Whiting, Charles. Bloody Aachen. New York: Stein and Day, 1976.
Woolley, Lt. Col. Sir Leonard. The Protection of the Treasures of Art and History in War Areas. London: His Majesty’s Stationery Office, 1947.
Yeide, Nancy. Beyond the Dreams of Avarice: The Hermann Goering Collection. Dallas: Laurel Publishing, 2009.
Articles
“A l’Institut: Gaston Palewski fait l’éloge d’un grand défenseur des Beaux-Arts Jacques Jaujard.” Le Figaro, November 21, 1968.
Bradsher, Greg. “Nazi Gold: The Merkers Mine Treasure.” Prologue Magazine 31, no. 1 (Spring 1999).
Canady, John. “James Rorimer Left Cloisters to Excel in a Bigger Job.” New York Times, May 12, 1966.
Chamson, André. “In Memoriam, Jascques Jaujard.” Musees et Collections Publiques (1967): 151–153.
Cohn, Marjorie B. “George Stout’s Legacy.” Journal of the American Institute for Conservation 18, no. 1 (1978).
Esterow, Milton. “Europe is Still Hunting its Plundered Art.” New York Times, November 16, 1964.
Gibson, Michael. “How a Timid Curator with a Deadpan Expression Outwitted the Nazis.” ARTnews 80 (Summer 1981): 105–111
Hammett, Ralph. “Comzone and the Protection of Monuments in NorthWest Europe.” College Art Journal 5, no. 2 (Jan. 1946): 123–126.
Hammond, Mason. “The War and Art Treasures in Germany.” College Art Journal 5, no. 3 (March 1946): 205–218.
Hancock, Walker. “Experiences of a Monuments Officer in Germany.” College Art Journal 5, no. 4 (May 1946): 271–311.
Houghton, Arthur A., Jr. “James J. Rorimer.” The Metropolitan Museum of Art Bulletin (Summer 1966, Part Two).
Kirstein, Lincoln. “Quest for the Golden Lamb.” Town and Country 100, no. 428 (Sept. 1945): 115.
McGregor, Neil. “How Titian Helped the War Effort.” The Times (London), June 5, 2004.
McManus, John C. “The Last Great Prize.” World War II Magazine (May 2005): 51–56.
Norris, Christopher. “The Disaster at Flakturm Friedrichshain; A Chronicle and List of Paintings.” The Burlington Magazine 94, no. 597 (Dec. 1952): 337–347.
“1,000 Pay Tribute at Rorimer Rites.” New York Times, May 17, 1966.
Plaut, James S. “Loot for the Master Race.” Atlantic Monthly 178, no. 3 (Sept. 1946): 57–63.
———. “Hitler’s Capital.” Atlantic Monthly 178, no. 4 (Oct. 1946): 73–78.
Posey, Robert. “Protection of Cultural Monuments During Combat.” College Art Journal 5, no. 2 (Jan. 1946): 127–131.
Rayssac, Michel. “Extrait de Historail: Janvier 2008.” http://www.rosevalland .eu/hist-train.htm.
Standen, Edith. “Report on Germany.” College Art Journal 7, no. 3 (Spring 1948): 209–215.
Stoner, Joyce Hill. “Changing Approaches in Art Conservation: 1925 to the Present,” in Scientific Examination of Art: Modern Techniques in Conservation and Analysis (Washington, DC: National Academies Press, 2003).
Stout, George. “Our Early Years at the Fogg.” Art Dealer & Framer (June 1977): 10–13, 16, 92–93, 96–97.
Taylor, Francis Henry. “The Rape of Europa.” Atlantic Monthly 175 (Jan. 1945): 52.
Von Choltitz, Dietrich. “Pourquoi en 1944 je n’ai pas détruit Paris—IX: Hitler: Vous réduirez paris en un tas de décombres.” Le Figaro, October 12, 1949.
Unpublished Materials
Duncan, Sally Anne. “Paul J. Sachs and the Institutionalization of Museum Culture Between the World Wars.” PhD diss., Tufts University, 2001.
Harry Ettlinger. “Ein Amerikaner: A Collection of Anecdotes in the Life of Harry Ettlinger” (New Jersey, 2002).
Jerry R. Hobbs. “A Michelangelo in Belgium? The Bruges Madonna” (Menlo Park, CA, 2004).
Films
Berge, Richard, and Bonni Cohen. The Rape of Europa Collector’s Edition. Dallas: Agon Arts & Entertainment, 2008.
Bricken, Jules, and John Frankenheimer. The Train. Santa Monica, CA: MGM Home Entertainment, 1964.
Eichinger, Bernd, and Oliver Hirschbiegel. Downfall. Culver City, CA: Sony Pictures with Newmarket Films and Constantin Film, 2005.
Heller, André, and Othmar Schmiderer. Blindspot: Hitler’s Secretary. Culver City, CA: Sony Pictures Classics Release DOR Film, 2002.
Public Collections
Archives des Musées Nationaux, France:
Rose Valland Papers
Archiv der Stadt Linz, Austria:
Nachlass Dr. Ernst Kubin
Högler, Otto. Papers, Sch 0018
Michel, Prof. Dr. Hermann. Papers, Sch 0008, Sch 0011, Sch 0042–0046
Plieseis, Sepp. Papers, Sch 0042–0046
Pöchmüller, Dr. Ing. Emmerich. Papers, Sch 0016, Sch 0032
Archiv und Wissenschaftsgeschichte des Naturhistorischen Museums Wien, Austria:
Annalen, 56. Band, 1948
Dokumentationsarchiv des Österreichischen Widerstandes, Wien, Austria:
Eder, Max. Papers, DÖW 10610
Michel, Prof. Dr. Hermann. Papers, DÖW 8378
Seiberl, Dr. Herbert. Papers, DÖW 3296a 1–2, DÖW 3296b
Sieber, Karl. Papers, DÖW 3296a 1–2, DÖW 3296b
King’s College Archive Centre, Cambridge:
The Papers of Ronald Edmond Balfour, Misc. 5
Metropolitan Museum of Art, New York City, The Cloisters Archives:
James J. Rorimer Papers
National Gallery of Art, Washington, DC:
Gallery Central Files
Walter Farmer Papers
James J. Rorimer Papers
Edith Standen Papers
National Archives and Records Administration, Washington, DC:
RG 165, 238, 239, and 331
OSS Art Looting Investigation Unit Reports, 1945–46 M1782
New York Public Library for the Performing Arts, Jerome Robbins Dance Division, Archives:
Lincoln Kirstein Papers, ca 1913–1994 MGZMD 123
Lincoln Kirstein Papers, ca 1914–1991 MGZMD 97
[Writing by Lincoln Kirstein is © 2009 by the New York Public Library (Astor, Lenox and Tilden Foundations) and may not be reproduced without written permission.]
Smithsonian Archives of American Art, Washington, DC:
W. G. Constable Papers
James J. Rorimer Papers
George Stout Papers
Smithsonian Archives of American Art, Oral History Interviews:
George Stout
Private Collections
Dale V. Ford Papers, East Grand Rapids, MI
Walker Hancock Papers, Gloucester, MA
Robert Posey Papers, Scarsdale, NY
James J. Rorimer Papers, New York City, NY
Author Interviews and Conversations
Horace Apgar
Daniel Altshuler
Richard Barancik
Anne Olivier Bell
Corinne Bouchoux
Dr. Bruce Cole
Jill Croft-Murray
Harry Ettlinger
S. Lane Faison Jr.
Betsy Ford
Dorothy Ford
Deanie Hancock French
Thomas Hoving
William Keller
Kenneth Lindsay
Jim Mullen
Lynn Nicholas
Alessandro Olschki
Charles Parkhurst
Dr. Edmund Pillsbury
Emmanuelle Polack
Col. Seymour Pomrenze
Dennis Posey
Robert Posey
Alain Prévet
Hedy Reeds
James Reeds
Agnes Risom
Anne Rorimer
Louis Rorimer
Salvatore Scarpitta
Craig Hugh Smyth
Richard Sonnenfeld
Mark Sponenberg
Thomas Stout
Bernard Taper
Nancy Yeide
Interviews Courtesy of Actual Films
Harry Ettlinger
S. Lane Faison Jr.
Kenneth Lin
dsay
Charles Parkhurst
Seymour Pomrenze
Craig Hugh Smyth
Bernard Taper
Smithsonian Archives of American Art Oral History Interviews
William Constable
S. Lane Faison Jr.
Walker Hancock
Thomas Carr Howe Jr.
Charles Parkhurst
James Plaut
George Stout
ACKNOWLEDGMENTS
Thirteen years of awareness and curiosity, nine years of time invested, and five years of focused research: Unless you’ve given birth to a project of this magnitude, it’s difficult to understand the importance of the acknowledgments section of a book. No matter the amount of personal sacrifice, such achievements are rarely singular. Many people, some kindred spirits, others who made a specific contribution, enabled me to tell this story.
No one person made more personal sacrifice to assist me in every way possible than Christy Fox. Her belief in this story, her love of the Monuments Men, and her unwavering support and encouragement on this long journey are present on every page. The calm and seasoned experience of my attorney and counselor, Michael Friedman, demonstrate why the “counselor” portion of his title is often more valuable than the “attorney.” Peter McGuigan and his team at Foundry Literary & Media, including Stéphanie Abou and Hannah Brown Gordon, shared my vision about the magnitude of this story. He has ably represented me in the publishing world. He also introduced me to Bret Witter, whose professionalism and work ethic are matched only by his selfless commitment to tell a great story using words alone. Ours has been a joyous collaboration. Michelle Rapkin, my editor, loved the story of the Monuments Men from the moment she first knew of them. Her support and endorsement of my work has been exemplary, doubly so when considering the sudden loss of her loving husband, Bob. Her team at Center Street has been committed to this project every step of the way. In particular, Pamela Clements, Preston Cannon, and Jana Burson of the Center Street Marketing and Publicity team; Chris Barba, Chris Murphy, Gina Wynn, Karen Torres, and the entire Hachette Sales group, and Jody Waldrup, deserve recognition. Rolf Zettersten and Harry Helm have been enthusiastic about this book from the outset, and I thank them both.
When working in the subject area of World War II, the volume of documents, photos, and film images is staggering. Overlaid with translation issues involving, for this book, French, German, and Italian, the challenges that had to be overcome were at times bewildering. It was my good fortune to have two outstanding researchers at my side. Elizabeth Ivy Hudson cut her teeth assisting me with my first book, Rescuing Da Vinci, and was my lead researcher for all of this book. Dorothee Schneider joined our team for the last year of research and made invaluable contributions not the least of which were her fluency with German and ability to be wherever in the world we needed her. I am very proud of them both. James Early, Karen Evans, Jamie Lewis, Tom Rupreth, and Anne Edsel Jones also contributed. Full-time travel to archives and interview appointments is a daunting responsibility my assistant Michele Brown handled with patience and a smile. Assisting us with translations were Arlette Quervel and her husband, Yves, and Carol Brick-Stock.
The various archives we visited and their staffs were uniformly knowledgeable and helpful. The National Archives and Records Administration in College Park, Maryland, is a marvel to behold. I owe thanks to Drs. Greg Bradsher and Michael Kurtz and the many fine people at NARA. At the National Gallery in Washington, D.C., I want to thank Maygene Daniels and her assistant Jean Henry. Charles Perrier at the New York Public Library was also exceedingly helpful. At the Louvre Museum in Paris, we were fortunate to have the enthusiastic assistance of Alain Prévet, who was able to locate most any document from memory. Thanks also to Catherine Granger, Nicholas Jenkins, Laura Moore, Gene Fielden, Corinne Bouchaux, and Desiree Wöhler.
Dr. Bruce Cole, Dr. Edmund Pillsbury, Jim Mullen, Claire Barry, and Emmanuelle Polack each provided distinct assistance, but they all had something in common: a direct connection with the Monuments Men. No connections, however, were more important than the actual Monuments Men themselves and their family members. Some had their letters and family documents organized and readily available; others had to expend considerable time and effort to locate them. Making available letters of such a personal nature involves absolute trust, and for that we will always be indebted to their family members. In particular I want to say a special word of thanks to Deanie Hancock French, Anne Rorimer, Tom Stout, Robert and Dennis Posey, and Dorothy and Elizabeth Ford.
During my watch, I knew and became friends with fifteen Monuments Men and their families. As I write this acknowledgment, nine are still with us. To those who have departed—Lane, Craig, Salvatore, Charles, Sherman, and Ken—and those still here—Seymour, Bernie, Anne, James, Horace, Richard, Mark, Robert, and Harry—and their families, thank you for believing in me and trusting me to preserve and put to use your remarkable legacy.
Special recognition must always be made of Lynn Nicholas, whose scholarly work in the field of Nazi looting during World War II continues to be essential source material for anyone working in this area.
Nine key figures took a risk to bring visibility to the Monuments Men. Their assistance was essential, each in their own way. For providing us with that chance I want to express thanks to Congresswoman Kay Granger, Steve Glauber, Charlie Rose, Randy Kennedy, Melik Kaylan, Eric Gibson, Susan Eisenhower, Dick Bass, and the late William F. Buckley Jr.
Several dear friends helped maintain my spirit. I extend thanks to George and Fern Wachter, Leslie Tcheyan, June Terry, Mike Madigan, Allen Cullum, and Rod Laver. Keith Jarrett’s music soothed my oftentimes anguished soul.
Finally I want to express a special word of thanks to Kathleen Kennedy-Marshall, whose precise and persistent questioning of me years ago led to my discovery of how to tell this story.
What Is Your Connection to the Story?
For a complete listing of the Monuments Men and women from all thirteen nations, and to read additional Nazi documents and letters from the Monuments Men not included in this book, please visit the Web site www.monumentsmen.com.
The Monuments Men Foundation for the Preservation of Art is a not-for-profit, IRS-approved 501 (c) (3) organization dedicated to gathering information about the Monuments Men and women of all thirteen nations along with local art officials and volunteers who at great risk helped protect the great artistic treasures of Europe during World War II. It also continues the mission of the Monuments Men in locating and returning some of the hundreds of thousands of still missing works of art and documents stolen during World War II. If you have information about the Monuments Men or others who helped save civilization’s greatest treasures during the war, or possess works of art or documents you believe were stolen or “liberated” during the war, please contact the Monuments Men Foundation at www.monumentsmenfoundation.org.
For those wishing to learn more about The Greatest Theft in History Educational Program, please visit www.greatesttheft.com.
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