"A chilling reminder of Hitler’s twisted power." —BBC For readers of The Monuments Men and The Hare with Amber Eyes, the story of the Nazis' systematic pillaging of Europe's libraries, and the small team of heroic librarians now working to return the stolen books to their rightful owners. While the Nazi party was being condemned by much of the world for burning books, they were already hard at work perpetrating an even greater literary crime. Through extensive new research that included records saved by the Monuments Men themselves—Anders Rydell tells the untold story of Nazi book theft, as he himself joins the effort to return the stolen books. When the Nazi soldiers ransacked Europe’s libraries and bookshops, large and small, the books they stole were not burned. Instead, the Nazis began to compile a library of their own that they could use to wage an intellectual war on literature and history. In this secret war, the libraries of Jews, Communists, Liberal politicians, LGBT activists, Catholics, Freemasons, and many other opposition groups were appropriated for Nazi research, and used as an intellectual weapon against their owners. But when the war was over, most of the books were never returned. Instead many found their way into the public library system, where they remain to this day. Now, Rydell finds himself entrusted with one of these stolen volumes, setting out to return it to its rightful owner. It was passed to him by the small team of heroic librarians who have begun the monumental task of combing through Berlin’s public libraries to identify the looted books and reunite them with the families of their original owners. For those who lost relatives in the Holocaust, these books are often the only remaining possession of their relatives they have ever held. And as Rydell travels to return the volume he was given, he shows just how much a single book can mean to those who own it.

"Published by the University of Nebraska Press as a Jewish Publication Society book"-Title page verso.

The Nazi looting machine was notoriously efficient during the Second World War. In the Netherlands, 8.5 million citizens suffered losses estimated at 3.6 billion guilders. Approximately one-third of these losses were borne by Jews, who comprised only 1.6% of the total population. In todays terms, the German occupiers stripped the Jewish population of assets worth $7 billion.Nazi Looting offers a comprehensive history of the Dutch experience and demonstrates how reputable indigenous institutions acted as willing collaborators. Beginning with a survey of international law and various definitions of 'looting', the author shows how the Germans systematically robbed Dutch Jewry through a variety of means that gave the outward appearance of honest trading. Forced to sell under duress and at unreasonably low prices, few dared refuse the German on the doorstep when threatened with prison or incarceration in a camp.The plundering was total and systematic. In May 1940, a team of highly trained art historians, linguists, musicologists and literary experts arrived immediately behind the victorious German troops to catalogue the vast collections for Hitler. From 1941, Jews were compelled to deposit all their money into a bank called Lippmann, Rosenthal Co. The name of the bank itself was a cynical ploy since it was taken from a respected, Jewish-owned Amsterdam bank and presented as a new branch. This bank, however, simply channelled money into the Third Reich with the help of the Amsterdam Stock Exchange, insurance brokers and other well-established Dutch banks. Once the Jews were deported, their houses were emptied and the contents used to re-furnish bombed out areas of the Reich. In common with many other formerly Nazi-occupied countries in Europe, the Netherlands has been unable to retrieve many of its pre-war assets. More than fifty years after the wars end, 20% of its most important pre-war museum exhibits and approximately 80% of the less important works remain untrace

This first comprehensive analysis of the Third Reich's efforts to confiscate, loot, censor and influence art begins with a brief history of the looting of artworks in Western history. The artistic backgrounds of Adolf Hitler and Hermann Goring are examined, along with the various Nazi art looting organizations, and Nazi endeavors to both censor and manipulate the arts for propaganda purposes. Long-held beliefs about the Nazi destruction of "degenerate art" are examined, drawing on recently developed university databases, new translations of original documents and recently discovered information. Theft and destruction of artworks by the Allies and looting by Soviet trophy brigades are also documented.

The organized theft of fine art by Nazi Germany has captivated worldwide attention in the last twenty years. As much as any other topic arising out of World War Two, stolen art has proven to be an issue that simply will not go away. Newly found works of art pit survivors and their heirs against museums, foreign nations, and even their own family members. These stories are enduring because they speak to one of the core tragedies of the Nazi era: how a nation at the pinnacle of fine art and culture spawned a legalized culture of theft and plunder. A Tragic Fate is the first book to seriously address the legal and ethical rules that have dictated the results of restitution claims between competing claimants to the same works of art. It provides a history of Art and Culture in German-occupied Europe, an introduction to the most significant collections in Europe to be targeted by the Nazis, and a narrative of the efforts to reclaim looted artwork in the decades following the Holocaust through profiles of some of the art world's most famous and influential restitution cases.

The sensational story of a cache of masterpieces not seen since they vanished during the Nazi terror—a bizarre tale of a father and aged son, of secret deals, treachery and the search for truth.

Adolf Hitler's obsession with art not only fueled his vision of a purified Nazi state--it was the core of his fascist ideology. Its aftermath lives on to this day. Nazism ascended by brute force and by cultural tyranny. Weimar Germany was a society in turmoil, and Hitler's rise was achieved not only by harnessing the military but also by restricting artistic expression. Hitler, an artist himself, promised the dejected citizens of postwar Germany a purified Reich, purged of "degenerate" influences. When Hitler came to power in 1933, he removed so-called "degenerate" art from German society and promoted artists whom he considered the embodiment of the "Aryan ideal." Artists who had produced challenging and provocative work fled the country. Curators and art dealers organized their stock. Thousands of great artworks disappeared--and only a fraction of them were rediscovered after World War II. In 2013, the German government confiscated roughly 1,300 works by Henri Matisse, George Grosz, Claude Monet, and other masters from the apartment of Cornelius Gurlitt, the reclusive son of one of Hitler's primary art dealers. For two years, the government kept the discovery a secret. In Hitler's Last Hostages, Mary M. Lane reveals the fate of those works and tells the definitive story of art in the Third Reich and Germany's ongoing struggle to right the wrongs of the past.