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1 December 2009 DRAFT Jonathan Petropoulos Bridges from the Reich: The Importance of Émigré Art Dealers as Reflected in the Case Studies Of Curt Valentin and Otto Kallir-Nirenstein Please permit me to begin with some reflections on my own work on art plunderers in the Third Reich. Back in 1995, I wrote an article about Kajetan Mühlmann titled, “The Importance of the Second Rank.” 1 In this article, I argued that while earlier scholars had completed the pioneering work on the major Nazi leaders, it was now the particular task of our generation to examine the careers of the figures who implemented the regime’s criminal policies. I detailed how in the realm of art plundering, many of the  Handlanger  had evaded meaningful justice, and how Datenschutz and archival laws in Europe and the United States had prevented historians from reaching a true understanding of these second-rank figures: their roles in the looting bureaucracy, their precise operational strategies, and perhaps most interestingly, their complex motivations. While we have made significant progress with this project in the past decade (and the Austrians, in particular deserve great credit for the research and restitution work accomplished since the 1998 Austrian Restitution Law), there is still much that we do not know. Many American museums still keep their curatorial files closed—despite protestations from researchers (myself included)—and there are records in European archives that are still not accessible. 2 In light of the recent international conference on Holocaust-era cultural property in Prague and the resulting Terezin Declaration, as well as the Obama Administration’s appointment of Stuart Eizenstat as the point person regarding these issues, I am cautiously optimistic. To follow a somewhat different autobiographical thread, in 2004, I co-organized a conference on a related topic that borrowed from Primo Levi’s notion of the “gray zone”: here the participants explored how so many individuals caught up in the National Socialist maelstrom (as well as those who tried to repair the damage) found themselves ethically compromised. This resulted in a book titled, Gray Zones: Ambiguity and Compromise During and After the Holocaust . My particular contribution concerned the disposition of Nazi leaders’ assets after the war, including their art collections. 3 In this paper today, I would combine those two research interests—the second rank and the gray zone—and examine the career of two art dealers whom I think important for understanding the history of art plundering and its still unresolved legacy. At the outset, I would admit that the two figures who I examine may not be “second rank” figures—at least in the art world. Curt Valentin and Otto Kallir-Nirenstein (Kallir) 1 The Importance of the Second Rank: the Art Plunderer Kajetan Mühlmann," in Contemporary Austrian Studies IV (1995), 177-221. 2 Jonathan Petropoulos, "Exposing Deep Files," in  ARTnews 98/1 (January 1999), 143-44. 3 “The Gray Zone of Denazification and Postwar Justice,” in Jonathan Petropoulos and John Roth, eds., Gray Zones: Ambiguity and Compromise During and After the Holocaust (New York/Oxford: Berghahn Press, 2005), 325-38. 1

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