Alfred Flechtheim

from Wikipedia, the free encyclopedia
Alfred Flechtheim around 1910. Portrait of Jacob Hilsdorf
Alfred Flechtheim (1928). Photo by Hugo Erfurth

Alfred Flechtheim (born April 1, 1878 in Münster, Westphalia ; died March 9, 1937 in London ) was a German art dealer , art collector , gallery owner , publicist and publisher . Like Paul Cassirer and Herwarth Walden, he was one of the most important promoters of avant-garde art in the Weimar Republic .

Life

Family and personal life

Nils von Dardel : Portrait of Alfred Flechtheim , 1913

Flechtheim came in Westfalen -rooted Jewish merchant family Flechtheim . He was born in Münster in 1878 as the son of the grain wholesaler and owner of the Flechtheim store Emil Flechtheim (1850–1933) and his wife Emma Flechtheim, nee. Heymann (1856–1935), born and initially trained as a businessman in Paris. Volunteers in London, Liverpool and Odessa followed, and in 1902 he became a partner in his father's company, which had had its headquarters in Düsseldorf since 1895 . In 1910 he married the wealthy Dortmund merchant's daughter Betty Goldschmidt (1881–1941). The marriage remained childless, both heirs to the nephew Heinz Alfred Hulisch (1910–1992), who emigrated to England in 1933. The political scientist Ossip K. Flechtheim (1909–1998) was also a nephew of Alfred Flechtheim. He had an affair with the Swedish artist Nils von Dardel in 1913.

Flechtheim as an art collector from 1906

Otto Feldmann : Herr am Telefon (Flechtheim) , 1913, Museum Ludwig , Cologne

Shortly after the turn of the century, Flechtheim appeared publicly as an art lover and collector for the first time. On the occasion of an exhibition of works from private collections held in Düsseldorf in 1906 for the Düsseldorf School of Painting , works from the Flechtheim Collection were also shown. During his travels to Paris from 1906 onwards, he met the art expert Wilhelm Uhde and the artists around Henri Matisse , whom he later represented as gallery owner, in the Café du Dôme . In the Café du Dôme he also met Daniel-Henry Kahnweiler from Mannheim , who had settled in Paris as an art dealer in 1907. Flechtheim had close business contacts with him, and Kahnweiler's brother Gustav later became his partner.

Even before the First World War Flechtheim owned works by Vincent van Gogh and Paul Cézanne , bought contemporary art, especially the French avant-garde , including important early works by Pablo Picasso , Georges Braque and André Derain , and was in contact with both members of the Blauen Reiters ( Wassily Kandinsky , Maurice de Vlaminck , Alexej Jawlensky , Gabriele Münter and others) as well as with the Rhenish Expressionists (including Heinrich Campendonk , August Macke , Heinrich Nauen , Paul Adolf Seehaus ) and the artists of the Brücke .

Founding of his own galleries from 1913

In 1909 Flechtheim became co-founder and treasurer of the Düsseldorf Sonderbund and played a key role in the organization and implementation of the Cologne Sonderbund exhibition of 1912. In 1913 he opened his own gallery at Königsallee 34 in Düsseldorf ; Branches in Berlin , Frankfurt , Cologne and Vienna (Galerie Würthle) followed later. One of his first exhibitions in 1914 was dedicated to artists such as Jules Pascin , Marie Laurencin , Karl Hofer , Wilhelm Lehmbruck and Ernesto de Fiori . Since 1917, Flechtheim has regularly shown works by Fernand Léger in collective exhibitions .

After the First World War, the Alfred Flechtheim gallery in Düsseldorf was reopened in Königsallee at Easter 1919 with a first exhibition on the Expressionists .

Jules Pascin : Alfred Flechtheim dressed as a torero , 1927, Musée National d'Art Moderne , Paris

As a former active cavalry officer in the occupied Rhineland, he found himself on a wanted list due to a misunderstanding, Flechtheim moved to Berlin in 1921. In addition to his extensive exhibition activities in the Flechtheim Gallery at Lützowufer 13, which was newly founded in October of that year with his partner Gustav Kahnweiler, he published the art magazines Der Kreuz (1921) and Omnibus (1931). He also appeared as a publisher for artists such as Werner Schramm and Karl Hofer . His soirées , exhibition openings and balls in Berlin in the twenties were legendary and were considered social events. In 1927 Curt Valentin , who later emigrated to New York City , was hired to help design exhibitions and buses . In 1928 Flechtheim opened Léger's largest retrospective to date in Berlin with one hundred paintings, watercolors, gouaches and drawings. He himself was portrayed in front of a work by Léger in the Léger exhibition by the photographer Lili Baruch .

Hostility under National Socialism and flight in 1933

Like the German art trade as a whole, Flechtheim was already financially troubled by the effects of the global economic crisis in 1929 . In particular, however, the fact that as one of the most prominent advocates of art, which was shortly thereafter denounced as “ degenerate ” and “ostracized”, he was exposed to politically and racially motivated hostility and denigration of his person by the National Socialists , led to Flechtheim's economic one from 1932 onwards Decline. His last exhibitions ( Paul Multhaupt Collection ) and auctions in Düsseldorf were disrupted by NSDAP supporters in March 1933 and brought to an end, hateful articles against him appeared in the National Socialist press, and in the same month Flechtheim's long-time employee and managing director Alex Vömel took over a “ Stahlhelmer ” , SA and NSDAP member, the Düsseldorf gallery branch, which was later viewed by some as Aryanization . In this situation Flechtheim fled at the end of May 1933 via Switzerland, first to Paris, and finally to London in 1934.

Last years

Stumbling block for Betty Flechtheim at Düsseldorfer Strasse 44 in Berlin-Wilmersdorf

His art dealership in Germany, which still existed until the beginning of 1937, was liquidated from the end of 1933 in order to avert the impending bankruptcy. Flechtheim's private collection, some of which he was able to move abroad, was largely dissolved due to flight, emigration and economic hardship until his death, came into someone else's possession under unexplained circumstances or became after the suicide of Flechtheim's widow Betty on November 15, 1941 seized by the Gestapo in Berlin . Flechtheim's attempts to gain a foothold as an art dealer in exile failed; he died impoverished in London on March 9, 1937 as a result of an illness-related emergency operation. Flechtheim was in Golders Green Crematorium cremated where today his ashes is in recess 4062A

Posthumous defamations

After Flechtheim's death, a large photo of the gallery owner was shown in the Nazi propaganda exhibition “Degenerate Art” in Düsseldorf in 1938 , defaming him and the art he represented with the comment “The Jew, the great manager of this art” . Further posthumous defamations were, among others, in Wolfgang Willrich's publication “Purification of the Art Temple. An art-political combat pamphlet for the recovery of German art in the spirit of the North German style ” (1937). In the traveling exhibition The Eternal Jew (from November 1937), “The art dealer Alfr. Flechtheim ”presented in a large-scale photomontage with derogatory intent.

Works as a gallery owner

Exhibition catalog by Alfred Flechtheim (1926)
Hanns Bolz : Portrait of Alfred Flechtheim, 1910 - Reiff Museum Aachen
Advertisement on the back of the exhibition catalog for the 25th annual DKB exhibition in Cologne (1929)

As a co-founder of the Sonderbund, Flechtheim initially traded works from the Düsseldorf School of Painting . Later works by Arnold Böcklin , Paul Cézanne , Lovis Corinth , Gustave Courbet , Paul Gauguin , Vincent van Gogh , Ferdinand Hodler , Max Liebermann , Édouard Manet , Edgar Degas , Claude Monet , Odilon Redon , Pierre-Auguste Renoir went through his hands , Paul Signac , Max Slevogt and Wilhelm Trübner as well as Georges Braque , Erich Heckel , Henri Matisse , Alexej von Jawlensky , August Macke , Edvard Munch and Pablo Picasso . He was also interested in the impressionists .

In the summer of 1914 he exhibited German artists from the circle of the “ Café du Dôme ” - Rudolf Großmann , Rudolf Levy and Wilhelm Lehmbruck for the first time in the exhibition “Der 'Dôme'” in Düsseldorf. Flechtheim temporarily gave up his gallery during the First World War ; the holdings were auctioned off in 1917 in the first auction of contemporary art in Germany at Paul Cassirer and Hugo Helbing in Berlin.

After the Flechtheim gallery reopened at Easter 1919 with the " Expressionists " exhibition , Flechtheim showed far more than 150 exhibitions in its galleries by 1933. His customers included many important German and foreign art museums. The artists he personally represented included Pablo Picasso , Georges Braque , Paul Klee , Max Ernst , George Grosz , Max Beckmann , Peter Janssen , Arno Breker , Aristide Maillol , Hanns Bolz , Hans Breinlinger and Eberhard Viegener .

criticism

Else Lasker-Schüler , who was published by Flechtheim in the 1920s, portrayed the art dealer and publisher in her pamphlet “ I clean up !” As a greedy and cynical businessman who profited from the material hardship of artists at the time. In addition to Flechtheim, Paul Cassirer , Axel Juncker and Kurt Wolff were also sharply criticized.

The writing “I'm tidying up! My indictment against my publishers ”was published in 1925 by Lago-Verlag, Zurich. Else Lasker-Schüler personally had distribution rights for Berlin.

Appreciations

In his native Münster, the Alfred-Flechtheim-Platz near the Lambertikirche was dedicated to him.

Memorial plaque on the house at Bleibtreustraße 15

In Berlin, a memorial plaque was unveiled on November 16, 2003 at Bleibtreustraße 15 in Berlin-Wilmersdorf . The actress Tilla Durieux later lived in the same house .

In 2011 a detailed biography of the gallery owner was published for the first time with the title “It's something crazy about art”. Alfred Flechtheim. Collectors, art dealers and publishers . The author is Ottfried Dascher , a historian and archivist who was director of the main state archive in Düsseldorf from 1992 to 2001 .

On September 6, 2014, the Wolfgang Borchert Theater in Münster celebrated the reopening in the Flechtheimspeicher with the world premiere of the play The Last Soiree by Arna Aley . In the commissioned work, the author portrays Alfred Flechtheim in a documentary-fictional piece with scenes from his life and quotes from his diary.

In 2017 the Georg Kolbe Museum in Berlin dedicated an exhibition to him under the title Alfred Flechtheim. Modern art dealer that ran from May 21 to October 3, 2017.

reception

restitution

Flechtheim's heirs are demanding the return of around 20 works from various museums as part of the restitution of looted art . In April 2012 an amicable agreement was reached for the first time with the Kunstmuseum Bonn for the painting Lighthouse with Rotating Rays (1913) by Paul Adolf Seehaus . It was able to remain in the museum as a result of compensation to the heirs amounting to 25,000 euros, half of the market value.

Paul Klee: Feather Plant (1919)

At the end of November 2012, it became known that Flechtheim's heirs were demanding the return of two paintings from the North Rhine-Westphalia art collection in Düsseldorf. These are the feather plant (1919) by Paul Klee and the still life Violon et encrier (1913) by Juan Gris . In addition, the lawyers have asked for the work Die Nacht (1918/19) by Max Beckmann . The then director of the museum, Marion Ackermann , appealed to the German government to work towards opening the archive of the Daniel-Henry Kahnweiler Gallery (now Galerie Louise Leiris), which had been under lock and key for years , in order to clarify the provenance of the paintings. If the research was unsuccessful, politicians would have to decide whether to return the images as an act of moral reparation.

At the beginning of April 2013, the city of Cologne announced that it would follow the recommendation of the advisory commission on Nazi-looted art , chaired by Jutta Limbach , and that Flechtheim's heirs would receive the painting Portrait Tilla Durieux (1910) by the Austrian painter Oskar, which they owned and exhibited in the Museum Ludwig To return Kokoschka to the heirs of Alfred Flechtheim. The value of this work is estimated at around three million euros. It was acquired by Josef Haubrich in 1934, after Flechtheim had fled, and he donated it to his hometown along with the rest of his collection in 1946.

From October 2013 to February 2014 there was an exhibition on the subject of provenance research of works from the Flechtheim Collection entitled Alfred Flechtheim.com/Kunsthandel der Avantgarde online, in which 15 German museums were involved, which were also dedicated to this topic in their houses . The co-production was overshadowed by complaints from the heirs of Flechtheim, who complained that they were not involved and that Flechtheim's story was not always correctly reproduced. Her attorney posted a website of its own that presented the family's views.

After the Schwabing art find , which became known in November 2013 , the heirs of Flechtheim announced an investigation into whether it contained other works that belonged to Flechtheim. The heirs, Michael Hulton, who lives in the USA, and his stepmother, referred to Max Beckmann's picture Lion Tamer . Cornelius Gurlitt , the son of the art dealer Hildebrand Gurlitt , wanted it to be auctioned in 2011 via the Cologne auction house Lempertz . After the experts there had clarified the origin, there was an agreement between Gurlitt and the Flechtheim heirs before the auction.

A large part of the controversial restitution problem consists on the one hand of the question of “private property or commission goods?” And on the other hand due to the date of the Nazi takeover of power (1933): Pictures that Flechtheim took with him when emigrating (also 1933) do not have to be restituted.

The fake Flechtheim collection

The name Flechtheim hit the headlines after an art forgery trial in 2011 against Wolfgang Beltracchi , his wife and two other accomplices. From the possession of Flechtheim, according to the false story of the counterfeiters, paintings believed to have been lost by dearly traded artists are said to have found their way into Werner Jäger's collection of Helene Beltracchi's grandfather Werner Jäger. Fake photos and gallery stickers by Flechtheim were enough to prove to buyers at auctions. These are, for example, forged works by Max Ernst , Heinrich Campendonk , Max Pechstein or Kees van Dongen . The Beltracchis had an easy time with the false expertise of well-known art experts. How many as yet undiscovered forgeries from the alleged Jäger collection are still in circulation is not yet clear.

literature

  • Andrea Bambi, Axel Drecoll (ed.): Alfred Flechtheim. Looted art and restitution (= series of the quarterly books for contemporary history 110). De Gruyter Oldenbourg, 2015
  • Kai Hohenfeld: Alfred Flechtheim and the mediation of modern artist graphics - examples from the holdings of the Kunsthalle Bremen. In: The Bremen Art Gallery and Alfred Flechtheim. Acquisitions 1914 to 1979, ed. by Dorothee Hansen, exhib.cat. Kunsthalle Bremen 2013/14, Carl Schünemann Verlag, Bremen 2013, ISBN 978-3-944552-07-1 , pp. 18-27.
  • Hans Albert Peters, Stephan von Wiese : Alfred Flechtheim - collector, art dealer, publisher. 1937, Europe before WWII . Exhibition catalog. Art Museum, Düsseldorf 1987.
  • Ralph Jentsch: Alfred Flechtheim - George Grosz. Two German fates . Weidle Verlag, Bonn 2008. ISBN 978-3-938803-06-6 .
  • Alfred Flechtheim: “Well, that's the end of the blue Picassos!” Collected writings (edited by Rudolf Schmitt-Föller, with a foreword by Ottfried Dascher), Weidle Verlag, Bonn 2010, ISBN 978-3-938803-21-9 .
  • Ottfried Dascher : Flechtheim and Dortmund. A search for clues. In: Loss of Modernity. Art and propaganda in Dortmund 1933/45 . Dortmund 2008, issue 2, pp. 31-37.
  • Ottfried Dascher: “There is something crazy about art”. Alfred Flechtheim. Collectors, art dealers and publishers . Nimbus Verlag, Wädenswil 2011, ISBN 978-3-907142-62-2 .
  • Ottfried Dascher (Ed.): Jump into the room . With contributions on Alfred Flechtheim von Ursel Berger , Stephan von Wiese , Beatrice Vierneisel, Julia Wallner , Helen Shiner, Volker Probst, Arie Hartog and many more, Zurich 2017, ISBN 978-3-03850-023-0 .
  • Eduard Plietzsch "... art is cheerful", experiences with artists and connoisseurs . Bertelsmann Verlag. Gütersloh 1955, pp. 125–129.
  • Reich manual of German society . The handbook of personalities in words and pictures. Volume 1: A-K. German business publisher, Berlin 1930, DNB 453960286 .
  • Christian Zervos : Entretien avec Alfred Flechtheim, feuilles volantes , supplement to the magazine Cahiers d'Art , Paris 1927, No. 10.
  • Martin Schieder : "French bull market". Fernand Léger's exhibition with Alfred Flechtheim in Berlin (1928). In: Distance and Appropriation. Relations artistiques entre la France et l'Allemagne 1870–1945. Art relations between Germany and France 1870–1945 , ed. by Alexandre Kostka and Françoise Lucbert. Berlin 2004, pp. 139–158 (Passagen / Passages, Vol. 8).
  • Flechtheim Diary 1913, printed in: Neue Deutsche Hefte 135, 19th vol. (1972), Issue 3.
  • Christine Fischer-Defoy : Galerie Flechtheim. In: Gute Shops - Kunsthandel in Berlin 1933–1945 (exhibition catalog, edited by Christine Fischer-Defoy and Kaspar Nürnberg), Berlin 2011, ISBN 978-3-00-034061-1 , pp. 35–40.
  • Markus Stötzel: The fate of a Jewish art dealer. The persecution-related loss of ownership of the Alfred Flechtheim art collection. In: KUR - Journal for cultural law, copyright and cultural policy, 12th year (2010) Issue 3/4, pp. 102–120.
  • Esther Tisa Francini, Anja Heuss , Georg Kreis : Fluchtgut - looted property. The transfer of cultural goods in and via Switzerland 1933–1945 and the question of restitution . Chronos Verlag, Zurich 2001, pp. 317–323.

Web links

Commons : Alfred Flechtheim  - Collection of images, videos and audio files

Individual evidence

  1. ^ Ottfried Dascher : Flechtheim and Dortmund. A search for clues. In: Loss of Modernity. Art and propaganda in Dortmund 1933/45 . Dortmund 2008, issue 2, p. 32.
  2. ↑ Ralph Jentsch: Alfred Flechtheim - George Grosz. Two German fates . Weidle Verlag, Bonn 2008, p. 96 ff. (100 f.). Ottfried Dascher: As an introduction. In: Alfred Flechtheim: "Now that's the end of the blue Picassos". Collected writings (edited by Rudolf Schmitt-Föller, with a foreword by Ottfried Dascher), Weidle Verlag, Bonn 2010, p. 15.
  3. ↑ Eberhard Fromm : Father of Futurology. Ossip K. Flechtheim . In: Berlin monthly magazine ( Luisenstädtischer Bildungsverein ) . Issue 3, 1999, ISSN  0944-5560 , p. 50-57 ( luise-berlin.de ).
  4. ↑ Florian Illies : 1913: The summer of the century . Fischer, Frankfurt am Main 2012, ISBN 3-10-036801-0 , p. 110 f.
  5. ^ A b Christian Herchenröder: Alfred Flechtheim, an art lover on the verge of ruin . handelsblatt.com, April 14, 2012; Retrieved November 23, 2012.
  6. ↑ The Blue Rider and the New Image - From the “Neue Künstlervereinigung München” to the “Blue Rider” (edited by Annegret Hoberg and Helmut Friedel), Prestel Verlag, Munich, London, New York, 1999, p. 19; The Rhenish Expressionists - August Macke and his painter friends (exhibition catalog, published by the Städtisches Kunstmuseum Bonn), Verlag Aurel - Bongers, Recklinghausen, 1979, p. 5 ff.
  7. ↑ Ralph Jentsch: Alfred Flechtheim - George Grosz. Two German fates . Weidle Verlag, Bonn 2008, p. 8.
  8. ↑ Ottfried Dascher: For the introduction. In: Alfred Flechtheim: "Now that's the end of the blue Picassos". Collected writings (edited by Rudolf Schmitt-Föller, with a foreword by Ottfried Dascher), Weidle Verlag, Bonn 2010, p. 10.
  9. ^ Alfred Flechtheim and Fernand Léger
  10. ↑ Catalog: Reopening: Easter 1919 Galerie Alfred Flechtheim Düsseldorf Königsallee 34. 1st exhibition Expressionists. Published on the occasion of the reopening of the Alfred Flechtheim Gallery in Düsseldorf, with an introduction by Herbert Eulenberg and contributions by Walter Cohen, Hermann von Wedderkop, Wilhelm von Hausenstein, Hans Müller-Schlösser, Wilhelm Uhde and Paul Westheim. Potsdam / Berlin, Gust. [Av] Kiepenheuer Verlag, printed by A. Bagel, Düsseldorf 1919
  11. ↑ Ottfried Dascher: For the introduction. In: Alfred Flechtheim: "Now that's the end of the blue Picassos". Collected writings (edited by Rudolf Schmitt-Föller, with a foreword by Ottfried Dascher), Weidle Verlag, Bonn 2010, p. 13.
  12. ^ Werner Schramm encounters. 12 lithographs, 1922 . Retrieved October 7, 2017.
  13. ^ Hofer, Karl: Liebesgedichte , Verlag Alfred Flechtheim, Frankfurt am Main 1922
  14. ↑ Silke Kettelhake: Renée Sintenis. Berlin, Boheme and Ringelnatz , Osburg Verlag, Berlin 2010, p. 22ff .; Ottfried Dascher: Flechtheim and Dortmund. A search for clues. In: Loss of Modernity. Art and propaganda in Dortmund 1933/45 . Dortmund 2008, issue 2, 34.
  15. ↑ Günter Herzog: From the Central Archive of the International Art Trade: 1937 - Fateful Year of the German Art Trade , faz.net, September 27, 2007, accessed on November 25, 2012.
  16. ^ Joan Marter: The Grove Encyclopedia of American Art: Five-volume set , Oxford University Press, 2011, p. 99 f.
  17. ↑ Südwest Presse. 15 museums are dedicated to the art dealer Alfred Flechtheim. Photo Lily Baruch: Alfred Flechtheim in the Léger exhibition, Berlin 1928, accessed April 15, 2015
  18. ↑ Ralph Jentsch: Alfred Flechtheim - George Grosz. Two German fates . Weidle Verlag, Bonn 2008, p. 13ff; Ottfried Dascher: As an introduction. In: Alfred Flechtheim: "Now that's the end of the blue Picassos". Collected writings (edited by Rudolf Schmitt-Föller, with a foreword by Ottfried Dascher), Weidle Verlag, Bonn 2010, p. 14.
  19. ↑ Ralph Jentsch: Alfred Flechtheim - George Grosz. Two German fates . Weidle Verlag, Bonn 2008, p. 15, 32ff .; Esther Tisa Francini / Anja Heuss / Georg Kreis: Fluchtgut - looted property. The transfer of cultural goods in and via Switzerland 1933-1945 and the question of restitution , Chronos Verlag, Zurich 2001, p. 318.
  20. ^ Ottfried Dascher: Flechtheim and Dortmund. A search for clues. In: Loss of Modernity. Art and propaganda in Dortmund 1933/45 . Dortmund 2008, issue 2, p. 36.
  21. ↑ Ralph Jentsch: Alfred Flechtheim - George Grosz. Two German fates . Weidle Verlag, Bonn 2008, p. 15, 32ff .; Esther Tisa Francini / Anja Heuss / Georg Kreis: Fluchtgut - looted property. The transfer of cultural goods in and via Switzerland 1933-1945 and the question of restitution , Chronos Verlag, Zurich 2001, p. 318ff .; Ottfried Dascher: Flechtheim and Dortmund. A search for clues. In: Loss of Modernity. Art and propaganda in Dortmund 1933/45 . Dortmund 2008, issue 2, p. 36f .; the same: as an introduction. In: Alfred Flechtheim: "Now that's the end of the blue Picassos". Collected writings (edited by Rudolf Schmitt-Föller, with a foreword by Ottfried Dascher), Weidle Verlag, Bonn 2010, p. 14 f.
  22. ^ Münstersche Zeitung : Are two paintings in Düsseldorf looted Nazi art? - Flechtheim heirs demand the return , culture, Düsseldorf, November 24, 2012.
  23. ↑ Quoted from weblink lostart.de.
  24. ↑ (Annotated pictures of the exhibition at the Vienna Northwest Train Station :) Robert Körber:  The Eternal Jew. In:  Wiener Bilder , No. 33/1938 (XLIII. Year), August 14, 1938, p. 6, top right. (Online at ANNO ).Template: ANNO / Maintenance / wrb
  25. ↑ Ottfried Dascher: For the introduction. In: Alfred Flechtheim: "Now that's the end of the blue Picassos". Collected writings (edited by Rudolf Schmitt-Föller, with a foreword by Ottfried Dascher), Weidle Verlag, Bonn 2010, p. 11; Stephan von Wiese: The art dealer as a man of conviction. In: Alfred Flechtheim - Collector, Art Dealer, Publisher (exhibition catalog, edited by Hans Albert Peters and Stephan von Wielense with Monika Flacke-Knoch and Gerhard Leistner), Düsseldorf 1987.
  26. ↑ Else Lasker-Schüler: I'll clean up! Charges against my publishers. In: Collected works in three volumes. Volume II. P. 505 ff.
  27. ↑ Flechtheim memorial plaque , berlin.de, accessed on November 21, 2012.
  28. ↑ The last soiree ( Memento from April 24, 2015 in the Internet Archive )
  29. ^ Alfred Flechtheim. Art dealer der Moderne ( Memento from June 17, 2017 in the Internet Archive ), georg-kolbe-museum.de, accessed on October 7, 2017
  30. ↑ See web link Rhenish ART .
  31. ↑ Michael Sontheimer : Stronger than game, alcohol and women . In: Der Spiegel . No. 26 , 2012 ( online ).
  32. ↑ Kunstsammlung NRW asks for archive access  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. , art-magazin.de, November 23, 2012, accessed on November 24, 2012.@1@ 2Template: Toter Link / www.art-magazin.de  
  33. ↑ City of Cologne wants to return valuable painting. In: The world . April 9, 2013, accessed April 10, 2013 .
  34. ^ Alfred Flechtheim.com/Kunsthandel der Avantgarde , alfredflechtheim.com, accessed on October 13, 2013.
  35. ^ Controversy about Flechtheim's legacy , dw.de, accessed on October 13, 2013.
  36. ↑ Munich art find . Spiegel Online , November 5, 2013, accessed November 5, 2013.
  37. ^ In INDEX, Das Düsseldorfer Kunstmagazin, issue 17. Alfred Flechtheim: Shadows of the Past (pp. 6–12).
  38. ^ Ralph Gerstenberg: The abysses of the art market . Deutschlandradio , September 30, 2012, accessed on November 21, 2012.
personal data
SURNAME Flechtheim, Alfred
BRIEF DESCRIPTION German art dealer
DATE OF BIRTH April 1, 1878
PLACE OF BIRTH Muenster
DATE OF DEATH March 9, 1937
Place of death London