euros a year into digitization and Providence projects related to looted art. After the catalogs of the Weinmüller auction house had been digitized, researchers in the summer of 2014 became aware of an object that for years had been part of the collection at Berlin's Boden Museum. Every artifact has a biography of course, so this is not just the sculpture collection, it's also an archive.
近年来，全球数字网络为普罗维登斯（Providence）的研究人员提供了新的机会。德国每年投入超过1000万欧元用于数字化和与被掠夺艺术品有关的普罗维登斯项目。在维因米勒（Weinmüller）拍卖行的目录被数字化后，研究人员在2014年夏天注意到了柏林博德博物馆收藏的一个物品，该物品多年来一直在收藏中。当然，每件文物都有其生平记录，因此这不仅仅是一件雕塑的收藏，还是一个档案。
And here we've come to the three angels from the collection called S&R. This piece has been in the collection since 1999. Two or three years ago a colleague drew my attention to the fact that it appears in the catalog of the Weinmüller auction house, labeled S&R collection. That was code for Zalman in Reitlingen. The digital Weinmüller catalog had made it possible to link the item in the museum to the Zalman collection. Back then nothing was known about its Providence and people weren't intensely concerned with Providence. Once we started to research it, it soon became clear that there was this connection with Zalman, and in fact the catalog describes a group of angels with the infant Jesus. When we compared the images in the catalog with the object itself, we saw that the object was missing the wing on the left, seen from our perspective. This embolic in a way, what we have here is an angel that cannot fly.
在这里，我们来看看来自名为S＆R的收藏中的三个天使。自1999年以来，这件作品一直在收藏中。两三年前，一位同事引起了我的注意，指出它在魏恩米勒拍卖行的目录中出现，并被标记为S＆R收藏。这是指Zalman在Reitlingen的代号。数字化的魏恩米勒目录使得将博物馆中的物品与Zalman收藏联系起来成为可能。当时对它的起源一无所知，人们也没有过多关注起源。一旦我们开始对它进行研究，很快就明确了它与Zalman之间的联系，事实上目录中描述了一组带有婴儿耶稣的天使。当我们将目录中的图像与物体本身进行比较时，我们发现物体的左侧缺少了一只翅膀（从我们的视角来看）。从某种意义上说，这是一种困难，我们所拥有的是一个不能飞翔的天使。
Once the Providence was confirmed, the museum had to act. This is an important piece of art history, and we were hoping to keep it for our sculpture collection. So I looked at prices on the art market for comparable works, and we made the heirs a fair offer. They accepted, and so we were able to purchase the piece.
一旦《命运》得到确认，博物馆就必须采取行动。这是一件重要的艺术史作品，我们希望将其收藏在我们的雕塑收藏中。因此，我查看了艺术市场上类似作品的价格，并向继承人提出了一个公平的报价。他们接受了我们的报价，所以我们得以购买这件作品。
How can it be that the institution that has the work in its possession is the one to decide they will keep it? Because someone who has a claim, that institution can never be independent and impartial. It's very problematic. Obviously, it's hard for the curators and directors of a museum to return artworks that have played a central role in their collection, when they discover that they have been wrongly acquired. But there's no question, they must be returned.
那个拥有艺术作品的机构如何能决定是否保留它呢？因为拥有主张的人会导致该机构失去独立和公正性。这是一个非常棘手的问题。显然，当策展人和博物馆馆长发现其收藏中的艺术作品是非法获取时，将其归还是非常困难的。但是毫无疑问，它们必须归还。
In many cases, we have found ways of telling the heirs how important it is for us to keep the work in the collection, and asking if we can either keep the artifact or artifacts or collection on permanent loan, at least for the time being. Or can we buy it back? But these options are only possible if the legitimate owner agrees to it. Since the restitution and subsequent purchase from the heirs, a plaque on the work makes a brief reference to its former owners, Ernst and Agata Zalman. We were impressed, of course, by the fact that they had taken this initiative, and that was a somewhat moving moment, because it was an acknowledgement of what had happened, and a genuine attempt to not only to restitute it, but to put something right that was clearly part of a terrible wrong, and of course, the Zalman collection is only a small element in what is a sea of expropriations of very important collections.
在许多情况下，我们已找到了告诉继承人我们将收藏品保留下来的重要性，并询问我们是否可以永久借用文物或藏品，至少目前可以这样做。或者我们能够买回它吗？但是，只有在合法所有者同意的情况下，这些选项才可能发生。自从将文物归还给继承人并随后从他们那里购买以来，作品上的一块铭牌简要提到了它的以前所有者Ernst和Agata Zalman。当然，我们对他们采取这一举措感到印象深刻，这是一种动人的时刻，因为它承认了发生的事情，并且是对不仅进行归还，而且企图纠正一种明显的严重错误的真诚努力，当然，Zalman收藏品只是一个庞大的被征用非常重要收藏中的一个小部分。
Unlike the angel sculpture, the Madonna and child in Frankfurt's Liebechaus Museum was sold at auction by Sotheby's in London, after its restitution to the Zalman heirs in 2015. It went for £22,000, slightly below its appraised value. We've maybe recovered just about ten items, out of hundreds, and a couple were quite interesting, or maybe perhaps even reasonably important. Most of them weren't terribly important. Relatively difficult to us, it's all of interest.
与法兰克福的利布豪斯博物馆的天使雕塑不同，弥赛亚和婴儿的雕像在2015年归还给扎尔曼家族后，在伦敦苏富比拍卖行上以2.2万英镑的价格出售。这个价格略低于其评估价值。我们可能只找回了大约十件物品中的一部分，其中几件相当有趣，或者可能有些重要。大部分物品并不是非常重要。相对于我们而言，这些都是有趣的。
With the beginnings of restitution, Germany's restitution, 16,000 art and books, Austria 30,000, dozens in the United States, hundreds and hundreds in the Netherlands, but we still have that rest of the glass to fill before we implement and honor the Washington principles, and more important, honor the memories of those who were killed, and those from whom these works were brutally stolen as part and parcel of the Holocaust.
随着赔偿的开始，德国已归还了16000件艺术品和书籍，奥地利归还了30000件，美国归还了几十件，荷兰归还了数百件，但在我们落实并尊重华盛顿原则之前，我们还有一块遗漏的玻璃需要填补，更重要的是要为那些被杀害的人和那些被残忍掠夺作为大屠杀的一部分而失去这些作品的人们的记忆致敬。
Ten Restituted Artifacts, out of more than 200 in the Zalman collection, is terribly few, or at least it sounds like terribly few. And you also have to keep in mind that these were pretty prominent collectors with large collections and with a real culture of art collecting. At the same time though, there were many families that owned only one or two works of emotional importance, antiquities, a portrait of their grandmother, maybe a vase that had been passed on for generations, and those were also confiscated by the Nazis.
在Zalman收藏中，有超过200件文物，而只有十件被返还，这听起来实在是太少了。你还要记住，这些是非常知名的收藏家，拥有庞大的收藏品和真正的艺术收藏文化。与此同时，还有很多家庭仅拥有一两件具有情感价值的作品，古董、祖母的肖像画，或是代代相传的花瓶，这些也被纳粹没收了。
When you reflect on that, it becomes apparent what a massive number of objects were talking about, but it's also clear that each individual object is representative of the larger issue, and that it's important to fight for the true provenance of each and every object.
当你深思熟虑这一点时，就会明显意识到我们所讨论的是多么庞大的一组物品，但也清楚地意识到每个个体物品都代表了更大的问题，并且为每个物品的真实来源而战斗变得至关重要。
In 1948, Agata Zalman took up that fight. After her husband died, she began her legal battle for restitution. Her claims were successful, at first. In March 1950, a court ordered the return of the cotton weaving mill, the company grounds and the Airlanhove House to Agata Zalman. But there was nothing left to recall the life she had once led here. It would have been pretty hard-rending to come here and be reminded of it all. Surely. Agata Zalman hoped to turn over the facilities in ending into the United Nations, to house child refugees from around the world.
1948年，阿加塔·扎尔曼开始了这场战斗。在丈夫去世后，她开始了她为获得赔偿而展开的法律斗争。起初，她的索赔是成功的。在1950年3月，一家法院下令将棉纺织厂、公司场地和艾兰霍夫之家归还给阿加塔·扎尔曼。但是，没有任何事物能够让她回忆起她曾经在这里度过的生活。来到这里并被这一切提醒，肯定会让人伤心欲绝。阿加塔·扎尔曼希望将这些设施移交给联合国，用于收留来自世界各地的儿童难民。
And her return here to the area, and her claims at the time got quite a bit of publicity, not only because of the claim itself, but also she was quite a striking character, of course, and had been a sort of minor celebrity in the area before the war. The then owner of the mill appealed against her restitution claim and the court decision.
她回到这个地区，并且她当时的索赔引起了相当大的关注，不仅是因为索赔本身，还因为她自身非常引人注目，当然，在战争之前她在这个地区曾是某种程度上的小名人。当时的磨坊所有者对她的归还索赔以及法庭判决提出了上诉。
During the appeal, Agata Zalman committed suicide in Baden Baden on June 18th, 1951. It was her fourth attempt. Now, Lather, what a beautiful horse, what a beautiful color. After Agata Zalman's death, her daughter Nina took up the restitution claims. Felix D'Amara's Oions as half-sister continued to do detailed research on the fate of the family's art collection.
在1951年6月18日的上诉期间，阿加塔·扎尔曼在巴登巴登自杀。这是她的第四次自杀尝试。现在，啊，拉瑟，多么漂亮的马儿，多么美丽的颜色。在阿加塔·扎尔曼去世后，她的女儿妮娜接管了赔偿请求。费利克斯·达玛拉的I恩斯作为同父异母的姐姐继续详细研究家族艺术收藏品的命运。
In the 1960s, she asked to see the catalogues of the Vine Miller Auction House, but was told that they had been destroyed during the war. Now we know they were rediscovered. When my sister came here again in 1962, 63 was to try to track down the artworks. We knew they were actually past them. she didn't succeed.
在1960年代，她曾要求看一下Vine Miller拍卖行的目录，但被告知那些目录在战争期间被销毁了。现在我们知道它们被重新发现了。当我妹妹在1962年再次来到这里时，她的目的是追踪这些艺术品。我们知道它们实际上就在她的眼前，但她并没有成功。