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Karl Haberstock (1878-1956) [FIG. 1] was an art dealer who after 1933 had close business relationships to the Nazi elite. He traded a large number of looted art works from Jewish collections to the Sonderauftrag Linz .Haberstock originally trained in banking in his native Augsburg, working in Munich before opening his first shop in Würzburg, selling porcelain and later paintings.
In 1907 Haberstock moved to Berlin, where he was from 1912 able to rent an entire first floor gallery on the prestigious Bellevuestrasse 15, [FIG. 2, 3] where he focused at first on German 19th-century artists and later branched out to Old Master paintings.
In 1933, Haberstock joined the Nazi Party when they came to power. He cultivated the new Nazi elite as clientele, placing advertisements in the art magazine Kunst dem Volke published by Heinrich Hoffmann, Adolf Hitler's personal photographer. [FIG. 4]
In 1939 Haberstock moved his gallery and residence to grand new premises at Kurfürstenstrasse 59, [FIG. 5, 6] a house forcibly sold by Dr. Kaete Pariser (1893–1953), the pre-war Jewish owner.
Having sold a first painting to Hitler in 1936, Haberstock was part of a small group of dealers appointed by the Nazi government to sell ‘degenerate art’ outside of Germany. Haberstock was a major supplier of artworks to the ‘Führermuseum’, or Sonderauftrag Linz (Special Project Linz) , the museum Hitler planned to open in Linz. [FIG. 7] Haberstock had close ties to Hans Posse (1879-1942), who he recommended as the museum’s first director. Haberstock’s influence diminished following Posse’s death in 1942.
During World War II, Haberstock went on multiple buying trips to occupied Paris. Tintoretto’s painting Christ carrying the Cross from the Mayer-Fuld collection that he bought in 1940 at a forced sale in Berlin and sold immediately to the Düsseldorf municipal collection became a well-publicised restitution case in the post-war years. Following the destruction of Haberstock’s Berlin premises by bombing in 1944, [FIG. 8] he and his wife Magdalena relocated to southern Germany.
At the war’s end in 1945, Haberstock was arrested and was interrogated by the Allied Looting Intelligence Unit (ALIU), spending 10 months in US custody. Originally prosecuted at the Nuremberg Trials in 1949, he was exonerated following an appeal in 1951 and the case was closed.
In the late 1950s, a Karl and Magdalena Haberstock Foundation, including fine and decorative arts, a research library and gallery archives, was created in Augsburg, and a street in the city was named after Haberstock. It is only since the 1990s that Haberstock’s wartime dealings have been brought to public attention. In 2008, Horst Keßler and Christof Trepesch published research about the Foundation’s artworks and archives in their book Karl Haberstock. Umstrittener Kunsthändler und Mäzen [‘Karl Haberstock: Controversial Art Dealer and Patron‘].
On 13 May 2003 Christie’s sold a pair of late Louis XIV ormulu chenets that was restituted to the heirs of Fritz Gutmann in 2002. [FIG. 9] The Jewish collector Friedrich (Fritz) Gutmann (1886-1944) had inherited a significant share of a collection of decorative arts from his father Eugen Gutmann (1840-1925), the founder of the Dresdner Bank. In 1942, Fritz and his wife Louise (1892-1944), [FIG. 10, 11] also Jewish, were forced to sell to Haberstock — who was working in partnership with the Munich-based art dealer Julius Böhler (1883-1966) — a large number of artworks, with part of the collection also intended to be placed with the dealers for safekeeping. The Gutmanns were later deported and murdered. While some of the items were restituted in the post-war years having been deposited to the Munich Central Collecting Point, others were restituted to the Dutch state and only restituted to the family in 2002.
In May 2022, a number of the Gutmann works were identified in the Karl and Magdalene Haberstock Foundation following a claim submitted by Simon Goodman, grandson and author of the book The Orpheus Clock, on behalf of the Gutmann heirs. The city of Augsburg later restituted 18 items to the heirs of Fritz and Louise Gutmann.
There is a memorial to Eugen Gutmann at the Urn Cemetry on Gerichtstraße near the Leopoldplatz, which includes dedications to both Fritz and Louise Gutmann. [FIG. 12]
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During World War II, Haberstock went on multiple buying trips to occupied Paris. Tintoretto’s painting Christ carrying the Cross from the Mayer-Fuld collection that he bought in 1940 at a forced sale in Berlin and sold immediately to the Düsseldorf municipal collection became a well-publicised restitution case in the post-war years. Following the destruction of Haberstock’s Berlin premises by bombing in 1944, [FIG. 8] he and his wife Magdalena relocated to southern Germany.
At the war’s end in 1945, Haberstock was arrested and was interrogated by the Allied Looting Intelligence Unit (ALIU), spending 10 months in US custody. Originally prosecuted at the Nuremberg Trials in 1949, he was exonerated following an appeal in 1951 and the case was closed.
In the late 1950s, a Karl and Magdalena Haberstock Foundation, including fine and decorative arts, a research library and gallery archives, was created in Augsburg, and a street in the city was named after Haberstock. It is only since the 1990s that Haberstock’s wartime dealings have been brought to public attention. In 2008, Horst Keßler and Christof Trepesch published research about the Foundation’s artworks and archives in their book Karl Haberstock. Umstrittener Kunsthändler und Mäzen [‘Karl Haberstock: Controversial Art Dealer and Patron‘].
On 13 May 2003 Christie’s sold a pair of late Louis XIV ormulu chenets that was restituted to the heirs of Fritz Gutmann in 2002. [FIG. 9] The Jewish collector Friedrich (Fritz) Gutmann (1886-1944) had inherited a significant share of a collection of decorative arts from his father Eugen Gutmann (1840-1925), the founder of the Dresdner Bank. In 1942, Fritz and his wife Louise (1892-1944), [FIG. 10, 11] also Jewish, were forced to sell to Haberstock — who was working in partnership with the Munich-based art dealer Julius Böhler (1883-1966) — a large number of artworks, with part of the collection also intended to be placed with the dealers for safekeeping. The Gutmanns were later deported and murdered. While some of the items were restituted in the post-war years having been deposited to the Munich Central Collecting Point, others were restituted to the Dutch state and only restituted to the family in 2002.
In May 2022, a number of the Gutmann works were identified in the Karl and Magdalene Haberstock Foundation following a claim submitted by Simon Goodman, grandson and author of the book The Orpheus Clock, on behalf of the Gutmann heirs. The city of Augsburg later restituted 18 items to the heirs of Fritz and Louise Gutmann.
There is a memorial to Eugen Gutmann at the Urn Cemetry on Gerichtstraße near the Leopoldplatz, which includes dedications to both Fritz and Louise Gutmann. [FIG. 12]
Gustav Pauli, director of the Hamburger Kunsthalle remarked in 1916:
'One can only gain access here upon prior appointment, as with a private residence. The intentionally cultivated exclusivity in combination with the opulent furnishings is to help encourage the enormous prices being asked for German art here.'
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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
