The art historian and director of Berlin’s Kunstbibliothek (State Art Library) Dr Curt Glaser (1879–1943) [FIG. 1, 2] and his wife Elsa (née Kolker, 1878–1932) [FIG. 3] were central figures in the Berlin art world of the 1910s and 1920s, and notable art collectors of Jewish origin.
Elsa came from a family rooted in the art world. Her father Hugo Kolker (1845–1915) was also an art collector, originally from Breslau. Her cousin Käthe Perls (née Kolker, 1889–1945) and husband Hugo Perls (1886–1977, a cousin of Curt) [FIG. 4] were prominent art dealers in Berlin and Paris before their exile to New York in the early 1940s.
Married in 1903, the Glasers’ global travels included visiting Henri Matisse in Paris and Edvard Munch in Oslo [FIG. 5] — they would become particular supporters of the latter’s art and Munch painted them [FIG. 6] and others from their family circle. In 1917, Curt published the first German monograph on Munch and the three — Curt, Elsa and the artist — developed a long friendship; their letters to one another provide wonderful insights into the Glasers’ life.
From 1909 to 1924, Curt headed the collection of modern and contemporary art at the Kupferstichkabinett (Department of Prints and Drawings at the State Museum) in Berlin. During this period he wrote many books on a wide range of topics from Hans Holbein the Elder and Munch [FIG. 7] to the art history of East Asia. Elsa translated French art publications such as Joachim Gasquet’s (1873–1921) book on Paul Cézanne, which was published at Bruno Cassirer’s (1872–1941) publishing house in 1930. [FIG. 8]
Curt became director of the Kunstbibliothek in 1924 and a year later, the Glasers moved into a stylish apartment at Prinz-Albrecht-Strasse 8, part of the annex also housing the library. [FIG. 9, 10]
Early acquisitions of paintings by Vincent van Gogh, Franz Marc and Matisse were later sold, with modernist drawings and prints, especially Expressionism, becoming the mainstay of the collection, among them Munch [FIG. 12] and Max Beckmann.
In the library of their apartment, Curt displayed the impressive portrait that Beckmann had painted of him in 1929. [FIG.13]
In 1932, Elsa passed away by natural causes. By this time, Curt was at the peak of his career and actively engaged with the world around him, from politics to art and architecture. He also incorporated contemporary photography into the Kunstbibliothek’s collection and exhibition program.
The Nazi Party’s seizure of power in 1933 put an abrupt end to Curt’s career. After his dismissal in early April, Glaser saw no option but to put most of his possessions up for auction at the Internationale Kunst-und Auktionshaus on 9 May 1933 [FIG. 14] and at the Max Perl auction house on 18–19 May 1933, [FIG. 15, 16] both located in Berlin.
At the latter sale a large number of works on paper were acquired for knock-down prices by the Kupferstichkabinett (Department of Prints and Drawings) of the Öffentlichen Kunstsammlungen Basel. In recent years, the present-day Glaser heirs have sought restitution of the artworks in Basel and a settlement was reached in 2020.
Just two months after the auctions, Curt emigrated with his second wife Maria Milch (1901–1981), initially to Switzerland, and then in 1941 to New York, where Curt died two years later at the age of 64.
Bartholomäus Spranger’s, Mercury carrying Psyche to Mount Olympus, initially sold at the Internationale Kunst-und Auktionshaus on 9 May 1933 [FIG. 17], was restituted to the heirs of Curt Glaser and auctioned at Christie’s London on 7 December 2017 [FIG. 18].
A plaque commemorates Dr Curt Glaser at the entrance hall of the today’s art library on Matthäikirchplatz 8 [FIG. 19].
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Early acquisitions of paintings by Vincent van Gogh, Franz Marc and Matisse were later sold, with modernist drawings and prints, especially Expressionism, becoming the mainstay of the collection, among them Munch [FIG. 12] and Max Beckmann.
In the library of their apartment, Curt displayed the impressive portrait that Beckmann had painted of him in 1929. [FIG.13]
In 1932, Elsa passed away by natural causes. By this time, Curt was at the peak of his career and actively engaged with the world around him, from politics to art and architecture. He also incorporated contemporary photography into the Kunstbibliothek’s collection and exhibition program.
The Nazi Party’s seizure of power in 1933 put an abrupt end to Curt’s career. After his dismissal in early April, Glaser saw no option but to put most of his possessions up for auction at the Internationale Kunst-und Auktionshaus on 9 May 1933 [FIG. 14] and at the Max Perl auction house on 18–19 May 1933, [FIG. 15, 16] both located in Berlin.
At the latter sale a large number of works on paper were acquired for knock-down prices by the Kupferstichkabinett (Department of Prints and Drawings) of the Öffentlichen Kunstsammlungen Basel. In recent years, the present-day Glaser heirs have sought restitution of the artworks in Basel and a settlement was reached in 2020.
Just two months after the auctions, Curt emigrated with his second wife Maria Milch (1901–1981), initially to Switzerland, and then in 1941 to New York, where Curt died two years later at the age of 64.
Bartholomäus Spranger’s, Mercury carrying Psyche to Mount Olympus, initially sold at the Internationale Kunst-und Auktionshaus on 9 May 1933 [FIG. 17], was restituted to the heirs of Curt Glaser and auctioned at Christie’s London on 7 December 2017 [FIG. 18].
A plaque commemorates Dr Curt Glaser at the entrance hall of the today’s art library on Matthäikirchplatz 8 [FIG. 19].
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The Glasers were known for their Monday receptions at home. Journalist and author Augusta von Oertzen (1881–1954), who joined these get-togethers, wrote in the daily Berliner Tageblatt:
'Anyone who is lucky enough to attend the "Monday receptions" in the house of the director of the State Art Library, which immediately follow the lectures in the library's lecture hall, will take home the feeling of having enjoyed conviviality in the best sense of the word: a term that is increasingly being lost in the restlessness of modern life. Against the background of exquisite art objects, in front of many and selected books, artists, art critics, art collectors gather; one sits at small tables, drinks tea and liqueurs, chats and dances. (…) It goes without saying that art is cultivated in the director's house (...), that every new publication in the artistic and literary field finds open eyes and ears, but in a few rooms, as here, the culture of collecting is so closely linked to the culture of living; it is the strong individuality of the inhabitants, which is made up of the most diverse forms and appearances. (...), creates a uniform image and gives the visitor the feeling of a harmoniously coordinated atmosphere. The attitude to art is quite universal: Professor Glaser, who has immersed himself in both old German and modern times, is the type of modern art historian. He was one of the pioneers of East Asian research, (...), the first to recognize the stylistic significance of Edvard Munch (…). Curt Glaser owns, among others, important Dutch manierists, South German Rococo, (...), among the modernists valuable paintings by Munch, late Corinths, paintings by Hans Purrmann, Rudolf Grossmann, Ernst Ludwig Kirchner. Characteristic of the spirit of the house are the large circle of friends, which comes together from the most diverse camps, and the contact with the young talent; probably nowhere else is young artists and art historians offered such a favorable opportunity to get acquainted with well-known personalities as on the "Monday evenings". (...) He often meets the Director General of the museums (...) Privy Councillor Waetzold, Max J. Friedländer, University Professor Adolf Goldschmidt, (...), the Reichskunstwart Dr. Edwin Redslob, (...). Among the most frequent guests are: (...) the East Asian Dr. William Cohn, the art critic Carl Scheffler, (...), the painters (...) Hans Purrmann and Rudolf Grossmann, the sculptor (...) Scharff, the architect Mies van der Rohe, (...), Bruno Cassirer, (...). In a word, here is a salon that has style, built on the cornerstones of true conviviality: culture, hospitality, generosity and taste.'
The Glasers were known for their Monday receptions at home. Journalist and author Augusta von Oertzen (1881–1954), who joined these get-togethers, wrote in the daily Berliner Tageblatt:
'Anyone who is lucky enough to attend the "Monday receptions" in the house of the director of the State Art Library, which immediately follow the lectures in the library's lecture hall, will take home the feeling of having enjoyed conviviality in the best sense of the word: a term that is increasingly being lost in the restlessness of modern life. Against the background of exquisite art objects, in front of many and selected books, artists, art critics, art collectors gather; one sits at small tables, drinks tea and liqueurs, chats and dances. (…) It goes without saying that art is cultivated in the director's house (...), that every new publication in the artistic and literary field finds open eyes and ears, but in a few rooms, as here, the culture of collecting is so closely linked to the culture of living; it is the strong individuality of the inhabitants, which is made up of the most diverse forms and appearances. (...), creates a uniform image and gives the visitor the feeling of a harmoniously coordinated atmosphere. The attitude to art is quite universal: Professor Glaser, who has immersed himself in both old German and modern times, is the type of modern art historian. He was one of the pioneers of East Asian research, (...), the first to recognize the stylistic significance of Edvard Munch (…). Curt Glaser owns, among others, important Dutch manierists, South German Rococo, (...), among the modernists valuable paintings by Munch, late Corinths, paintings by Hans Purrmann, Rudolf Grossmann, Ernst Ludwig Kirchner. Characteristic of the spirit of the house are the large circle of friends, which comes together from the most diverse camps, and the contact with the young talent; probably nowhere else is young artists and art historians offered such a favorable opportunity to get acquainted with well-known personalities as on the "Monday evenings". (...) He often meets the Director General of the museums (...) Privy Councillor Waetzold, Max J. Friedländer, University Professor Adolf Goldschmidt, (...), the Reichskunstwart Dr. Edwin Redslob, (...). Among the most frequent guests are: (...) the East Asian Dr. William Cohn, the art critic Carl Scheffler, (...), the painters (...) Hans Purrmann and Rudolf Grossmann, the sculptor (...) Scharff, the architect Mies van der Rohe, (...), Bruno Cassirer, (...). In a word, here is a salon that has style, built on the cornerstones of true conviviality: culture, hospitality, generosity and taste.'
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Related addresses: Schöneberger Ufer 38 until May 1935 (Architect: Heinrich Schweitzer); Schöneberger Ufer 71
Budapester Strasse (1932) not identical with today’s Budapester Strasse; Lützowstrasse 32 I (October 1925–1930); Königin-Augusta-Strasse 22 (October 1930–1932) - in 1933 this street becomes Tirpitzufer 84 and in 1947 it was renamed to Reichpietschufer. Lützowufer 19a (November 1932–1937), since 1933: Galerie Nierendorf; Großadmiral-von-Koester-Ufer 65 (1935–1947), Schöneberger Ufer.
Potsdamer Strasse 134c (Mid-Oct 1918-Sept 1924); Schöneberger Ufer 38 (July 1927-1931); Großadmiral-von-Koester-Ufer 39 respectively (since 1936) Großadmiral-von-Koester-Ufer 73 (1935-1939);Kluckstrasse 12 (May 1939 –Dec 1949)
Employee and partner at the Galerie / Kunstsalon Paul Cassirer
Related addresses: Street partially still exists as Hitzigallee.
Related addresses: Koenigin-Augusta-Strasse 46, in 1933 becomes Tirpitzufer 84, in 1947 becomes Reichpietschufer. Her last address in Berlin before deportation to Theresienstadt Bleibtreustrasse 17.
ALL BUILDINGS ARE DESTROYED
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Henry van de Velde (1894-1943), designer of the interior of the reading room at the gallery Paul Cassirer, Victoria Strasse 35.
(Street and building are destroyed)
Related addresses: Reichskammer der Bildenden Künste, Government agency 1933-1945; Blumes Hof 4-6 (since June 1934; street and building are destroyed; today's postcode 10785), Derfflingerstrasse 7 (from October 1935 until March 1937), Ahornstrasse 2 (1938). Today's postcode 10785
