Georg Schäfer (industrialist)
Georg Schäfer | |
|---|---|
| Born | September 7, 1896 |
| Died | January 27, 1975 |
Georg Schäfer (September 7, 1896, in Schweinfurt – January 27, 1975, in Erlangen) was a German industrialist and art collector. After his death, most of his art collection was housed in the Museum Georg Schäfer in Schweinfurt.
Biography
Upon the death in 1929 of his father (also named Georg Schäfer), Georg Schäfer (II) inherited a one-third interest in the Friedrich Fischer steel ball bearings firm. At age 29 Schäfer became the commercial head of the firm, while his brother-in law Hermann Barthel directed the technical side. In 1929 the firm did not join a merger of Swedish and German ball bearing manufacturers.[1] At first, this was seen as a setback. But as the government of Adolf Hitler prepared for war, the Fischer firm's independence allowed it to join the Nazi armament campaign, and this caused a rapid expansion for the firm.
By 1933 Schäfer was a Nazi city councillor in Schweinfurt and leader of the "Sonderring Wälzlager" (Ball Bearing Special Circle) which oversaw the supply of ball bearings in the German armament campaign.[2]
In 1939 Schäfer ousted Hermann Barthel from the firm. With his brother, Otto Schäfer, he expanded wartime production by the firm, which changed its name to "Fischers Aktien-Gesellschaft (FAG) Kugelfischer." Despite Allied bombardments of Schweinfurt during World War II, the Kugelfischer firm continued to make ball bearings, employing 11,700 employees at the end of the war, including thousands of enslaved laborers.[1] Georg Schäfer supposedly shielded his Jewish sales director, Hugo Holzapfel, from detention by the anti-Jewish Nazis.
Georg and Otto Schäfer presided over the revival and expansion of FAG Kugelfischer during the Wirtschaftswunder era of the 1950s. At Georg Schäfer's death in 1975, FAG Kugelfischer employed some 35,000 workers around the world.[1]
Schäfer's heirs left the business during a financial crisis in 1993, and in 2001 the company merged with the Schaeffler Group in a hostile takeover.
Among the honors awarded to Georg Schäfer are the Great Federal Cross of Merit, the Bavarian Order of Merit, and an honorary doctorate from the Technical University of Munich.
Art collection
In the 1950s Schäfer assembled a large collection of paintings by 19th-century German artists. Efforts to house the collection in a public museum in Schweinfurt began in the 1950s, but city officials and Schäfer's heirs did not reach an agreement until 1988. The family temporarily lost control of the collection during the 1993 FAG Kugelfischer financial crisis. In 1997 Schäfer's heirs established a foundation to protect the recovered portion of the collection, and in 2000 the Museum Georg Schäfer opened to the public. Not all of the foundation's paintings are housed in the museum.
In 2003 the Schäfer collection foundation loaned 42 16th-century German paintings to the State of Bavaria for display in the Veste Coburg castle.
Nazi loot in the Schäfer collection
Several artworks acquired by Georg Schäfer have been linked to Nazi looting, including artworks donated to the Kunsthalle zu Kiel.[3] In 2016 the Georg Schäfer museum created a provenance research position.[4] However, in 2020, the provenance researcher resigned, saying that she had been denied access to historical documents and that no one seemed to have any plans to return Nazi-plundered works to the heirs of the original Jewish owners. "They needed me for appearances." she told the New York Times. "I felt as though I was being used as a fig leaf."[5]
References
- ^ a b c Müller, Uwe, "Schäfer, Johann Georg", Deutsche Biografie (in German), retrieved 2020-11-13
- ^ DGB-Bildungswerk Kreis Schweinfurt, ed. (1984), "Nach dem Krieg war keiner Nazi gewesen …" : Arbeiterbewegung in Schweinfurt zwischen 1928 und 1945 (in German), Schweinfurt: Vorndran, p. 100
- ^ "Provenienzforschung an der Kunsthalle zu Kiel Gemälde und Skulpturen" (PDF). Archived (PDF) from the original on 2020-01-01.
Anmerkungen zu Ankäufen aus der Sammlung Georg Schäfer. Das im Zuge der Forschungsarbeiten als kriegsbedingt verlagertes Kulturgut identifizierte Gemälde von Vasilij Dmitrievič Polenov (1844–1927) aus dem Jahr 1881 trägt den Titel Waldweiher. Das Werk wurde im Zweiten Weltkrieg unrechtmäßig aus dem Museum der südrussischen Stadt Taganrog verbracht als diese von der deutschen Wehrmacht besetzt war. Die Kunsthalle erwarb das Bild 1986 zusammen mit zwölf weiteren Gemälden russischer und polnischer Maler von den Erben des Schweinfurter Industriellen Georg Schäfer (1896– 1975). Am 26. September 2017 wurde das Werk im Rahmen einer öffentlichen Veranstaltung in Kiel an den rechtmäßigen Eigentümer, den Staatlichen Literatur- und Architekturhistorischen Museumspark Taganrog, zurückgegeben. Es handelte sich um die erste Restitution aus der Sammlung der Kunsthalle seit der unmittelbaren Nachkriegszeit. 11 weitere Gemälde, die die Kunsthalle aus der Sammlung Georg Schäfer erworben hat, wurden als bedenklich eingestuft und als Fundmeldungen in Lost Art eingestellt. Sie stehen weiterhin im Verdacht des NS verfolgungsbedingten Entzuges und – sofern es sich um Gemälde russischer und polnischer Künstler handelt – auch im Verdacht der kriegsbedingten Verlagerung. Ausnahmen von dieser Einstufung bilden jene Werke, deren Herkunft in Ansätzen oder in weiten Teilen geklärt werden konnte.
- ^ "Museum Georg Schäfer richtet Stelle für Provenienzforschung ein - Georg Schäfer Museum establishes provenance research post". www.lootedart.com. Retrieved 2021-04-15.
{{cite web}}: CS1 maint: url-status (link) - ^ "She Tracked Nazi-Looted Art. She Quit When No One Returned It". www.lootedart.com. Retrieved 2021-04-15.
BERLIN — For three years, Sibylle Ehringhaus, a veteran provenance researcher, worked with the Georg Schäfer Museum in northern Bavaria to examine the ownership history of its 1,000 oil paintings and several thousand drawings, prints and watercolors. Mr. Schäfer, the industrialist whose collection is displayed there, had bought much of the art in the 1950s in Munich, then a hub for dealers who had had relationships with the Nazis. Among those from whom he purchased works was Adolf Hitler's personal photographer. Ms. Ehringhaus's job was, in part, to determine just how much of the collection had a tainted provenance. But last year, she said, she began to ask herself why the city of Schweinfurt, which manages the museum, had bothered to hire her. After she had identified several plundered works, she said, no one seemed to have any plans to return them to the heirs of the original Jewish owners. Increasingly, she said, she began to feel her work was unwelcome. She was denied access to historical documents vital for her research, she said, and forbidden to contact colleagues at another museum with a research inquiry. So in December she rejected an offer to extend her contract for another year. "I got the impression they didn't want me there — they really made things difficult for me," Ms. Ehringhaus, 60, said at a meeting in a Berlin cafe. "They needed me for appearances. I felt as though I was being used as a fig leaf."
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