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ARTICLES
Bloch, Eduard. “My Patient Hitler.” Collier’s Magazine. 15 March 1941.
Boyer, Richard O. “1—Demons in the Suburbs.” New Yorker. 27 November 1943.
. “2—The Saddest Man in All the World.” New Yorker. 4 December 1943.
. “3—The Yankee from Berlin.” New Yorker. 11 December 1943.
Dickson, John. “Europe’s Man of Mystery!” Chicago Daily Tribune. 6 August 1939.
“Europe’s Children.” Life. 11 September 1939.
George, David Lloyd. “I talked to HITLER.” Daily Express. 17 September 1936.
Gezer, Özelm. “Die Liebe seines Lebens.” Der Spiegel 47 (2013).
Grosz, George. “Self Portrait of the Artist.” Americana Magazine. November 1932.
Hanisch, Reinhold. “I Was Hitler’s Buddy.” New Republic. 5 April 1939.
Herzfelde, Wieland. “The Curious Merchant from Holland.” Harper’s Magazine. November 1943.
“Hitler His Own Architect: He Practices His Art on a Simple Chalet.” New York Times Magazine. 13 October 1935.
“Hitler, Mussolini and Eden—in Retreat.” Vogue. 15 August 1936.
Lane, Mary M. “Germany to Comb Museums for Nazi-Looted Art.” Wall Street Journal. 12 February 2014.
. “Norway Returns Looted Matisse.” Wall Street Journal. 22 March 2014.
Lane, Mary M., and Marcus Walker. “Furor over Hidden Art Is Unwelcome Distraction for German Prosecutor.” Wall Street Journal. 10 November 2013.
“Paintings by Adolf Hitler.” Life. 30 October 1939.
Rosenfeld, Paul. “Exhibition ‘Fantastic Art, Dada and Surrealism,’ at the Museum of Modern Art.” New Republic. 6 January 1937.
Simpson, Hedwig Mauer. “Herr Hitler at Home in the Clouds.” New York Times Magazine. 20 August 1939.
“Speaking of Pictures: Jugend um Hitler.” Life. 6 December 1937.
Strauss, Heinrich. “On Jews and German Art (The Problem of Max Liebermann).” Leo Baeck Institute Yearbook 2, no. 1 (January 1957): 255–269.
Van Dyke, James A. “Something New on Nolde, National Socialism, and the SS.” Kunstchronik 65, no. 5 (May 2012).
Wilson, Edmund. “Book Review: George Grosz.” New Yorker. 4 January 1947.
INTERVIEWS
Anonymous, 2013–2018.
Marianne Rosenberg, July 2018.
Marty Grosz, June 2018.
David Toren, November 2015, June 2018.
Peter Toren, November 2015, June 2018.
Rein Wolfs, March 2018.
ARCHIVES AND ARCHIVAL DOCUMENTS
“Collection Schloss: Archives et patrimoine.” Diplomatie France, article undated, accessed 22 December 2018, diplomatie.gouv.fr/sites/archives_diplo/schloss/sommaire_ang.html.
George Grosz Archive, Houghton Library, Harvard University, Cambridge, Massachusetts.
Gurlitt: Status Report. Edited by Kunstmuseum Bern, Bundeskunsthalle. Munich: Hirmer, 2017.
Hildebrand Gurlitt Papers, Bundesarchiv Berlin, Berlin, Germany.
Kirchner Museum Davos. 1992. News release. Biography Ernst Ludwig Kirchner. Accessed 29 November 2018. www.kirchnermuseum.ch/fileadmin/Inhalte_Redaktoren/Bilder_Inhalt/E.L.Kirchner/Biography_E.L.Kirchner_english.pdf.
Monuments, Fine Arts, and Archives (MFAA), National Archives and Records Administration (NARA) / (Fold3) Detailed Interrogation Report No. 12: Hermann Voss, 15 September 1945 Collection: Gurlitt (Gurlitt Coll.)
Official Minutes, German Bundesrat, Sitzung (Session) 919, 14 February 2014.
Toren Family Archive, New York/Washington, DC.
Vitalizing Memory: International Perspectives on Provenance Research. Washington, DC: American Association of Museums, 2005.
ILLUSTRATION CREDITS
here Zandvoort Beach Café, Max Beckmann, 1934
(Credit: Mick Vincenz, © Kunst- und Ausstellungshalle der Bundesrepublik Deutschland GmbH, Bonn / Artists Rights Society)
here Leonie, Otto Dix, 1923
(Credit Kunstmuseum Bern, Legat Cornelius Gurlitt 2014 / Artists Rights Society)
here Love Scene, Ernst Ludwig Kirchner, 1908
(Credit Kunstmuseum Bern, Legat Cornelius Gurlitt 2014)
here The Dancer, Emil Nolde, 1913
(Credit Kunstmuseum Bern, Legat Cornelius Gurlitt 2014 / Emil Nolde Estate)
here Horse Cadaver, Otto Dix, 1924
(Credit Kunstmuseum Bern, Legat Cornelius Gurlitt 2014 / Artists Rights Society)
here Hildebrand Gurlitt with his older sister, Cornelia
(Credit TU Dresden, Universitätsarchiv, Nachlass Cornelius Gurlitt)
here Hildebrand Gurlitt with his father, Cornelius, and sister, Cornelia
(Credit TU Dresden, Universitätsarchiv, Nachlass Cornelius Gurlitt)
here Lamentation for the Dead, Käthe Kollwitz
(Credit Kunstmuseum Bern, Legat Cornelius Gurlitt 2014 / Artists Rights Society)
here Self-Portrait, Käthe Kollwitz, 1924
(Credit: Kunstmuseum Bern, Legat Cornelius Gurlitt 2014 / Artists Rights Society)
here Corpse in Barbed Wire, Otto Dix, 1924
(Credit: Kunstmuseum Bern, Legat Cornelius Gurlitt 2014 / Artists Rights Society)
here Old Woman with Cloche Hat, Max Beckmann, 1920
(Credit: Kunstmuseum Bern, Legat Cornelius Gurlitt 2014 / Artists Rights Society)
here Bow to the Authorities, George Grosz, 1928
(Credit: bpk Bildagentur / Kupferstichkabinett SMB / Art Resource, NY / Artists Rights Society / Estate of George Grosz)
here Keep Your Mouth Shut and Do Your Duty, George Grosz, 1928
(Credit: bpk Bildagentur / Art Resource, N
Y / Artists Rights Society / Estate of George Grosz)
here The Pillars of Society, George Grosz, 1926
(Credit bpk Bildagentur / Nationalgalerie, SMB / Art Resource, NY / Artists Rights Society / Estate of George Grosz)
here Portrait of George Grosz
(Credit: bpk Bildagentur / Edward Hoinkis / Art Resource, NY)
here The Degenerate Art Exhibition in Munich, 1937
(Credit: bpk Bildagentur / Zentralarchiv, SMB / Art Resource, NY)
here Emil Nolde, circa 1920
(Credit: bpk Bildagentur / Art Resource, NY)
here A section of Emil Nolde’s confiscated work, The Life of Christ
(Credit: bpk Bildagentur / Art Resource, NY / Emil Nolde Estate)
here Adolf Hitler tours the House of German Art, July 1937
(Credit: bpk Bildagentur / Art Resource, NY)
here The Gurlitt family’s mansion in Dresden
(Credit: TU Dresden, Universitätsarchiv, Nachlass Cornelius Gurlitt)
here Christopher Marinello with Henri Matisse’s Woman with a Fan
(Credit: Wolf Heider-Sawall)
here Max Liebermann’s Two Riders on the Beach
(Credit: Peter Toren)
NOTES
CHAPTER I: PORTRAIT OF THE DICTATOR AS A YOUNG MAN
1. Tagebuch Eschbach III 1946, Eintrag 31 August 1946, quoted in Maurice Philip Remy, Der Fall Gurlitt: Die wahre Geschichte über Deutschlands größten Kunstskandal (Berlin: Europa Verlag, 2017), 330.
2. Brigitte Hamann, Hitler’s Vienna: A Dictator’s Apprenticeship (New York: Tauris Parke Paperbacks, 2010), 43, 44.
3. Franz Jetzinger, Hitler’s Youth (London: Hutchinson, 1958), 37–41.
4. Franz Jetzinger, Hitlers Jugend (Vienna: Europa Verlag, 1956), 81.
5. Hamann, Hitler’s Vienna, 7.
6. Christa Schroeder, Er war mein Chef (Munich: Arndt Verlag, 1985), 64.
7. Alfred Zerlick, “Adolf Hitler in den Schulprotokollen der Realschule,” Jahresbericht des Bundesrealgymnasium Linz (1974–1975): 36, quoted in Hamann, Hitler’s Vienna, 11.
8. Hamann, Hitler’s Vienna, 10.
9. Adolf Hitler, Mein Kampf (New York: Reynal & Hitchcock, 1939), 8. Author’s note: Adolf Hitler first published Mein Kampf in 1923. The edition quoted throughout Hitler’s Last Hostages was translated by a team associated with the New School for Social Research in New York and is the English-language edition that most closely reflects the language and tone of Hitler’s original text. For fluent German speakers, the assiduously annotated Mein Kampf: Eine kritische Edition (Munich: Institut für Zeitgeschichte, 2016) serves as the definitive source.