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Third Reich Art
Page 15
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| DESCRIPTION: This is a plaque manufactured by Rosenthal, a magic name in the finest porcelain in the world, then and now. “Göring” is manufactured by a Rosenthal process where a photo is first used then transferred to a porcelain blank, then the artistic paints all the finer details. All the handwork is obvious when the plague is closely examined. Because the handwork is so finely applied these plaques were very limited and few ever show up. They were a very expensive item in their day and were given as gifts to special people, usually a very special occasions. The measurement is 7 1/2 x 9 3/4 inches. Göring is shown in the uniform of general field marshal, dating it pre-1940. The words “GENERALFELDMARSCHALL Hermann Goering” appear on the back along with Rosenthal's seal in gold. This is a treasure indeed, in perfect condition. Although unsigned the original portrait was by the famed German artist Willie Exner, who did the most famous painting of the Führer that also was the subject of a Rosenthal plaque. See also the plaques of Frederick the great at Item FRED 1-1. These Rosenthal plaques are very rare and command major money at auctions when found today. We offer this great plaque at a very competitive price. It is a really sound investment in this day and age.
PRICE: $1,750.00 |
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Black Shame Medal by Karl Goetz (Item ART 15-5; WEHR 28-2) |
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| DESCRIPTION: The history of the French occupation of the Rhineland is replete with horrific stories of cruelty and wanton murder of the German population. But by far the most-often-repeated crimes of those savages was rape. French use of Black Troops was nothing short of a national insult cast at a nation that the French hated with a passion. Rage was so rampant that it seemed to influence the NS initiative to at least sterilize the Black children of the Rhineland occupation. France recruited 190,000 African Negros before and during WWI. As for the Rhineland occupation, if only white French troops had advanced into the Rhineland in 1918 and 1919, the effect would have been to increase the proportion of Black Forces in the French homeland behind the French Frontier. But the main motivation in using Black Troops in the occupation was France’s belief in the strategic psychological effect that these troops would have on their military adversaries. It has been admitted the French were engaged in a blatant and obvious kind of psychological warfare against the Germans. They knew well that this would be viewed by the hated Germans as the basis of a radicalized insult to what the Teutons perceived as Germanic culture and civilization. To the Germans, these African “soldiers” were symbols of barbarous savagery as this was Germany’s first domestic encounter with Negroids within its national boundaries. In the summer of 1920, German officials estimated the number at thirty and forty thousand. These Black Troops were mustered from France’s colonial holdings in Algeria, Morocco, Tunisia, Madagascar, and Senegal. The post-WWI military occupation of Germany lasted from 1919 to 1930, but Negroid troops were left there longer to shame the German people. Black occupation troops became the focus of international attention in 1920 when, in Frankfurt, Black French Moroccan soldiers fired upon civilians, killing several, and wounding many more. After this, the London Daily Herald published an article entitled “The Black Scourge in Europe: Sexual Horror Let Loose by France on the Rhine,” which marked the beginning of an international outcry against the sexual misconduct of Negroid troops in Germany. This new emphasis on the sexual element set off a chain reaction of outrage and condemnation among press people and various international actors who invoked themselves. In fact, six parliamentary delegations petitioned the British and German governments for investigation and inquiry into rapes and assaults by Black Soldiers on civilians in the occupied territory. The cry was “our youth in danger, and the Rhineland was being disgraced and polluted;” the dignity of the Germans and the white race was implied. This sexual misconduct that had reached huge proportions must be contained, and the Negroids must be sent back to “La Belle France.” The uncontained sexual proclivities of the savages was doing irreversible damages to the German woman victims, but no thoughts of miscegenation is hardly imaginable. When German arms crushed the British Expeditionary forces at Dunkirk, then French forces also surrendered there at Dunkirk, and other French geographical locations overrun by the Wehrmacht and several German newsreels showed the Negroid troops being run out of the villages. As the prisoners are lined up, you can see the faces of these former jungle and desert dwelling savages. They even consent to doing an African war dance for the amused German soldiers with all the drum sets and bone practicing to the sound of Uhg’s and Boo-Boo’s. These white French soldiers asked the German officers if they would be so kind as to shoot the tribesmen so the French soldiers would not have to share the POW quarters with them. In some cases, where interrogation brought out that some of the Negroids were in the Rhineland occupation, the wishes of the French soldiers were granted summarily! The medal is called The Black Watch on the Rhine (Die Schwarze Wacht am Rhine). It was struck by the great medalist Karl Goetz as a protest to the sending of the Black Colonial Troops to occupy the Rhine territory, and the sexual depravity. The inscription on the obverse is ‘Liberty, Fraternity, Equality 1920.’ This is a tongue-in-cheek reference to the French national motto. On the back is a description of a nude female figure tied to a phallus that has a French helmet at its tip. The all-seeing eye of French masonry within the triangle seems to overlook and direct the savage scene. The initials for Karl Goetz are seen at the bottom. The words around the edge are Die Schwarze Schande (The Black Shame!). The Negroid soldier on the front looks much like the ones lined up as prisoners in the German WWII film. This is a great medallic piece from the historic epoch of the turbulent century.
PRICE: $700.00 |
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Bronze Sculpture of a Teutonic Warrior on Horseback (Item ART 15-6; OLD 6-12) |
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| DESCRIPTION: Here is a really great bronze sculpture of a Teutonic (Alte-Germanian) warrior in equestrian grouping. This is an excellent portrayal of the Germanic warriors that defeated the Romans at the Battle of the Teutoberger Forest in the year 9 A.D., when an alliance of German tribes led by Arminius (Hermann) of the Cherusci ambushed and destroyed three Roman legions led by Publius Quinctilius Varus. After this Hermannschlacht the Roman Empire made no further attempts to conquer Germania beyond the Rhine. This absolutely accurate and wonderful bronze captures all the exuberance and ferociousness of the spirited tribesman as he rides to glory in battle. He is equipped with battleaxe and the short spear-pointed sword peculiar to the Cherusci. For more information on this battle, search the web. The statue is very heavy with its beautiful red-marble plinth, or base. It’s signed ‘A. Richard.’ It stands about 18 inches high. The base is about 17 inches long by 8 inches wide. From the tail of the horse to his front hoof it measures about 15 inches. The red-marble base is about 2 inches thick. This is just a great bronze sculpture representing the most important victory in the history of the world; a battle fought defensively to protect its nation—the only justifiable war. Take notice (W); defense, not aggression.
PRICE: $3,500.00 |
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| DESCRIPTION: If you seek a reminder of the 1920s age of streamlined sophistication then look no further to the bronze figures produced through the 1920s and 1930s. Lithe, limbered, scantily draped, or fully nude beautiful young woman posed in theatrical, athletic or historical costuming found their way into the modern interiors of the aspiring upper-class homes. Among the greatest sculptresses of the period was Claire Jeanne Roberte Colinet, who was born in Brussels at the end of the 19th century. She trained as a pupil of the Belgian naturalistic sculptor Jeff Lambeaux. She had exhibited her works at the Salon des Artistes Français in Paris for over 40 years. She made her debut there in 1913 and obtained mention of honor. In 1914 moreover between 1937 and 1940, her sculptures were also shown at the Salon des Indépendents. She indeed was the master artist in creating sculptures. She regularly incorporated theatrical themes personified by her dancers of the world groupings. No doubt this magnificent Colinet that we offer here was inspired by the “Ride of the Walkuries” by Richard Wagner in his great “ring” cycle. We would lean toward calling this sculpture “Walkurie,” but it is well known in the finest of art circles as (Towards the Unknown). The one we offer is in perfect condition with the usual age cracks here and there. The figure is about 19 inches high and 15 inches from the end of the horse’s tail to his snout. I understand that this figure was done in two sizes and the one we have is the big one. To call this piece rare would be wildly understating it. This is “super rare” and a highly desirable art bronze actively sought by collectors worldwide. We will give the Germanophiles a chance at it for what has to be a limited amount of time and then the consigner will probably put it at auction more than likely at Sotheby’s. This particular sculpture is so popular that you will find that several dealers offer posters depicting this rider listed as (Towards the Unknown). This poster is advertised from dealers in dozens of countries. The statue is respected and beloved, indeed, in the world of realistic art.
PRICE: SOLD |
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| DESCRIPTION: We don’t know for sure but usually Walkuries, daughters of the Norse God Wotan, wore armor rather than riding in the nude. We lean towards Amazon in this case. But then it could be any depiction of a mortal or Goddess who was an equestrian. Rider in Germanic saga The sculpture is in white hard paste porcelain and signed by the famous firm of Rosenthal in Selb, Bavaria. The piece is alleged to be by Professor Theodore Karner of Munich. He did an Amazon for the SS Allach porcelain firm at one time. It had similarities but the Allach lady had a helmet and sword. Unfortunately, the one we offer is not artist signed. The mark on the bottom is the usual Rosenthal signature with the Bavarian crown above and crossed sticks .Below these sticks there is a very noticeable (dot). These dots will indicate year of manufacture. Since about 60% of Rosenthal’s products were produced for export they used the designation (Germany) rather than Deutschland and you can see this is no exception. The word (Selb) indicates the town where it was manufactured. Between Germany and Selb is the word Kuntsabteilung, this translates to (art department) and in this case this was a special section devoted to figural arts rather than dishes, bowls, etc. Here also were the experimental molds where the sculptures of various artists were shaped and often, only one or two were prepared, especially if some collector ordered a ‘special” edition for himself. Dr.Paul Goebbels for instance, was often known to do this. If you go to SS 7-4 on our pages you can see a piece specially made for Goebbels by Meissen, where you may be astounded by the price So, here we offer you a piece that is no doubt also a ‘special item’ but we do not know who might have ordered it. However, in our best estimation and due to our research we think that this porcelain figure was from the period 1935 due to the large dot and two dots under “Selb”. It appears that Kunstabteilung was discontinued in 1945 according to the Rosenthal book by Dieter Struss. So we feel strongly (almost positively) that this is a Third Reich Era Rosenthal production and most lovely ones by Prof. Karner. In any case, she is a beautiful lady on a gorgeous steed. There is a tiny imperfection on the base that we cannot account for. It looks like a tiny bit of porcelain is marred. But in practically no way does it detract from the overall awe inspiring look of this masterpiece of the porcelain art. It measures 13 inches from the bottom of the base to the top of her head and about 14 inches from the bottom of the base to the top of the animals head. From the curve of his tail to the foremost extended hoof the measurement is 15 inches. So, here ladies and gentlemen ( Germanophiles all!) is an opportunity to acquire a Great art piece. Art in the true sense of the word . Third Reich Art! PRICE: Sale! Consigner has reduced this item to $1,500.00; better grab it now! |
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The Fabulous Rings Presented to Professor Paul Ludwig Troost |
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DESCRIPTION: This is an incredible offering that we are very proud to bring to you; the beautiful personal finger rings having belonged to the famed Professor Paul Ludwig Troost and Frau Gerdy Troost, his wife. Professor Troost was the Third Reich’s Master Architect who was a personal friend to Adolf Hitler and his chief architect before Albert Speer. He was the designer of much of the grand buildings of the N.S Reich. He was born on August 17 1878 in Elberfeld, Westfalia.
Troost belonged to a school of architects, who even before 1914, reacted sharply against the highly ornamental Jugendstil and advocated a restrained lean architectural approach almost devoid of ornamentation.
Troost graduated from designing steamship décor before WW I and the fittings for elegant transatlantic liners like the Europa to a style that combined Spartan Traditionalism with elements of modernity.
Before 1933 he did not belong to the leading group of German architects. He became Hitler’s foremost architect whose Neo-Classical style became for a time the official architecture of the Third Reich.
His work filled Hitler with enthusiasm as the Professor planned and built state and municipal offices throughout Germany.
In the autumn of 1933 he was commissioned to rebuild and refurnish the Chancellery residence in Berlin. Along with other architects, Troost built many of the typical N.S. buildings that still miraculously survive today.
We say miraculous because the “Bundes government liberals” who strive for “political correctness” (Marxism) and are doing their level best to destroy and remove every inch of any edifice that the Führer might have walked into or out of.
His works in this period include new administrative offices, social buildings for workers and bridges across the main highways.
One of the many structures he planned before his death was “Der Haus der Deutschen Kunst” (The House of German Art). It was intended to be a great temple for the true, eternal art of the German people.
It was a good example of the imitation of the classical forms that prevailed in monumental public buildings during the Third Reich.
Hitler’s relationship to Troost was that of a pupil to an admired teacher according to Albert Speer who later became Hitler’s favorite architect.
The Führer would impatiently greet Troost with the words; “I can't wait, Herr Professor, is there anything new? Let’s see it!” Troost would then lay out his latest plans and sketches. Hitler frequently would declare according to Speer that he "first learned what architecture was from Troost."
The architect's death on March 21, 1934 after a severe illness was to Hitler a painful blow, but Hitler remained close to his widow, Frau Gerdy Troost, whose architectural taste frequently coincided with his own, which made her (in Speer's words) a kind of arbiter of art in Munich.
Troost was buried in the Nordfriedhof Cemetery in Munich.
Hitler posthumously awarded Troost the German National Prize for the Arts and Sciences in 1936. No. 1 Professor Troost's GOLDEN HONORARY RING OF THE CITY OF MUNICH. These rings are gold plated silver with 835 Hallmark. They are quite heavy. Professor Troost's ring, for example, weighs 20g. No. 2 Frau Troost's GOLDEN HONORARY RING OF THE CITY OF MUNICH. This Honor ring is quite a bit smaller and does not have the pierced supports that are open at the ends but like her husband's ring, it has the beautiful scene of the Kindle standing in front of the gate and it of course has the Third Reich eagle hovering in the air above. It is quite a beautiful piece of jewelry on its own. PRICE: SOLD |
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 Swallow's Nests |
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Oil Painting of a Hitler Youth Musician (ART 15-10 & YOUTH 8-9) |
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| DESCRIPTION: This is one of the finest original period paintings we have had the pleasure of offering. This is a very excellent painting executed by what we would consider to be by the hand of a Master. The colors are vivid and the young lad looks as though he would breathe. The detailing is just that fine. Remember, this is an original painting done during the time of the Third Reich. It was not done on canvas, rather it was painted on artist board. The frame is original (at least we believe it is). The painting is of a Hitler Youth musician. The “swallow tail” epaulettes tell us that the colors in these epaulettes would indicate the part of the country he is representing. The band members of the Hitler Jugend were especially favored by “Fuhrer und Volk” when they stepped forward and struck up the beautiful strains of “Der Fahnenleid" the song you hear playing on our site, and, the wonderful words come to the fore (Unsere Fahne flattern uns voran). The thrill and youthful exuberance demonstrated are overwhelming! The song was written by the National Reich Youth Leader, Balder Von Shirach. The lyrics are lilting yet strong. The Fuhrer, Adolf Hitler said, “The youth of Germany must be as fast as a greyhound, tough as leather and as hard as Krupp steel” yet compassion, kindness and nobility attended these youth’s as well and that is reflected in the face of this youth of yester-year. The rendering is in its original frame as far as we know. With the frame it measures 23 inches by 20 inches. The actual painting is 15 ½ x19 ½. We just can’t say enough about the quality of this great piece or the feeling it radiates. If you ever wanted to own what we can call a “minor masterpiece” of Third Reich art, here is the chance. This one was very probably worthy of inclusion in the “Haus Der Deutschen Kunst Collection.” We believe it says it all! PRICE: $2,800.00 An investment in REAL art. |
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 Artist's signature |
 Writing on base |
 Writing on base |
 Writing on base |
 Additional writing on base |
 Writing on statue base |
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 Freikorps in Munich |
 Reds in Berlin |
 The Kapp Putsch |
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 A Trueschwur badge from the N.S. period 1934 |
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Commemorative Bronze Statue Signifying Defiance and Loyalty (Item FREI 1-8, WWI 11-1 & ART 15-11) |
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| DESCRIPTION: This is a bronze statue that is nothing sort of magnificent both in beauty and deep meaning. It is the classic Roman or Grecian artistic portrayal of the naked warrior who pledges in the traditional manner of a scared oath his faithfulness to his German Fatherland even in its total defeat. He gives the two fingered oath while cradling in his other arm the broken sword with some Latin words that are indistinguishable. He wears only the Stahlhelm (steel helmet). He obviously is representative of the heroes who fought for “Heilege Deutschland” and even more so he is the symbol of fidelity and defiance.
The Bolsheviks and other Red criminals who tried to take over Germany after the end of WWI.
In essence this could be called a Free Corps piece (Freikorps). The soldiers who joined together to put down the Communist revolutionary forces in the 1920’s and early 30’s most of these men after this heroic struggle that had succeeded, then joined the SA (Storm Abteilung”) and marched under the swastika for 12 years, many of them swelling the ranks of Hitler’s Wehrmacht. They were the stuff of “heroic saga.” Had they not joined together to do battle at this point in time, surely the Reds would have been completely successful in their bid to take over Germany and this would have been the major stepping stone to their conquest of all of Europe and who besides God would know what would be their next victory although it is not remembered by most people today We have these brave and valiant men for saving us from a fate worse than death but it also encompassed death “most foul” for millions of Christians who would have seen the inside of the gulags never to emerge again.
The statue is in fine smooth bronze and stands 17 inches high including the plinth and marble base. The plinth has a legend across its front quarter, “Treuschwur” Figur Vom Kreigerdenkmal in Artern A. Kyffhauser Von Juckoff-Skopav. The word “Treuschwor”is the important one and this means, “oath of Loyalty”. This is one of the most dramatic pieces of 1920’s statuary that we have ever seen and it is in perfect condition. It has deep meaning to the historian who is by further definition a “Germanophile”. Very rare indeed but reasonably priced. PRICE: SOLD |
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Page Fifteen |
Please refer to item designator in parentheses in all correspondence.
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