“So what did you do?”
“Well, the apologetic powers established an office in Paris and there someone would come, let us say a French Jew who survived, and place a claim: I had a Cézanne, I had a Rubens, and the Germans came and they’re gone. And then the police, let us say, locate the Germans who were in this man’s area, and they look, and sure enough former Hauptführer-SS Schultz has a Cézanne stashed away in his attic, the Frenchman’s very Cézanne, or so it seems. But since this was an international body and very correct, it must make sure it is the same painting and that the Frenchman really owned it, and so forth, and for this they need an art-historical diplomat, and this is me. Now, Herr Schultz has done his time in prison, perhaps three years, because after all he only killed a hundred Jews instead of a hundred thousand, and he is participating in the German reconstruction and he wishes very much to hold on to the painting, which he intends to sell at some point to expand his business, and so he cleverly decides to hire some art student to copy it, and someone must be on hand to catch him at his tricks, and again this is me.”
“Gosh, I didn’t know any of this,” I said. “Did this happen a lot?”
“No, because as I’m sure you know, forgery is difficult and these people were no great connoisseurs in the main. The efforts to deceive were generally quite childish.” He smiled and jerked his thumb upward. “I’m grateful you were not in business at that time.”
And now something made me think of the conversation I’d had with Mark about art forgery, maybe the word “business” triggered some neuron too, and I asked him, “Did you ever hear of someone in the art business named Krebs?”
At the mention of this name the familiar genial expression vanished from his face, and for a moment I saw replacing it the mask of the diplomat he’d probably worn to work for thirty years.
“You are referring to Horst Axel Krebs?”
I said, “No, I think his name is Werner.”
“The son, then. Why do you ask?”
So I told him about Slotsky mentioning the connection between this fresco job and Krebs. He listened in silence and then said, “Let’s take a walk. I want to take a look at the San Zaccaria Bellini again.”
We left the palazzo and walked south on Corte Rotta in the chill rain that keeps the tourists scant in Venice’s winter between Christmas and Carnival and makes the uneven streets reflect, canal-like, the colored stonework of the great facades. As we walked, he said, “So-let me tell you about Herr Krebs. First the father, Horst Axel Krebs. Like me and Hitler, a failed artist. He was young enough to miss the first war, and after a bohemian youth in Munich, he set up as an art dealer there in 1923. In 1928 he joined the Nazi party, and after the Nazis took power he was made a curator at the Alte Pinakothek in the place of a removed Jew. By this time he is married and has a son, Werner Horst, born 1933. In 1940, the Nazis organized the Einsatz-stab Reichsleiter Rosenberg. Do you know what that was?”
“No, but I’m guessing it wasn’t devoted to increasing the sum total of human happiness.”
“You would be correct. It was the bureaucracy assigned to loot the collections of France and Western Europe of any artworks of interest to the new rulers, especially the collections of Jews. Our Krebs is assigned to the Paris office, the richest lode of all, and here he specializes in record keeping. He knows what has been looted from whom and where it is kept. So he goes on for four years, and then comes 1944, D-day. The Allies advance and the ERR pulls out of Paris with trainloads and truck convoys of artworks. Some of it was stopped by the French resistance, tons of it were found by the Allies, but a lot of it disappeared and remains lost to this day. In late 1945, Horst Axel Krebs was arrested by the British, tried at Nuremberg, and given a two-year sentence.”
“That seems fairly light,” I said.
“Yes, but at the time, as I suggested earlier, mass murderers were getting ten years or less, and he hadn’t actually killed anyone as far as they knew. Just a thief was Horst Axel. So by 1949 he’s back in Munich contributing to the economic miracle. He has a little gallery on the Kirchenstrasse where he sells harmless landscapes and flowers to burghers refurbishing their war-torn homes. Obviously he’s poison to the legitimate art market; he’s investigated up and down by the Allied occupation authorities, they have a whole dossier on him, but as far as anyone knows, he’s clean, just a businessman. Well, time goes on, the anti-Nazi fervor fades away, everyone is just a good German trying to get by and be a bulwark against communism, et cetera, and meanwhile little Werner is all grown up, with a diplom from the Ludwig-Maximilians University in art history and conservation. He now settles in Frankfurt to get a little distance from the father in Munich, and also because Frankfurt is where all the money is. He’s taking a hand in the family business, of course, but the real business, not the Kirchenstrasse gallery.”
“What was the other business?” I asked.
“Well, you know, the remarkable thing about the Nazi looting is that they kept nearly impeccable records of everything they took. For example, at Nuremberg, at the trial of Alfred Rosenberg, the prosecution presented thirty-nine thick volumes that cataloged everything they’d confiscated, with photographs of the art. There were hundreds of such volumes in all. The Allies seized roomfuls of filing cabinets with tens of thousands of index cards: descriptions of the art, who they took it from, and so on.
“So let’s say it’s the middle of 1944, and you’ve been stealing art and making these very catalogs for four years, and you are a smart person and so you know that the Nazis are finished, and suppose you wanted to feather your nest after the war. You might contrive to search out a selection of valuable pieces, nothing too showy, and neglect to place these pieces in the catalogs, and naturally you would strip out the relevant index cards too. And you would choose just those things that belonged to Jews who had died in the camps and who left no survivors at all. For someone with Horst Krebs’s old Nazi connections that information would be easy to get. And then you would use the excellent forging capabilities of the SS to generate phony bills of sale, so that instead of, say, a nice Pissaro being sold to a Jacques Bernstein of Paris in 1908, it was shown as being sold to a Kurt Langschweile of Geneva, Switzerland, same year. Then, after the war, Herr Langschweile’s heirs supposedly sell the painting to the respectable firm W. H. Krebs, of Frankfurt. Yes, we know that the proprietor is the son of the notorious Horst Axel Krebs, but in the Federal Republic they do not look too closely at what your father did in the war, or else there’d be no business at all. Old Krebs died in his bed in seventy-nine, by the way, a pillar of the community.”
“And he still does this?” I asked. “I mean Werner.”
“Not anymore. And there has never been, to my knowledge, any solid evidence that he ever did it. As I said earlier, the Nazi hoard was so enormous and the artworks went through so many movements and changes of custody, and so many people had access to them during the crazy years, that countless pieces were lost track of. It is just a fact that the younger Krebs made his initial fortune selling small, well-chosen Impressionist and early-twentieth-century pieces he bought in Switzerland. Plenty of Jews shipped stuff out to Switzerland in pawn to raise money after they were stripped of their livelihoods during the thirties. Then they were murdered and the artworks belonged to the people they sold them to. The phony provenances were a nice added touch, a little insulation, and the SS forgers who did them for Krebs are deceased, most of them having been prisoners of various kinds, Jews and so forth. So there is nothing but hearsay against him, but there is a lot of it, and it is consistent.”