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Kaiser Reich

Kaiser Reich

Kaiser Reich

Adolf Hitler

Page 28

Der Fuhrer


 

 

Gauleiter Edition of Mein Kampf

Gauleiter Edition of Mein Kampf

Gauleiter Edition of Mein Kampf
The presentation

Gauleiter Edition of Mein Kampf

Gauleiter Edition of Mein Kampf

Gauleiter Edition of Mein Kampf

Gauleiter Edition of Mein Kampf

Gauleiter Edition of Mein Kampf

Gauleiter Edition of Mein Kampf

Gauleiter Edition of Mein Kampf
The foreword

Gauleiter Edition of Mein Kampf
The first page of the contents

Gauleiter Edition of Mein Kampf
The closing hinges

Gauleiter Edition of Mein Kampf
The article in the "Military Trader"

Gauleiter Edition of Mein Kampf
General Patton's gift

Gauleiter Edition of Mein Kampf
Patton presents the book.

Gauleiter Edition of Mein Kampf

Gauleiter Edition of Mein Kampf
The article in Life

Gauleiter Edition of Mein Kampf
Life

Gauleiter Edition of Mein Kampf
The Göring copy

Gauleiter Edition of Mein Kampf
Reichsmarshal Göring reads passages out of his giant Mein Kampf

Gauleiter Edition of Mein Kampf
The Göring article

Gauleiter Edition of Mein Kampf
Rosenberg at the Eastern Front

Gauleiter Edition of Mein Kampf
This was probably the day
of the presentation

Gauleiter Edition of Mein Kampf
An early-1920s image of Rosenberg on the left

Gauleiter Edition of Mein Kampf

Gauleiter Edition of Mein Kampf

Gauleiter Edition of Mein Kampf
The presenter

Rare “Gauleiter” Edition of Mein Kampf presented by Adolf Hitler to NS Leader Alfred Rosenberg (Item AH 28-1; RAREBOOK 1-5; PERS 5-1)


DESCRIPTION:
Undoubtedly, this is one of the most luxurious books ever produced in the Third Reich. This is the so-called “Gauleiter” edition of Mein Kampf and is the singular most sought-after book from the period, and whenever one has been found in the past it has invariably brought a very-high price. Production numbers are not known, but the print run is presumably in the 50-edition range; most experts do agree that only 50 were ever produced. The book is an enormous 20 1/2 x 15 3/4 inches and weighs 40 pounds. It’s printed on white vellum with gold top, bottom, and side staining and replete with gold stamping on the front and spine. The book has closure with iron hinges.

One of the most unusual copies of this edition must surely be the copy currently held at the Huntington Library in California. That one is inscribed on its cover and was presented to the library by General George Patton on June 11, 1945, six months before General “Wild Bill” Donovan ordered his OSS team to assassinate Patton in the name of “national security.” Exactly to which Third Reich luminary this copy originally belonged remains unclear. Patton told Huntington officials that one of his units had captured it near Weimar. A later version of its “capture” claimed it was part of Patton’s Berchtesgaden loot, although Berchtesgaden had not yet fallen when Patton signed the book on April 11, 1945. You can see in our image a snapshot of the general as he presents it to the library. Patton surely must have been a strong man; you can see him handling this huge 40-pound book as if it were a dime novel! The book remains in the Huntington Library to this day.

A variant copy of the rare book with a different eagle reposes in the Collinsville Historical Museum in Illinois as part of its library collection. The Library of Congress has a set of unbound, gigantic-lettered signatures. These may have been intended for a Gauleiter edition or for another project altogether? The fact is that there were 50 Gauleiters and Reichsleiters combined, and each received a copy of the book.

One of the most notable examples of one of these books actually being used is the photo that appeared in the September 11, 1939, edition of Life magazine. The picture shows a copy of the book on a special table display between two candles in Hermann Göring’s mansion, Carinhalle. The caption under the picture reads as follows: “A special edition of Mein Kampf presented to Göring by Hitler is displayed at ‘Karin Hall’ between two burning candles with a [statuette of Madonna] nearby.”*1

It is for sure that all of the copies were presented personally by Adolf Hitler or directly under his official auspices.

This leads us to relate to you that the one in our possession was presented to none other than Alfred Rosenberg, the National Socialist ideologue and brilliant writer. Perhaps no other Reichsleiter of NS Germany deserved this honor more than this remarkable man and literary genius. Inside the cover there is a dedication page (see image). The inscription reads: “To my faithful collaborator, Alfred Rosenberg, in recognition of his special services to Germany's cultural renewal, I dedicate this. The Author.” (vom Verfasser),and we all know who the author is!

No Third Reich book could possibly be considered as utterly rare or important as this edition of the words of Adolf Hitler and, considering the importance of this man, Alfred Rosenberg. This is a museum piece of extraordinary value vastly exceeding the reasonable price we have set upon it.

Alfred Ernst Rosenberg (12 January 1893–16 October 1946) was an early and intellectually influential member of the National Socialist Party. Alfred Ernst Rosenberg was first introduced to Adolf Hitler by Dietrich Eckart the brilliant playwright and the man referred to as Hitler’s mentor. Rosenberg later held several important posts in the N.S. government. He is considered one of the main authors of key National Socialist ideological creeds; including its racial theory, Lebensraum; abrogation of the Treaty of Versailles; and opposition to what the NS party considers degenerate modern art, as do I. He is also known for his rejection of orthodox Christianity as it is practiced and interpreted. He played an important role in the development of Positive Christianity, which he intended to be transitional to a new revised faith.

At the star-chamber Nuremberg trials he was tried, convicted, and sentenced to death—as so many Christian martyrs have been in the past—and executed as a war criminal vis–à–vis Joan of Arc. This trial was notorious because almost all of the indictments were decreed and charged by ex post facto law. In other words, laws that never existed before and were suddenly invented to fit the murder exercises joined by the tribunal with the express purpose of bending to the murder lust of the victors with most of them knowing that their own countrymen had committed far greater crimes on a much larger scale in the war; especially the Soviets. In the case of Alfred Rosenberg and Julius Streicher they were basically executed (Murdered) because they wrote essays and books that were in modern terminology “politically incorrect.”

But, Germany was defeated and the war’s victors were free and anxious to murder anyone for any reason whatever, while dutifully obeying orders from those whom Queen Victoria’s colorful prime minister, Disraeli, had earlier and soundly identified as the “Hidden Hand!*2

Alfred Rosenberg—German Patriot

Alfred Rosenberg was born to a family of Baltic Germans in 1893 in Revel in Estonia, then part of the Russian Empire. As a young man, he studied architecture and completed his Ph.D studies in 1917. During the Russian Revolution of 1917, he supported the counterrevolutionaries and of course later at the Nuremberg trials this was remembered by the Communist Russians and their fellow allied dupes, and this was later to be a death sentence in and of itself. Following the failure of the resistance movement, he emigrated to Germany in 1918. After arriving in Munich he contributed to Dietrich Eckart’s newspaper the Völkischer Beobachter, and we know he was also greatly influenced by Houston Stewart Chamberlain’s epic book The Foundations of the Nineteenth Century, one of the key proto-NS works of racial hygiene and theory, and at this time his German and Western patriotic ideals led him to become vibrantly anti-Bolshevik.

Rosenberg became one of the earliest members of the German Workers’ Party (Later the National Socialist German Workers Party) joining in January 1919. (Adolf Hitler did not join until October 1919.) Rosenberg had also been a member of the Thule Society with Eckart. He also was a member of the Aufbau Vereinigung reconstruction organization, a conspiratorial association of white-Russian émigrés, which had a critical influence on the National Socialist Party policies. After the failed Beer Hall Putsch, Hitler was sent to Landsberg Prison and Rosenberg was made the leader of the NSDAP, a position he held until Hitler’s release. In 1929, Rosenberg founded the Militant League for German Culture. He became a Reichstag deputy in 1930 and published his book on racial theories, The Myth of the Twentieth Century, which deals with key issues in the National Socialist ideology such as the “Jewish question.” Rosenberg intended his book to be a sequel to Houston Stewart Chamberlain’s book cited above. The book was a great success and sold over a million copies by 1945 and remarkably sealed his fate. Rosenberg did manage to convince Hitler of the Communist threat that, by the way, is no less a threat today, especially in the United States where the far left is making giant strides toward absolute power because of the total apathy of the American people.

Rosenberg was appointed leader of the NS Party’s foreign political office in 1933, but played little practical part in the role. A visit to Britain that year was designed to reassure the British that the German government would not be a threat, and to encourage what should have been a natural link between two basically Aryan western nations of brothers; however, it was an notable abject failure for that hidden hand that Disraeli spoke of had already cast the fatal decision that Germany had to be destroyed!

Yes, Rosenberg built on the racial works of Arthur de Gobineau, Chamberlain, and the American eugenics of Madison Grant, as well, in addition to the beliefs of the man he held above all others—Adolf Hitler. He did, in fact, promote the Nordic theory which regarded the Germanic peoples as the “Herrenvolk” (The Master Race) * 3 as did our own Madison Grant! Rosenberg also opposed homosexuality and promoted extreme German nationalism just as so many Americans like Ronald Reagan and John Kennedy promoted patriotism for their nation. He rejected “churchology” and the concept of universality for original sin, at least for Germanics, who, he claimed on at least one occasion, were born noble, and, therefore, deserved the immortality of the soul. He believed that certain Christian teachings enfeebled a nation and its people. Following Chamberlain’s ideas, he condemned what he called “Negative Christianity” arguing instead for a Positive Christianity based on Chamberlain’s claim that Jesus was a member of the Indo-European Nordic resident in ancient Galilee, who struggled against Judaism and was compatible with the Nordic sense of the spiritual and the Nordic “blood-soul.” He fervently believed in connecting the individual to his racial nature.

His admiration and support for Martin Luther as a great and holy man of the true church was always very evident in his writings. Luther’s writings were sacrosanct in his estimation. In 1940, Rosenberg was made head of Hohe Schule, the center of national-socialistic ideological and educational research. Within this organization, he created a special task force for music with a mission to collect the best musical instruments and scores for use in a university to be built in Adolf Hitler’s home city of Linz, Austria. Following the invasion of Communist Russia, Rosenberg was appointed head of the Reich Ministry for the liberated eastern territories. He presented to Hitler his plan for the organization of the Eastern territories suggesting the establishment of new administrative districts to replace the previously Soviet controlled territories; this would be accomplished with new Reichkommissariat. Such suggestions were to encourage certain non-Communist nationalism and to promote Germanic interests for the benefit of future Aryan Generations in accord with the Geopolitical Lebensraum im Osten plans. They would provide a buffer against Soviet expansion in preparation for the total eradication of Communism and Bolshevism by decisive preemptive military action.

As NS Germany’s chief racial theorist, Rosenberg considered Slavs to be basically Aryan. He often complained to Himmler about the treatment of the occupied peoples. Because the invasion of the Soviet Union intended to bring about the New Order, German propaganda efforts designed to win over the Russian peoples were rather patchy and inconsistent. Alfred Rosenberg was one of the few among the NS hierarchy who advocated a policy designed to encourage anti-Communist actions and opinions. Amongst other measures Rosenberg issued a series of posters announcing the end of the Soviet Collective farms (kolkhoz). He also issued in 1942 an agrarian law annulling all Soviet legislation on farming, thus restoring the family farms that the people had held for generations.

There were numerous German armed forces posters asking for assistance in the “Bandenkrieg,” the war against the Soviet partisans who were murdering in the most gruesome manner German soldiers, and Russian farmers who cooperated with the Germans. Of course, Rosenberg at the star-chamber trials at Nuremberg was accused of carrying on an effective campaign against these vermin as if this was not necessary and militarily a sound decision. Certainly, again and again, the Germans were held to a very different standard of dispensing justice in warfare than the victors who performed in the same manner and most cases far more strict measures were applied. Rosenberg was captured by allied troops at the end of the war. He was tried at Nuremberg and, not surprisingly, found guilty of conspiracy to commit crimes against peace, planning and initiating and waging wars of aggression, and war crimes and crimes against humanity. All of these charges as we have pointed out earlier were classic examples of ex post facto law: laws that were especially construed and tailored by the tribunal and never were used in any legal precedent before. Throughout the trial it was agreed by the black-robed so-called judges that Rosenberg had a decisive role in shaping National Socialist philosophy and ideology and his book The Myth of the Twentieth Century was introduced into evidence constantly as if writing a book and having an opinion should be tantamount to the issue of a death sentence. His stated opposition to the horrid Versailles Treaty also seemed to be an indictment against him.

So, this brilliant man, a man apart, a destiny marcher, would now leave a grieving widow (Hedwig) and a beautiful little daughter (Irene) after being condemned to death and executed in a horribly gruesome manner by a tribunal of vastly inferior men and now would meet the rope of the American monster hangman Sgt. John Woods, who is rather busy at the moment being slowly turned on a spit in hell, while Alfred Rosenberg is busy writing more masterpieces in Walhalla!

Credit for photos and part of the text to Jeff Hanson who wrote a brilliant concise history of the various Mein Kampf variations published in the "Military Trader Journal" in 2008.

PRICE: $25,000.00


*1 Göring’s home in the Schorfheide forest in East Prussia was in the German spelling (“Carinhalle”) not “Karin Hall.”

*2 Benjamin Disraeli said: “Governments do not govern, but merely control the machinery of government being themselves controlled by the “Hidden Hand.” (He certainly could speak with believable authority, because he was a member of that particular evil group.)

*3 Rosenberg once said: “Racial history is therefore natural history and the mysticism of the soul at one and the same time; but the history of the religion of the blood conversely is the great world story of the rise and downfall of peoples, their heroes, and thinkers, their inventors and artists.”

 

 

 

Carving of German Greats

 

Carving of German Greats

Carving of German Greats

Carving of German Greats

Carving of German Greats
The back

Carving of German Greats
The artist's signature

Carving of German Greats

Carving of German Greats

Carving of German Greats
Hindenburg

Carving of German Greats

Carving of German Greats

Carving of German Greats

Carving of German Greats

Carving of German Greats
Bismarck

Carving of German Greats

Carving of German Greats

Carving of German Greats

Carving of German Greats

Carving of German Greats
Guess who?

Carving of German Greats
In this drawing we see a fourth "great,"
Frederick the Great.

Patriotic Wood Carving of the Three Greatest German Leaders as Visualized (Item AH 28-2; WOODMASTER 1-8)

DESCRIPTION: Here is an incredible hand-carved plaque depicting the artist’s conception of the three greatest German leaders of the century:
Adolf Hitler, chancellor and supreme leader of Germany 1933-1945—“der Führer
Grand Field Marshal von Hindenburg, Germany’s president and hero of WWI; he reigned as Germany’s hero personified after the Great War.
Otto Leopold von Bismarck, Germany’s “Iron Chancellor” who with Hindenburg brought about German unity in 1870 after the defeat of Napoleon III.
Most Germans and historians consider Hindenburg and Bismarck Germany’s greatest heroes and some of them—who are revisionists—feel Adolf Hitler was in that classification as well, but in any case, these are the men who were, in the words of Professor Revilo Oliver, “The Marchers of Destiny” (Google Dr. Revilo Oliver). The artwork is superlative indeed and here we have a significant piece of twentieth-century history in wood. Remember, the art world of realism concurs that to create realistic subjects in wood carving, especially faces, is infinitely more difficult than painting a portrait. The carving measures 27 ½ x 13 ½ inches and is about 2-3 inches thick. It is signed by the artist underneath: W. Meyer. The figures we estimate through historic extrapolation were probably carved in 1933, the year of the Machtergreifung (“seizure of power”). Hitler and the NSDAP celebrated this period of subliminal joy in the fatherland and it began a period where his image was presented by practically all the artists of Deutschland in paintings, bronzes, busts, glass images, tapestries, medallions, and in wood carvings by some of the masters of the art, and this magnificent carving that we offer is a great example of that special artistic achievement. It is a wonderful representation of “The Spirit of the Age,” “die Heldenzeit!

PRICE: $1,500.00

 

 

Water Color of Hitler

Water Color of Hitler

 

Water Color of Hitler

Water Color of Hitler

Water Color of Hitler

Water Color of Hitler
Artist's signature

Water Color of Hitler
Slight damage at top edge

Water Color of Hitler
Damage at bottom edge

Water Color of Hitler

Large Watercolor of the Führer; Very Possibly an Official State Portrait (Item AH 28-3)

DESCRIPTION: Here is one of the very greatest paintings we have ever seen of Hitler in watercolor mode. First, please be given to understand that this is a 100-percent period painting done in 1941 (not a copy!). The artist is R. Winzen and we are still at the research stage regarding this name that is signed in the right-hand corner. The last name is certainly Winzen; however, at this time we cannot make out the first name. This painting would almost have to be considered a state portrait; it is just that fine, but Hitler did not pose for it. He never posed for any painting. He was just too busy every moment of his life to afford practically a moment’s pause. He did in the very early days pose momentarily to be photographed by Heinrich Hoffman, his personal photographer, but he never posed for the painters within the Reich. The only other moments when he actually was known to stand still was when he was attending one of Richard Wagner’s operas and then, of course, he was completely composed and at the same time overwhelmingly enthralled! An almost hypnotic spell overcame his body and soul and this is borne out by numerous witnesses to include his close boyhood friend, August Kubizek, in his book The Young Hitler I Knew. In 1933, when he ascended to power, thousands of paintings were accomplished of him. No world leader to date ever enjoyed such enormous popularity in the last numerous decades (at least since Napoleon). All the renderings were done from photos and listed artists did a few. By listed we mean artists that had reached some fame or at least had paintings accomplished that were noted in art gazettes and displayed in galleries. We are still researching the painter R. Winzen and we are sure he/she must be noted somewhere. If any art historian can assist us in this project, we would be very grateful if only because it is quite evident that the artist was rather a master in his own right. The Führer is seen in super-realistic form without a flaw. It is as though the painting could speak! Seldom does any painting pick up such realistic presentation and laudable verdict in human depiction. The face is perfectly lifelike! The clothing is also quite convincing with every flowing wrinkle, as it should be. The color toning of the garment is done expertly and those medals and insignia seen upon it are depicted in realistic and historical accuracy. These medals were the only decorations Adolf Hitler ever wore. Although he had won the Iron Cross Second Class, he never wore it. He only wore the First Class award of this medal of bravery and above this he wore the Golden Party pin of the NSDAP, and below this badge of honor and loyalty he wore the German wound badge. There were all sorts of N.S.D.A.P badges that he qualified for, but he chose to wear none of them, and was always seen wearing these three decorations, two of which he won as a brave soldier in the First World War and he wore them on every occasion. This painting in fact could have been meant to depict him as he made his famous speech before the Wehrmacht and Reichstag in his declaration of war on Poland in 1939. The painting was done in 1941, but the event was still in everyone’s mind because all patriotic Germans felt strongly that Poland should be severely punished for the horrible atrocities perpetrated against the German minority living there in 1939. The massacre at Bromberg stands out especially in the annals of heinous war crimes and now Hitler was having no more of it! On September 1, 1939, Germany launched its military forces against the Polish frontier. When the Führer declared war, he was seen in a pose much like this depiction in the Winzen painting and certainly, his outfit was exactly as depicted in the artwork. So, obviously the artist has pictured an earth-shattering event in his accurate portrayal. This sort of sets this depiction apart from 95 percent of paintings of Hitler that usually are bust portraits or full standing canvases that give at least the appearance of being posed. This depiction is of an actual historical event. We believe a watercolor was chosen because the crisp, neat lines bring out detail and feeling a bit more than oil paintings in at least some cases. The paining, having been sealed in glass, has suffered some damage on the lowest portion near the edge of the frame, but this is not going anywhere. Watercolors were practically always sealed under glass especially if they were considered very important and were to be preserved for history, but unfortunately this made them quite vulnerable to aging distress and even the breaking of the glass. This wonderful artwork must be treated like the prodigiously valuable historic document that it surely is. We believe the frame to be original. The size measures at 32 x 11 inches and the frame is another three inches wide. This is just about the most exciting and dramatic Hitler image we have ever seen and we have been looking at them as a compendium of over 100 years if all of our separate experience is recounted. We have visited some of the greatest collections and museum accumulations in at least four European nations and this painting would be voted the best for color, action, and detail hands down! Elsewhere on our site you will occasion a half-bust portrait of Adolf Hitler in oil by the German master artist Otto Vittali that we also feature, but then that is another story; more on that later! So, collectors, here is a chance to own what would be considered a “National Treasure” if times were different. But now, in this Orwellian world, this work simply for now has to be considered a precious “diamond” yet undiscovered! with the hopes that the future might yet spring forth with some semblance of academic and artistic freedom and maybe even the possibility of truth and historical revision bursting to the surface, finally. This treasure of the turbulent past invites your stewardship meine Freund und Bewegungsglauber.

PRICE: $22,000.00; The consigner has agreed to sell this for the special price of $15,000.00


Hitler’s Declaration of War against Poland

Water Color of Hitler
Hitler addresses the Reichstag on September 1, 1939,
in the Kroll Opera House in Berlin

 

Water Color of Hitler

Water Color of Hitler

Water Color of Hitler

Water Color of Hitler

Water Color of Hitler

Water Color of Hitler

Water Color of Hitler

Water Color of Hitler
Hitler signs the invasion order

 

 

 

Adolf Hitler Bust

Adolf Hitler Bust

 

Adolf Hitler Bust

Adolf Hitler Bust

Adolf Hitler Bust

Adolf Hitler Bust

Adolf Hitler Bust

Adolf Hitler Bust

Adolf Hitler Bust

Adolf Hitler Bust

Adolf Hitler Bust

Adolf Hitler Bust

Adolf Hitler Bust

Adolf Hitler Bust

Adolf Hitler Bust

Adolf Hitler Bust
The Tannenberg Monument that included a lot of artistry
of Frederick Bagdons. Take particular note of the statue of
von Hindenburg by this artist.

Bronze Bust of Adolf Hitler by Friedrich Bagdons (1878-1937) (Item AH 28-5)

DESCRIPTION: In my estimation, this is the best-sculpted bust we have ever obtained; certainly the artist was well known in the German art scene. The bust was sculpted by Friedrich Bagdons, who was commissioned to design and sculpt the porphyry statue of Field Marshal von Hindenburg that dominated the Hall of Honor above the victors’ tomb in the Tannenberg Memorial. The memorial was to commemorate the fallen soldiers of the Second Battle of Tannenberg, but when Germany’s hero, Marshal Hindenburg, died in 1934, his coffin and that of his wife were placed there despite his wishes to be buried at his family plot in Hannover. Adolf Hitler ordered the monument to be redesigned and named Reichsehrenmal Tannenberg. At this time I won’t go into its destruction by crazed and so-called democratic Poles in the 1950s because many of you know how this ‘Alpha Germanophile’ goes into the ecstasy of hate against such malefactors and culture destroyers. In 1935, Friedrich Bagdons was also responsible for completely rebuilding the Kaiser Wilhelm Denkmal (statue) near Dortmund. He did this in accordance with the National Socialist architecture mode at the orders of Adolf Hitler handed down directly to the artist. The equestrian statue of Kaiser Wilhelm I and the statues of Bismarck and Helmuth von Moltke that are seen on this statue must have been his artistry as well. He most definitely was a great artist. One need only look at this bust of the Führer to see that F. Bagdons has captured the full essence of the personality of Germany’s leader. We would estimate that this sculpture was meant to depict Hitler in the period known in Germany as “der Kampfzeit” (the struggle for power) between 1928 and 1933. The firm resolve, the unshakable will, the nobleness of purpose all seem to emerge in the finest artistic expression in Bagdons’ creation. Fritz Bagdons was born in East Prussia in 1878. He initially trained as a wood carver in Königsberg in 1895, and then studied sculpture in Berlin. He studied under some of the most famous sculptors of the time. He successfully completed his studies in 1902. Friedrich Bagdons’ first prominent work presented a design for wooden doors of the New Stables in Berlin. After beginning a teaching career in Dortmund he received public and private commissions. He received his first large orders as a result of the First World War, when he created figures in Dortmund and Recklinghausen; some of them in the postwar years. His specialty was to be war memorials. In 1920, he did artistic relief work for the administrative building of the United Steel Works and in 1923, allegorical figures for the New City Bank of Berlin. In 1925 and 1927, he created memorials for victims of mining accidents. Also in 1927, he received from the Westphalian State an order for a monumental bust of the late Reich’s president, Friedrich Ebert. Although Bagdons was a completely convinced and loyal National Socialist unfortunately after the victory and seizure of power by the NSDAP he and others were banned from teaching. That order was lifted in 1934, and at that time Bagdons sculpted what amounted to a second bust of Adolf Hitler (the one we feature here) and we know his last completed work was the colossal statue of Reich’s president Paul von Hindenburg at the Tannenberg Memorial which he completed in 1935. He was a prolific artist and his wonderful works include various styles of art from historicist and earlier art nouveau and even slight hints of expressionism right up to the distinctive stylistic state craft of National Socialism.

The Bust

The bust’s dimensions are 10 inches high and 5 inches from ear to ear. It is unusual because unlike many other artists’ perceptions this bust not only shows the head but shows the collar, tie, and partially the shirt worn by the subject. It has a projection extending from the bottom of the figure that would probably fasten to a wooden or a marble plinth (not with it). On the side of this extended piece is the artist’s signature “Friedr. Bagdons.” At the rear of this piece is the name of the foundry that Bagdons used to cast the bust. It says: ”Bischoff Bronzebild Giersseri Oberkassel.” (Translated: Bischoff Bronze Art Foundry in the town of Oberkassel). This is a small section of the large city of Düsseldorf on the left side of the Rhine River right on the edge of the Siebengebirge Mountains. Not only would the artist have been highly commended, but his foundry showed high professional excellence in formulating the stark realism, detail, and the wonderful patina application. This particular image of the Führer would rival the work of Arno Brecker, Thorak, Klimsh Ley, and the other great sculptors of the Reich. Look no further if you seek the finest in Third Reich sculpture. F. Bagdons has created the absolute finest depiction of Adolf Hitler that we have ever encountered.

PRICE: Price $4,500.00

 

Anschluss Medallion

Anschluss Medallion

 

Anschluss Medallion

Adolf Hitler Mein Kampf

 

Medallion with Bust of the Führer Commemorating the Anschluss (Item AH 28-7)

DESCRIPTION: The obverse of this medallion shows a bust of the Führer and around this are words in German that translate to: “The one and only leader of all Germans.” On the back, it refers to the great German Reich restored “13.3.1938-29.9.1938.” This is referring to the Austrian plebiscite. In the center of this reverse side is pictured the Christian Cross mounted on the orb of the Holy Roman Christian Church and empire of Karl der Grosse (Charlemagne). The medallion is in bronze, but they came in silver as well. The silver ones were minted in the Vienna government mint, while the bronze ones were privately minted by a metallic arts firm in Vienna. The dates on the piece refer to the plebiscite and the Anschluss of the Germanic Reich that now would be united under one flag (the swastika). The piece is about 1 1/2 inches in diameter. This medallion or nonportable award is a symbol of imperial power and unity after the Anschluss was successfully accomplished. This was the “New Order” not to be associated with the more sinister New World Order introduced and announced by that Skull and Bones Society member George H. W. Bush and effectively carried out by George W. Bush and the subsequent president of the U.S. This is a quite rare medallion that had the message that Aryan people should be united and I believe it could have been an appeal to the effect that we should not have any more “brother wars.” Ein Volk, ein Reich, ein Führer!

PRICE: $185.00

 

 

Calendar

Calendar

 

Calendar

Calendar

Calendar

Calendar

Calendar

Calendar

Calendar

Calendar

Calendar

Calendar

Calendar

Calendar

Calendar

Calendar

Calendar

Calendar

Calendar

Calendar

Calendar

Calendar

Calendar

Calendar

Calendar

 

An Adolf Hitler Treasure; a Führer Calendar from 1943 (Item AH 28-9)

DESCRIPTION: This is an Adolf Hitler Kalender for calendar year 1943, with many portraits of Hitler and famous events of his life and career. He is seen with many important army, SS, and SA functionaries, diplomats, pictures from the 20s, 30s and 40s, mass rallies, children, his speeches, busts, portraits, the Berghof, and his many residences. Most of the pictures measure 6 x 4 ½ inches and some smaller, but all of them are sharp and clear. He is seen with Mussolini, Sepp Dietrich, Field Marshal von Brauchitsch, Willi Messerschmitt, Goebbels, Staff Chief Lutze, Ulrich Graf, Prof. Hoffman, Reichsmarshal Göring, Field Marshal Keitel, and always with his brave soldiers, sailors and, airmen. This is an exceptionally rare piece and is in really good shape except the cover had to be supported at the top with some tape. Still, it is rare to find a complete and important calendar that is all there (every page!).

PRICE: $295.00; Expensive--NO--rare and ultra-desirable

 

Photo Album with Candid Shots of Hitler

Photo Album with Candid Shots of Hitler

Photo Album with Candid Shots of Hitler

Photo Album with Candid Shots of Hitler

Photo Album with Candid Shots of Hitler

Photo Album with Candid Shots of Hitler

Photo Album with Candid Shots of Hitler

Photo Album with Candid Shots of Hitler

Photo Album with Candid Shots of Hitler

Photo Album with Candid Shots of Hitler
Possibly the album's creator

Photo Album with Candid Shots of Hitler

Photo Album with Candid Shots of Hitler

Photo Album with Candid Shots of Hitler
BDM girl; HJ naval cadet

Photo Album with Candid Shots of Hitler
Julius Streicher makes his entrance

Photo Album with Candid Shots of Hitler

Photo Album with Candid Shots of Hitler

Photo Album with Candid Shots of Hitler
KDF excursion

Photo Album with Candid Shots of Hitler
Seagull patriot

Photo Album with Candid Shots of Hitler
First Hitler photograph

Photo Album with Candid Shots of Hitler
SA security squad

Photo Album with Candid Shots of Hitler

Photo Album with Candid Shots of Hitler

Photo Album with Candid Shots of Hitler

Photo Album with Candid Shots of Hitler

Photo Album with Candid Shots of Hitler

Photo Album with Candid Shots of Hitler
Leni Riefenstahl

Photo Album with Candid Shots of Hitler
Political leaders march in

Photo Album with Candid Shots of Hitler

Photo Album with Candid Shots of Hitler

Photo Album with Candid Shots of Hitler

Photo Album with Candid Shots of Hitler

Photo Album with Candid Shots of Hitler
Notice images of Hitler

Photo Album with Candid Shots of Hitler
The Führer with children

Photo Album with Candid Shots of Hitler
Von Blomberg; second from the right of Hitler

Photo Album with Candid Shots of Hitler
Note image is out of focus: candid shot

Photo Album with Candid Shots of Hitler
Another out-of-focus image: candid shot

Photo Album with Candid Shots of Hitler

Photo Album with Candid Shots of Hitler
Hitler at the podium

Photo Album with Candid Shots of Hitler
Die Externsteine

Photo Album with Candid Shots of Hitler
Traditional costumes

Photo Album with Candid Shots of Hitler

Photo Album with Candid Shots of Hitler
RAD workers

Photo Album with Candid Shots of Hitler
The Führer greets the people

Photo Album with Candid Shots of Hitler
Note the hand out of focus: definitely candid

Photo Album with Candid Shots of Hitler
In focus

Photo Album with Candid Shots of Hitler

Photo Album with Candid Shots of Hitler

Photo Album with Candid Shots of Hitler
Nighttime festivities

Photo Album with Candid Shots of Hitler

Photo Album with Candid Shots of Hitler
The Hermann's Denkmal

Photo Album with Candid Shots of Hitler
Visit by an important official

Photo Album with Candid Shots of Hitler
Traditional costumes

Photo Album with Candid Shots of Hitler

Photo Album with Candid Shots of Hitler

Photo Album with Candid Shots of Hitler
In focus

Photo Album with Candid Shots of Hitler
Family photos

Photo Album with Candid Shots of Hitler
More family photos

 Special Photo Album with Candid Photos of Adolf Hitler (Item AH 28-10; ALBUMS 3-14)

DESCRIPTION:  Question: Do you have any knowledge of how rare and seldom encountered are CANDID images of Adolf Hitler? He was possibly the most-photographed world leader of all time, but the images we see of him today were mostly professional ones taken mainly by his official photographer, Heinrich Hoffmann. This album, however, was put together by a man who was an SA (Storm Trooper) of some rank and standing. We bought it from his nephew who thought it should be shared by historians and collectors in the world rather than gathering dust in his closet in Nuremberg, Germany, where it was stored for the last 80 some years. The album is comprised of mostly photographic snapshots taken by this man at the Nuremberg Reichsparteitag of 1934, the annual Party Congress held at Nuremberg. The 1934 rally was named the “Reichsparteitag der Einheit und Stärke” (Rally of Unity and Strength) and it was the one party congress that was depicted in the fabulous film Triumph of the Will put together by the film genius, Leni Riefenstahl. Now the incredible fact about this album is that this SA officer was able to take 15 close-up photographs of the Führer that are seen on the pages of this album. This would normally be next to impossible as Hitler was usually ringed with SS uniformed guards and plain-clothed security service agents (SD). Only a man with high security clearance could ever hope to be able actually aim a camera at the leader and shoot such completely candid photos of him. You can see plainly that these images are completely candid and were never for publication by the very nature of them. At least one or two are actually a bit out of focus, which make this album semiprecious, indeed. No U.S. president since Abraham Lincoln has been even one percent as open in his public appearance. Hitler rode standing erect in his Mercedes touring car before hundreds of thousands of cheering admirers when he appeared for various events. This drove the SS and SD security people crazy, but he felt that his people loved him and we know he loved them so he continued to bare his body in these situations right up to 1944. The first candid photos are taken from afar and any German citizen cold take such photos, but the later ones in the album could only have been taken by a person with top-level security credentials. Along with the photographic record of the Reichsparteitag, there are a few pictures of the homeland in Germany’s Golden Age of the 1930s, before the horrid fratricidal war overtook the Fatherland. Everything in 1934 was sublime in the Germany Adolf Hitler had envisioned in his fulfilled promise to bring back prosperity to the German land and the essence of joyfulness and a beautiful form of heroic nationalism prevailed and this is reflected in the first full pages of the album where we see joyful occasions, river cruises, lawn parties, boating trips, etc., with jubilant and happy people enjoying themselves to the fullest while the ever-present swastika (the symbol of light! ) waves in the background. A really neat pair of pictures depicts a seagull sitting on the top of a swastika flag just like he was the actual finial of the flagpole and then in the next picture he flies forth as if to spread the word of the ‘Machtergreifung’ that was now finally a reality in heilige Deutschland. Then we see the preparedness for the Reichsparteitag and the first glimpses of the candid Hitler photos of as he arrives in Nuremberg to the thunderous applause of the hundreds of thousands of German people on both the sides of the street in the Nuremberg town center. Next, we see uniformed political-leader-corps functionaries getting ready to participate in the festivities. There is even a candid photo of Leni Riefenstahl, herself, descending the steps that lead to the tribune, and we see one of the Führer as he speaks from the tribune at night. This is followed by several pages showing all the glory and majesty of this fantastic event and then more Führer close-ups (real close-ups). He is greeted by children while accompanied by General Werner von Blomberg and other high-ranking officers. Following this are four wonderful photos of the Führer as he is escorted to the podium. Paul Joseph Goebbels and General von Blomberg are pictured here, also. The close-ups, I repeat, are 100-percent candid and unique and again the man taking these pictures absolutely had to be a very high official in the SA and possibly a friend in close association with Hitler. The photographer then takes some nice shots of ladies in traditional Tracht (regional dress) and at least two pages show the official visit of some highly placed political leader, and then more costume portrayals and regional celebrations. Then on two pages are four photos measuring 5 x 3 inches of Adolf Hitler as he mixes in and visits with some of the crowd. Here is proof that these were candid and not professional because at least two are just slightly out of focus. For publication purposes this just would never happen. After this—the last six pages—are the usual grandfather and grandbabies home photos. These are the most unusual pictures of the Führer we have ever seen in a private album and this is, in a word, precious, and in two more words, prodigiously important, to archival collectors— precious—but priced reasonably. Have you ever yearned for an actual one-of-a-kind original picture of Adolf Hitler; perhaps one like no one else has? Well, here is your chance to own 15 of them.

PRICE: $2,550.00; where could you find another?

 

Hitler Painting
Actual watercolor by Adolf Hitler

Hitler Painting
Adolf Hitler's signature as seen on the painting

Hitler Painting
Castle in a recent photograph

Hitler Painting
Side view of castle as it stands, today

Hitler Painting
Interior room

Hitler Painting
More of castle's interior

Hitler Painting
Another interior view

Hitler Painting
The throne wall

Hitler Painting
The vestibule

Hitler Painting
Ludwig II, the Bavarian king who created Schloss Neuschwanstein

Hitler Painting
Richard Wagner, the man Schloss Neuschwanstein was dedicated to

Hitler Painting
Another example of Hitler's artwork

Hitler Painting
Another example of Hitler's artwork

Hitler Painting
Another example of Hitler's artwork

Hitler Painting
This is the book by Billy Price on the paintings of Adolf Hitler. It is the only complete book so far published on the subject, and both of the paintings we offer are listed and pictured (the very ones!).

Hitler Painting
Here is the watercolor of the castle in black and white as shown in the book.

Hitler Painting
The castle on page 181 of Billy Price's book.

 

 

Hitler Painting
Hitler’s signature changed over the years. Authentic watercolors by him have been seen with several of his varied signatures (No two were ever alike.). Please understand that not all the signatures pictured in this image are from paintings, but they are from Billy Price's book Adolf Hitler: The Unknown Artist. Those signatures in rows 4 and 5 are actually from Hitler's various watercolors. Note that the third one in row 5 is nearly identical to the one on the castle painting as seen above.

 

Hitler Painting

Hitler Painting
Here is the picture of the painting with notary seals secured to the back of the official statement (on the left) by Peter Jahn

 Watercolor by Adolf Hitler With Strong, Official Provenance and Expertise (Item AH 28-13; ART 17-22; SPECIAL ITEM)

DESCRIPTION:  Recently, we were very fortunate to purchase two paintings by Adolf Hitler that are actually considered among his best. This first one shown here is an absolutely gorgeous rendering of the Castle of King Ludwig II of Bavaria—Schloss Neuschwanstein (New Swanstone Castle). This is a nineteenth-century Romanesque Revival palace. It was built by King Ludwig II as a devout homage to the great composer Richard Wagner, whom he practically worshipped. Therefore, it only follows that Adolf Hitler, who was also a devoted fan of the great Wagner would seek to honor him. It seems only logical, therefore, that New Swanstone Castle would be a natural for the young Hitler to paint at some time in his artistic career and, in my estimation, his infatuation with Wagner would have enthused him to positively strain to make this fantastic watercolor one of his finest works. The majesty of the castle as seen in Hitler’s painting is spellbinding and all who have seen it have praised it not only because it is Hitler’s work, but the painting itself emerges as a classic example of fine art of the Western world. Yes, it’s that great! Crude propagandist authors have said that Hitler was only a “house painter” before he became Germany’s leader. I am sure you have heard or seen that ignorant old canard more than once. Well, dear reader, this is one of the “houses” he painted. So just like all the other lies told about the German Führer this one needs to be trashed as well, wouldn’t you agree? We at Germania are proud as peacocks to offer this (dare I say: “masterpiece?”). “Yes, I dare!” Of all the watercolors painted by Hitler, this is one of the largest we have seen. The only full and significant literary work dealing with Hitler’s paintings is titled Adolf Hitler: The Unknown Artist by Billy F. Price, and this painting is shown on page 181 of the book and is listed as plate number 6/100. Where it is shown it says it was painted in 1914 and I think it may have been among the last renderings he produced before enlisting in the Bavarian Army and going off to war. He still found some time to paint a few Munich scenes during that period. Painting was his favorite thing in life and with high hopes, he took the examination to attend art school. To his complete disappointment, he and 85 other candidates failed the exam and were denied entrance to the prestigious Vienna Academy of Fine Arts. Today, we know that the test was stacked against the candidates; the required subjects of the exam were rather strange and the judges may have been rather prejudiced toward certain applicants from “select families.” We will never know, but when one views either of the paintings that we at Germania have procured and offer, there is not a shadow of a doubt that the young Adolf possessed a genius in architectural mastery in the arts. Just as he had opinions in the political arena and in the winning strategy in warfare (Blitzkrieg) his opinions and thoughts about art were strong and rather far beyond conservative. He believed strongly that “healthy art” had a “healthy soul.” He claimed it should be uplifting, noble, and idealistic. He considered certain themes such as the family, everyday work, mythology, rural life, and landscapes, the perfected human body, or the heroic soldier to be subjects worthy of art even though we know that depicting people was, as he admitted, not his specialty by any means. Of course, his ideas about the refinement of art seriously conflicted with the emerging schools of modern art forms, Impressionism, Cubism, Dadaism, et al. He claimed these terrible aberrations were produced by “scribblers, canvas crawlers, mental defectives, or cultural Neanderthals.” (Well put, Mein Führer!!!) Cicero said: “If we are not ashamed to think it, we should not be ashamed to say it.” So, I will say it also: “I agree with every word Hitler used in his critique of modern art.” Hitler’s architectural concepts were based upon his belief in “eternal values.” These values can be obviously perceived in his artistic works. These values contained mixed elements of classism, the renaissance, and the baroque all of which were amalgamated in the “Vienna Ring Style." This monumental expression of the 19th-century imperial power may well have been the most significant architectural feeling generated in Hitler’s youth. He was acutely impressed with so many masterpieces of the building sciences as could be seen in Vienna such as the Burgtheater, the Votive Church, city hall, and Theophil von Hansen’s great Austrian Parliament building. Hitler knew these buildings down to their finest details and painted them repeatedly.

One of Hitler's favorites, which he painted several times, was Karlskirche, St. Charles’s Church, and this one also was one of the favorites of art researcher and authority Peter Jahn. This is the second Hitler canvas that we offer and is an original rendering of Karlskirche. Peter Jahn of Vienna and Dr. August Priesack were considered the leading experts able to authenticate the paintings of Adolf Hitler. In 1935, the historical section of the NSDAP official archives in Munich was assigned the systematic task of locating and certifying the paintings of Adolf Hitler. Two archivists, Wilhelm Dammann and Dr. August Priesack, worked together and were responsible for authenticating all Hitler artwork that could be traced, purchased, or borrowed. The actual search for the art was carried out by staff members under the auspices of Hitler’s deputy Rudolf Hess. One authority that I mentioned earlier was Peter Jahn. He and Dr. Priesack were the last surviving experts in the NSDAP search for Hitler’s art. Jahn had many conversations with Hitler considering art in general, but particularly the Führer’s own art. With this painting of the castle there is an official letter of authenticity from Peter Jahn regarding this watercolor in detail. Jahn recalls a conversation with the Reich’s Chancellor himself regarding this particular work, as actually being the largest surviving watercolor by Hitler. The work is in fine condition and measures 23.5 x 15.5 inches. After the war, Jahn resumed his consulting career with no thoughts of his former activities on behalf of the Hess staff. When his name was mentioned in a magazine article in 1960, however, he received inquiries from all over the world and agreed to serve as personal advisor to the English Marquis of Bath when the latter began his large, personal collection. Through his knowledge of Hitler’s Viennese style and subject matter and his numerous contacts in Vienna, Jahn has long been an authority on the subject and has traced and authenticated numerous paintings. His files and references were particularly useful to author Billy Price in writing his great hornbook on the subject Adolf Hitler: The Unknown Artist. Today, this book is one of the few works that covers the subject so thoroughly and interestingly. Both the paintings we acquired are shown in the book, but the Schloss Neuschwanstein canvas is unfortunately depicted in the noncolor section of the book; the St. Charles’s Church in winter, though, is shown in a large picture on page 49 of the price book. Hitler will forever be one of the most famous leaders in the history of mankind and the mystique and fascination surrounding him seem completely unending and if anything, he seems to be becoming more and more popular with his book Mein Kampf clocking a banner digital year in 2013 and 2014 when it became an e-book bestseller on Amazon. The Kindle version of Mein Kampf was ranking way up there on the politics and current events far outpacing books by modern day neoconservatives such as Sarah Palin, Charles Krauthammer, and Glenn Beck. So, if the book and the popularity of his artwork tell us anything beyond what is recorded in the pages of the dubious horror stories out there, it may just occur to some readers today that here was a remarkable individual and artist (a very talented artist) who turned into a “reluctant politician” and military leader whose ultimate aim was the preservation and advancement of his Fatherlands (Germany and Austria) and the creation of a “Great Art” and the preservation and protection of the Aryan culture and architecture. From time to time, we see Hitler’s artistic watercolors being offered in the $10,000 range. In fact, this is a huge underestimate and can only be applied to paintings that are probably fakes or have little or questionable provenance. Genuine Hitler watercolors with good provenance from August Priesack or Peter Jahn have sold from reputable auction house for between $50,000 and $90,000 over the past ten years with about $50 thousand to $60 thousand being brought for an average one in 2011-2013. The two we offer are far beyond average. The authors of several books by persons who sought to denigrate the Führer would invariably show his poorest paintings in their books to portray his works and the renderings as what they dubiously called a “lifeless art form.” So in essence, we are genuinely thrilled to bring forward to you these virtual masterpieces from the brush of the Führer. Not exactly lifeless, are they?!

PRICE: P.O.R.

 

Hitler Painting
This is the actual watercolor by Adolf Hitler.

Hitler Painting
Adolf Hitler's signature as seen on the painting

Hitler Painting
Another church depiction by Adolf Hitler

Hitler Painting
Hitler’s painting of a southern Bavarian church-1925

Hitler Painting
Another view of the Saint Charles's Church by Hitler-1912

Hitler Painting
The Minorite Church in Vienna-1910-12

Hitler Painting
Saint Stephen's Cathedral in Vienna-1910

Hitler Painting
This is the book by Billy Price on the paintings of Adolf Hitler. It is the only complete book so far published on the subject, and both of the paintings we offer are listed and pictured (the very ones!).

Hitler Painting
The watercolor of the Vienna church as seen in Billy Price's book on Hitler's art

Hitler Painting
Another picture from Price's book on the art of Adolf Hitler

 

 

Hitler Painting
Hitler’s signature changed over the years. Authentic watercolors by him have been seen with several of his varied signatures (No two were ever alike.). Please understand that not all the signatures pictured in this image are from paintings, but they are from Billy Price's book Adolf Hitler: The Unknown Artist.

Hitler Painting

Hitler Painting
Here is the picture of the painting with notary seals secured to the back of the official statement by Peter Jahn

Here is the expertise and certificate of authenticity by Peter Jahn in reference to this watercolor by Adolf Hitler. Peter Jahn, along with Dr. August Priesack, were the only recognized authorities able to accurately authenticate Hitler paintings. Here in rather broken English Herr Jahn says unalterably that the Karlskirche in Vienna signed by Adolf Hitler and dated 1912 is authentic and he praises it as the second-largest Hitler watercolor he had ever seen and is wonderful in detail and impression. He goes on to say that he considers it to be one of the finest and most naturalistic ones he had ever personally held. He says the background displays high technical expertise and has not seen many of this high quality (Excellent!). In this watercolor one can see Hitler’s great talent as a painter.
After giving a short narrative on his life and career, he goes on to say that this picture is, in his opinion, one of the largest and most beautiful works done by the hand of Adolf Hitler.
The statement is with the signature and official stamps of a notary who notarized Peter Jahn's signature in 1982.
Interesting that Peter Jahn did this statement on April 19, 1982, the day before Hitler’s birthday (Significent?).

 Original Adolf Hitler Watercolor of St. Charles’s Church With Official Provenance and Expertise (Item AH 28-14; ART 17-23; SPECIAL ITEM)

DESCRIPTION:  This is the other watercolor painted by Adolf Hitler that we recently obtained. This is the second one mentioned in the article above in the description of the canvas of the castle of Neuschwanstein. We mentioned in that narrative that there were certain buildings and other pieces of architecture that Hitler truly admired and often painted, and this magnificent depiction of Karl’s Church in Vienna was certainly his favorite subject of all. It shows up in both his sketches and paintings several times among the ones that were found. This piece we offer is a full-blown precious watercolor in all its glory. We have mentioned in the article above that only two experts have had proper credentials for authenticating Hitler watercolors and drawings. They are the late Dr. August Priesack and the late Peter Jahn and were the last surviving experts after the war to honestly authenticate a Hitler painting and such expertise from either man is the singular best authentication and support that any purported Führer art piece can carry. Others have also claimed that they can offer authentication. One such ‘expert’ that I would rather term an “X-Spurt” is Herr Hans Horvath also from Vienna. He has built for himself a completely undeserved reputation as an expert in National Socialist paraphernalia and art. In actuality he is a furniture restorer and perhaps he is good at that trade, but in the role of an authority on Hitler art, I think he had better stick to the sandpaper and glue pot. So, in essence, the singular recognized experts in this field remain the late Dr. Priesack and the late Peter Jahn: all others must be taken with skepticism. The numerous Hitler watercolors and oils that show up are legion, and serious collectors invariably believe only in the ones that bear the Priesack or Jahn credentials. We have explained much about this in the article above regarding the magnificent Schloss Neuschwanstein watercolor. The Karlskirche in Vienna as seen in our accompanying picture just above is also like the other one—accompanied with a provenance and expertise by none other than Peter Jahn with a letter of positive authenticity dated April 19, 1982. According to Jahn, this painting, like the castle rendering, was also one of the largest Hitler watercolors he’d ever seen. The size is 15.75 x 11.5 inches. This is absolutely in my opinion as well, one of the most detailed and crisp examples of Hitler’s work ever located and offered. It is definitely done with watercolor and gouache, boldly signed and dated “1912.” It is in fine condition throughout. The great architectural technique is superb and the people in the depiction are somewhat substantial. Hitler, jokingly perhaps, often said that his paintings could easily be recognized by their “unreal people;” however, the incredible attention to detail in his landscapes, city scenes, and architectural renderings absolutely abound in realism while unfortunately less apparent in his handling of the human figure. It is obvious in his works that he reached for majesty in some of his art, but he also pictured simple Germanic country scenes, as well. For him, the great structures such as the Pergamon Altar and the Parthenon, both of ancient Greece, and the ancient Roman Pantheon, symbolized for him the dimension and glory of the race he considered the founders and builders of Western civilization—the Aryans. The monumental cathedral constructions of the medieval period, the palaces of the Renaissance and the neoclassical structures of the 19th century were as he often said, “expressions of a cultural community, a heritage to be preserved and perpetuated.” Why did Hitler the purported atheist paint churches and cathedrals? Why indeed? Well first of all, the dubious atheist contention comes from the writings and verbal utterings of the “court historians” who seek always to slander him to the fullest with pompous insolence bordering on superciliousness. They seem duty bound with their chosen agenda to attack every vestige of the man’s very being. Hitler was certainly no atheist. He was raised a Catholic and never at any time renounced his faith. In his book Mein Kampf he proclaimed his Christianity and in numerous verbal pronouncements he spoke of his belief in an “Almighty Creator.” Yes, to some extent, he harbored the anticlerical belief that the church in Rome wielded too much power over its faithful adherents; he disdained “churchology” believing God lives within the soul of man and determines his destiny. He was always in favor of “positive Christianity.” He said in a 1922 speech, “My feelings as a Christian point me to my Lord and Savior as a ‘Kämpfer [“fighter”].” In a 1928 speech he said, “We tolerate no one within our ranks who attacks the idea of Christianity . . . in fact our movement is Christian!” So perhaps this is why he so often portrayed the glory and majesty of churches, abbies, and cathedrals in his paintings both in Germany and Austria. The Karl’s Church in Vienna was, as we said, one of his favorite-subject paintings not only because of its beautiful architectural value, but probably because his youth was spent in the study and admiration of famed saints of the church—as any good altar boy would be proud to do. His appreciation of Saint Charles Borromeo, the Patron of the Baroque, was one of the greatest reformers of the 16th century. In 1713, one year after the last great plague epidemic, Charles VI, Holy Roman Emperor, pledged to build a church for his namesake patron Saint Charles Borromeo, whom was revered as a healer for plague sufferers. Mr. Billy Price’s book Adolf Hitler: The Unknown Artist depicts numerous churches that were painted by Adolf Hitler. It seems it was his most preferred subject matter and obviously, this says something at least about his very nature and his spirituality. He actually portrayed Karl’s Church in many different views—front, back, sides—over a period of time and he found during his Vienna period of painting that the depictions of this building sold by far the best to the public whom he at that time desperately sought to sell to. But as to the several churches that he artfully depicted, we know this one by far is the absolute finest! Its brilliance and clarity stand out like a beacon shedding the true artistic light that now goes far to illuminate the intense interest that the future Führer had in all things religious when he was young. It now looms obvious and can be plainly seen in this magnificent watercolor that this must be called a “very significant work” and we know it was painted by this amazing artist whom the autochthonous plebian writers call a “house painter” in their ever-dubious inflammatory writings. So, here is what I would dare to call a “masterpiece” with ironclad provenance and expertise by one of the only two authorities recognized in the art circles for Hitler paintings. This is a golden opportunity to make a very wise purchase that can only increase in value in a very short time. Already, a watercolor painted by Hitler was reported to bring almost $15,000 in an auction on or about April 23, 2009. But, this painting was in my estimation very dismal and dark and reportedly had no letters or documents of authentication or any provenance. Actually, I didn’t even think it was Hitler’s style at all! This story is repeated over and over every year that goes by. The mere mention of anything that Adolf Hitler owned or produced seems to appeal to those who for any reason are so fascinated with him as to loosen their pockets in a heartbeat if the chance to buy something no matter how loose the connection is or how much actual authentication is provided (Barnum was obviously right!). This dubious canvas that brought nearly the $15,000 was sold in England by Mullock's Specialist Auctioneers & Valuers in Shropshire. So I repeat again that only the expertise of Dr. Priesack and/or Peter Jahn is accepted today, Otherwise you “pays your penny and takes your chance.” In closing let it be said that if you ever wanted to own the ultimate Hitler item actually produced by this phenomenal man here is the unique opportunity that will be before you in all probability only once!

PRICE: P.O.R.

Hitler Painting

BERLIN—A 1914 watercolour by Adolf Hitler fetched 130,000 euros ($161,000) at auction in the German city of Nuremberg on Saturday, the auctioneers said. The buyer was a private person from the Middle East who attended the sale in person, said Kathrin Weidler, head of the auction house. She said there had also been inquiries from Asia and America.

The painting, entitled "Standesamt und Altes Rathaus Muenchen" (Civil Registry Office and Old Town Hall of Munich), is one of about 2,000 works that Hitler painted between about 1905 and 1920 as a struggling young artist. Asked before the auction whether it was tasteless to auction the Nazi dictator's works, Weidler said complaints should be addressed to the sellers—two unidentified German sisters in their 70s. Weidler said the vendors had decided to donate around 10 percent of the proceeds to a charity that helps disabled children.

Weidler said the original handwritten bill of sale, dated Sept. 25, 1916, had come with the painting and was a rarity for Hitler's art. That also explained the relatively high selling price, she said.



Hitler Art is the New Rage Among Collectors

Hitler Painting

This work titled “Siegfried” by August Bischoff was a Hitler favorite and is expected to bring a huge price possibly in the six-figure area of $150,000.00, or more?
Adolf Hitler’s favorite artists and artwork, promoted throughout Nazi Germany and shunned as a result by the world for decades, are now on fire, with art collectors in America and Europe paying more than $150,000 for certain pieces such as paintings, tapestries, and bronze statuary. The general consensus is that there’s a vibrant market here.
Marius Martens, a Dutch art dealer, said that art from Karl Walther or sculptor Georg Kolbe, whom Hitler liked and whose work he displayed in Third Reich buildings, has finally caught the eye of collectors because the World War II period is now popular. Martens said that the popularity of Hitler’s favorite artists sprang to life in just the last 12 months.
“Last year, the market was awakened by the sale of a painting by Karl Walther for 23,000 euro. It was an extremely scarce piece as it once hung in the New Chancellery of Adolf Hitler,” he said. “It seems now that this was not a one-off occasion. Recently works of other artists popular in the Third Reich have been sold for considerable prices,” he added. “Almost 70 years after World War II, more and more people see this art from a purely historical perspective. Although the artworks originate from an extremely tragic period, they should not be hidden or destroyed. This is an opinion shared by several museums, seeing the rising number of exhibitions of this art and the number of visitors,” said Martens. He added that as the World War II generation dies off, their period becomes history. “The driver is time. Just like no well-thinking human being bought a portrait of Napoleon in 1820, short after he destroyed Europe,” said Martins. “In the coming 10 years everybody who lived in the war will die: this means that living-past will change into history.”

 

 

Hitler Oil Painting

Hitler Oil Painting
Artist Otto Vittali, born August 11, 1872; died March 25, 1959

Hitler Oil Painting
The Haus der Deutschen Kunst in Munich

Hitler Oil Painting
A painting by Otto Vittali

Hitler Oil Painting

Hitler Oil Painting

Hitler Oil Painting

Hitler Oil Painting

Hitler Oil Painting

Hitler Oil Painting

Hitler Oil Painting

Hitler Oil Painting
This great rendering was considered the official state portrait in 1936,
but somehow the portrait by Vittali, in our opinion, truly exceeds this one in every artistic aspect.

Hitler Oil Painting
This was the official symbol of the “Haus

Hitler Oil Painting
The Führer visits the galleries in the Haus der Deutschen Kunst

Hitler Oil Painting
The gala parade entitled "2000 Years of German Culture" for the opening of the Haus der Deutschen Kunst

Hitler Oil Painting
Another rendering by Vittali

Hitler Oil Painting
Here is one of the precious glass works by Vittali in the Art Nouveau style

 Magnificent Painting in Oil of Adolf Hitler by a Major Listed German Artist (Item AH 28-16)

DESCRIPTION:  Here is the finest painting of the Führer that we have ever encountered. The artist is Otto Vittali (1872-1958). He lived in Offenburg. He was half Italian, his forefathers having immigrated in 1804 from Bellano Province, Como, Italy. He studied at the art schools in Karlsruhe and Munich and worked later in the studio of Professor Linnemann in Frankfurt. His father was famous for glass painting. Young Otto thought to someday take over his father’s art and he made a scholastic trip to America. The young man made himself independent and perfected his skills in Berlin. Here he received significant orders because of his overriding skill. He received several commissions from the Hohenzollern Imperial Palace. The orders from royalty were usually requests to do heraldic window hangings; in German Fensterglasbilder. These beautiful hand-painted items were considered national treasures In Germany. If you would like to see some wonderful examples of these art forms be sure to visit our Kaiser Reich section at Heraldic Window Hangings . He also did many stained-glass windows for the churches and cathedrals to include the German National Cathedral in Berlin and also the famed Kaiser Wilhelm Gedächtniskirche (Memorial Church) located on the Kurfürstendamm in Berlin. This was the place of worship for the family of Kaisers Wilhelm I and II. Vittali painted seven church-window scenes by order of the Prussian empress and by order of Kaiser Wilhelm II. He painted the famed painting of the Ascension Church of the Mount of Olives in Jerusalem. He also painted the frieze in the garden façade of the Hotel Adlon in Berlin. Vittali helped in the construction of this famed hotel while on an artistic advisory board. In 1910, he studied ceramic art in Paris. He also invented a machine for the production of autotype low-pressure grips. Other inventions too numerous to recount were processed by this man who absolutely bordered on genius. No doubt, there would have been much more if WWI had not intervened against these hopeful developments. He now became a soldier and an artillery officer; he invented a graphic flight-path table that made the earlier artillery calculations superfluous. He then found some time to turn to portrait painting as well as landscape scenes. He portrays military generals and creates some fine depictions of Polish peasants and their daily lives. He created very impressive pictures of the wide Polish-Russian countryside; many of these are still in the family estate. After the war, he drew and designed etchings, original stone drawings, ex-libris plates, and illustrations for books plus technical and promotional drawings for various large cooperations. He loved to paint scenes from his beloved Baden countryside. These often were oversized renderings. He painted portraits of many important people in the Markgräflerland, and priests, lawyers, and many paintings of the town buildings of Offenburg, the medieval town that existed from 1163. The list of his rich artistic masterpieces are legion. Some of the ones of gathering thunderstorms in the Black Forest and many others when found today are certainly treasured. Up to 1953, he counted 1,593 pictures and 689 portraits, and not counted are the countless watercolors and sketches as well as his wonderful examples of glass paintings. Badenland should have the works of Otto Vittali posted highly in her honorary hall. The glorification on art of Baden’s lovely scenery by this master should never be lost to future generations.

The Painting

The masterpiece was done by Vittali in 1933. This was the year of the “Machtergreifung,” the ascension to power of the National Socialist German Workers’ Party or NSDAP. Adolf Hitler had just been appointed Reich’s Chancellor by President Paul von Hindenburg and all patriotic Germans were in absolute ecstasy including, of course, the artists. Many works of art both professional and amateurish emerged with motifs of Hitler and his NS Party. However, having collected and studied numerous Hitler portraits of the period, we must hasten to add that never have we ever observed a better likeness of the German leader as this one from the brush of Otto Vittali. It’s almost as if Hitler actually sat for this amazing portrait. The colors, the detailing, the stark realism are so evident as to easily be called a more than an excellent rendering, if not a masterpiece. The Führer looks like he could speak! Please forgive my exaggeration if it could be said to be such, but we have seldom been so completely awestruck with a painting in our long career in this field.

The Painting’s Story

The canvas measures 19 ½ x 20 inches and in the frame it is 28 ½ x 23 inches. (We had it eventually framed). There is damage to the surface as you can readily see, but the face is pretty much undamaged; to be repaired would be an easy project for a professional art restorer. Now, how did it get this minimal damage? Let’s go back to 1945 in Munich. A certain GI was assigned to duty at Munich’s Rathaus (city hall). He was designated a guard while the army intelligence team was sorting things from room to room, office to office. The Rathaus is huge. Our GI noticed that not only those so-called Monuments Men were hard at work but also certain officers were in and out for three days hauling off souvenirs and some of them even bragged about it to him. The GI was sternly warned however that if he were to even touch anything he would be in a “world of trouble.” This order rather stuck in his craw. Why should the brass be able to loot everything while a common dogface should be denied? So, on his third day of duty there, he entered a room that had a huge, long table and more than 25 chairs all with carved swastikas on them. There was also a speaker’s rostrum and inside the hollowed back of that rostrum sat this portrait of Hitler in a frame. He deduced by the holes in the wall behind that this picture probably hung there behind the speakers and how the officers had missed this he couldn’t imagine because of the obvious beauty of the rendering and frankly, because he had found no significant war trophy yet he decided to have it. Yet, he knew he could be charged with theft if he was caught as he tried to get it out in its heavy frame so after thinking about it, he decided to cut it from the frame with his pocket knife. He did this carefully and then he removed his shirt and undershirt and wrapped it around his trunk and secured it with his boot strings. It was four hours until the end of his tour of duty and he had to wear this canvas under his shirt all that time. Many times various officers, MPs, and his own company commander passed him and he said he was a nervous wreck while hoping nothing would be discovered. Later, far from that scene, he had to declare the piece to a declarations captain at Infantry HQ Command #1873 and that captain, who had no knowledge of the city-hall incidents, examined the four articles that the GI declared. (He successfully had added this great painting to his treasure trove). After it was bought there was a phone call from him and he said he had a medal on a string that he had found on the back of the frame that he removed and he had over the years forgotten about it. He said this medal—as he called it—was fastened to the back of the original picture frame and at the time he removed it he shoved it in his pocket and now he sent us a photo of it. To make it even more exciting, he wanted more money for this and when we saw what it was we felt it should be bought. The medallion is a bronze fob-style affair that has the Athena figure with the National Socialist eagle and the Torch of Enlightenment and it says along its edges: “AUSGESTELLT IM HAUS DER DEUTSCHEN KUNST 1941.” Translated it has the meaning that this painting could have been displayed at the House of German Art in Munich; however, when we searched our catalogues from the 1940s, we could find no record of a Vittali painting ever put on official exhibition at the gallery. However, the word “ausgestellt” has several meanings according to our translator. First, it can mean ‘displayed’ or ‘to be on display” as in to possibly be on display at the museum. Obviously, the latter seems to be the case in 1941. With the war already raging for Germany, turmoil was evident on every front; military and civil. The museums were short staffed and much of the staff were now soldiers or very involved in wartime necessities. From the museum’s opening in 1937, staff meetings with artists were held on a regular basis and certain artistic themes were discussed and appropriate themes for the particular time were chosen. Our theory is that Vittali’s Hitler painting was decidedly more than worthy of being considered and that is why he was given the medallion with the promise of future inclusion in the galleries. This was in 1941 and Vittali’s portrait shows the Führer dressed in the uniform of the earlier Kampzeit brown uniform (Kampzeit: struggle for power) and from 1939 on he was always dressed in the grey-green uniform that he swore to wear until Germany was victorious. Well, as fate would have it, the Vittali painting never did make it as far as actually being displayed at the gallery of the museum. It is only too bad that it was not entered in 1937 or 1934 because if that would have been the case we are sure it would have been right there on the gallery wall along with many other images of “der grosse Befreier,” Adolf Hitler. But it did make it to an honored place on the wall of the Munich City Hall. We are most thrilled that we were able to procure this precious medallion along with the treasured portrait. Maybe Otto Vittali’s painting never made it to the Haus der Deutschen Kunst, but the fact that he was considered seems to confer the possible title of “masterpiece” in this, his work. We are told that between 3,000 and 4,000 artworks would be considered by the museum’s directors and advisors each July and fewer than 100 were annually selected to be in the class of semifinalists and then out of these 30 to 40 ended up being chosen for actual exhibition, while some of the best considered excellent were often scheduled for later consideration and the artist is issued the coveted medallion. Therefore, here is the portrait that Germania International is so very proud to present to the collector world. The condition is as seen in our images presented. The damage comes from the rather novel way that our GI looter chose to convey it past all the brass and MPs. It is fortunate that the actual countenance of the Führer is pretty much undamaged and can, as we indicated, be rather reasonably restored. Here is a chance to procure for yourself a true artistic treasure of that world’s shaking turbulent time and a prodigiously great historically important objet d’art.

PRICE: $58,000.00; includes the portrait in oil and the House of Art medallion. This is a great and stupendous investment offered at this time. Its value can only go UP!

 

 

 

Adolf Hitler Flatware

Adolf Hitler Flatware

 

Adolf Hitler Flatware

Adolf Hitler Flatware
The Greek-key design

Adolf Hitler Flatware
The company and silver marks

Adolf Hitler Flatware
Silver marks on the spoon

Adolf Hitler Flatware
We have not cleaned them

Adolf Hitler Flatware
Adolf Hitler’s Berghof

Adolf Hitler Flatware
The famed window at the Berghof

Adolf Hitler Flatware
Inside the Berghof

Adolf Hitler Flatware

Adolf Hitler Flatware

Adolf Hitler Flatware
Important meeting at the Berghof 1938

Adolf Hitler Flatware

Adolf Hitler Flatware
Hitler and Eva at the Berghof

 

Set of Formal Flatware from Hitler’s Alps Mountain Retreat in the Obersalzberg (Item AH 28-19)

DESCRIPTION: This is nothing short of incredible: a full set of knife, fork and spoon all dinner sized in the formal pattern in remarkably fine condition. It’s very seldom that a complete formal place setting shows up for sale, and all in dinner size; not mixed with luncheon pieces. These were bought from a GI looter formerly with the 101st Airborne Division some 30 years ago and have been retained in a private collection ever since. They are 100-percent genuine (actually I have never seen a copy!) and they are among the most collectible Third Reich items out there. The prices of them will be astronomical in the near future when one realizes that a chained model SS officer’s dagger that were made in possibly millions sells today in good shape for roughly $10,000, while something as super rare like a Hitler-owned spoon runs only about $2,500 by itself. I ask: “Which is more desirable as a truly valuable relic?” The knife, fork, and spoon are marked clearly with the stamping of half moon, crown, and little eagle marks. The three pieces of course have the Hitler special eagle with “A.H.” flanking each side. The edges show the Greek key design. Actually, Hitler designed the pattern for this formal and the informal silverware, himself, with the assistance of Albert Speer. He loved ancient Greek delineation not only in such things as this but even incorporating it into buildings that he and his chief architect Albert Speer accomplished or had planned. This is the second-type flatware as produced by Bruckmann and is referred to as “The Formal Pattern.” Bruckmann was located in Heilbronn and has produced the very finest level of silverware in Europe. Again, the fact that the three pieces are together in a proper set makes them “very special.” If today you were lucky enough to find and purchase say a fork in this pattern, you might wait years to find the knife and spoon, especially in the exact dinner or lunch pattern. Here is a very rare opportunity to acquire all three pieces in the same dimensions at one time.

PRICE: $7,550.00 for the set (irreplaceable). We will not break up the set. Please, don’t ask.

 

Adolf Hitler Flatware

Adolf Hitler Flatware

 

Adolf Hitler Flatware

Adolf Hitler Flatware

Adolf Hitler Flatware

Adolf Hitler Flatware

Adolf Hitler Flatware

Adolf Hitler Flatware

Adolf Hitler Flatware

Adolf Hitler Flatware
Different usage forks

Adolf Hitler Flatware
Spoons

Adolf Hitler Flatware
Knives

Adolf Hitler Flatware

Adolf Hitler Flatware
Marking on the blades

Adolf Hitler Flatware
The pieces will come cased like this

Adolf Hitler Flatware
Hitler at luncheon in Munich apartment

Adolf Hitler Flatware

Adolf Hitler Flatware
Hitler approves luncheon table setting

Adolf Hitler Flatware

Adolf Hitler Flatware
Lunch with England's Prime Minister Chamberlain

Adolf Hitler Flatware
Afternoon luncheon setting at the Berghof

 

Complete Place Setting of Adolf Hitler’s Informal-Pattern Silverware (Item AH 28-20)

DESCRIPTION: This is an almost-impossible procurement. This is a fantastic assemblage of every single piece that would constitute a dinner placement and/or a luncheon setting for an honored guest. On the handle of each piece is a left-facing national eagle shown in the same position as found on the formal-pattern pieces except that it has not the detail and is much plainer than the formal pattern and it does not have the Greek-key design like the latter pattern. But, mind the fact that it is much more scarce than its pretty cousin. On each side is seen the Führer’s initials “A.H.” On the reverse of the pieces you can see in our images the imprint of the hallmarks of Bruckmann and the marks begin with the crescent moon and crown and the “800” silver content and, of course, Bruckmann’s personal Prussian eagle.
*Usage: There are various theories as to just where and when the informal-pattern flatware was used. The author of the great little book The Encyclopedia of Third Reich Tableware, Mr. James A. Yannes, claims on page 615 that the informal design was used at the “Adlerhorst” (The Eagle’s Nest), Hitler’s Tea House, and this would have been appropriate for luncheons, but in his book he shows an informal luncheon fork and I may be wrong, but it seems when his book was published he may have thought the informal pieces were only luncheon flatware; however, we know at this point that an informal dinner set also existed and was used, as well. I believe Mr. Yannes is absolutely right when he says that it is generally accepted that there were only 1,000 pieces of the informal type ever made and he also indicated that knowledgeable sources state that Albert Speer was involved in the design of both the informal cutlery and the formal. My theory is a bit different. I believe that the informal flatware was the set used at Hitler’s Munich apartment at the Prinzregentenplatz Nr.16. The NSDAP owned the building and Hitler occupied the entire second floor. I also believe it was used at the Braunhaus, the official HQ of the N.S. Party at Briennerstrasse. Did Adolf Hitler every actually use any of these pieces? Considering how many were ever made and delivered, it would almost seem that he had to! This cannot be so assuredly said about the formal pattern because so many more of that pattern were made and used and at so many more official functions and so many more official governmental places. So, if it is your desire to own something actually used by the German Führer himself, this group will not only fill that bill, but I am positive that there will never be such a complete assemblage like this ever offered, again; of this I am practically sure! This is an absolute phenomenon extraordinaire! Hitler’s silverware is becoming increasingly difficult to obtain both formal and especially informal, and prices are steadily moving to over $2,500 per piece when found at all! The condition of all these twelve pieces is considered in very excellent shape except for a tiny ding on the handle of one of the knives.
Included in the set are:
# 1 A butter knife
# 2 A dinner knife
# 3 A salad knife
# 4 A fish knife
# 5 A teaspoon
# 6 A dessert spoon
# 7 A demitasse spoon
# 8 and # 9 Two soup spoons of different sizes
# 10 A dinner fork
# 11 A salad fork
# 12 A fish fork
# 13 An oyster fork
Please realize that this is a once-in-a-lifetime opportunity and you can just imagine the value of this group in the near future! Nothing soars in value like Hitler memorabilia. Paintings by Adolf Hitler such as the ones we procured have brought astronomical prices in Germany and in the US. Why?* Because a watercolor by Hitler is a personal item in every sense, but so is an implement that he personally used at his famous dinner parties and social teas. This is the greatest item Germania has acquired in many a year.

PRICE: $19,000.00; that’s less than $1,500 per piece. Sold as a group only. Please do not ask to buy any separate pieces. Sorry.
This is truly the bargain of the century!

To see the wonderful watercolor paintings by Adolf Hitler go to Items AH 28-13 and AH 28-14, then also read the article below them titled “Hitler Art is the New Rage Among Collectors.”

 

Adolf Hitler Flatware

Adolf Hitler Flatware

 

Adolf Hitler Flatware

Adolf Hitler Flatware

Adolf Hitler Flatware

Adolf Hitler Flatware

Adolf Hitler Flatware
This could be a picture of Hitler’s special train.

Adolf Hitler Flatware
Another possibility

Adolf Hitler Flatware

Adolf Hitler Flatware

 

Set of Tableware from Adolf-Hitler’s Special Train (Amerika) (Item AH 28-20a)

DESCRIPTION: This is an incredible find. It comprises a set of four pieces from the staff Wagen 10-225 attached to Hitler’s special train. These wagons had ten compartments each with twenty fold-down beds to accommodate twenty staff members. In the train’s configuration in 1939, the train had three identical wagons. The pieces we offer each have the number “225” designation on them and the 2-90 maker’s code. We have a knife, spoon, dinner fork, and salad fork. The salad fork is in the luncheon size. The knife measures 10 inches long and has a marking on the blade Nicht rosten (Rustproof) or stainless. The information we have comes from the book by James Yannes on Third Reich tableware. The author says that there were two full-time silver polishers assigned to this train that was called the “Führerzug” and he says it had seventeen cars. The ones we offer are in full, brilliant polish. The full code name for Hitler’s train was “Führersonderzug” until the year 1940 and then afterward ironically it was named Amerika.The train was heavily armored with antiaircraft guns and the army command responsible for its coming and going managed to send it rolling very often on false routes in an effort to protect the supreme leader from the possibility of assassination. Amerika was put into service in August 1939. It consisted of a streamlined locomotive (later, two), the armored aircraft car had two CM guns and a 26-man crew, a baggage and power-engine car and the Führer’s Pullman (number 10206 in which his chief Wehrmacht adjutant, his chief personal adjutant, and a valet were also quartered). There was a conference car with communications center including several telephone machines. Also, there was an escort car for twenty-two Begleit-Kommando and SS-Reichssicherheitsdienst men; these were the leader’s personal security detachments. There, of course, was a modern dining car, plus two sleeping cars for entourage and guests, a bath car, two cars for personnel (secretaries, cooks, etc.), a press-chief’s car with communications center including a 700-watt shortwave transmitter. Unfortunately, there are no photographs of the Hitler train that have been absolutely certified to be genuine. There have been, however, some photos that have surfaced lately that may in fact be the actual train (one is shown in our imagery). That one has a very good chance of being Amerika. The train has an ultramodern look as the Sonderzug certainly would have, but it, of course, would have to have the tell-tale eagle and swastika plainly seen on its side. The train was stepping far out in futuristic design and was an absolute super example of Third Reich technology. For you to acquire these table pieces is to reach out and grab a significant part of that empire (Reich) that was very probably the ultimate Imperium of our age and that was in my estimation the last chance for uniquely western culture and high civilization and unfortunately we now have sunk into the moribund rather homely conglomerate called democracy with all of its political correctness! OK, so don’t let that shock you. It’s just the opinion of a historian who is by no means one of the court historians.

PRICE: Price for all four pieces $3,750.00. This is a “fantastic bargain!” that is offered by one of our consigners and remember these R.R. Führerzug items are far rarer and sought after than the formal and informal silver flatware by far.

 

Silver Picture Frame

Silver Picture Frame

 

Silver Picture Frame
A perfect re-creation of signature

Silver Picture Frame

Silver Picture Frame
Polish me!

Silver Picture Frame

Silver Picture Frame
The crisp, clear markings

Silver Picture Frame

Silver Picture Frame

Silver Picture Frame

Silver Picture Frame

Silver Picture Frame

Silver Picture Frame

Silver Picture Frame

Silver Picture Frame

Silver Picture Frame

 

Formal Silver Frame as Presented by Adolf Hitler (Item AH 28-21)

DESCRIPTION: Here is one of the genuine silver frames that were the most important gifts to persons that Adolf Hitler wished to honor. Almost every one of the top officials in the Third Reich received one and of course there originally was a signed photo of the Führer within the frame; however, out of the four of these frames we have had over the last two dozen years only one had the signed photograph. What is the logical reason for this? Usually they were taken as war booty removed by the world’s greatest and most proficient looters, the American GI, and one of the vets that I bought one from told me that although he took the frame, his buddy claimed the signed photograph. So, this was how the pieces ended up divided. We know just what Hitler portrait would have been used in these frames so we procured an accurate copy that has a reproduced signature done “absolutely perfectly” on museum-grade, heavy-density paper. This is not an autopen signature; it is definitely executed by hand and by an expert and I defy anyone to be able to tell the difference if compared with an original signature of Hitler. We just felt compelled to do this as it sure dresses up this very original frame. Although Hitler signatures are rare and expensive, it is actually the frame that is so extremely scarce and highly sought after. Possibly as few as ten of them have surfaced in the last fifteen years and out of that number at least five of them were without the original signed photo. So the price we offer it for is based on the extremely rare silver frame itself.

The Frame

The photo, of course, is the official formal portrait of state. Measuring 9 ½ x 13 ½ inches it is constructed with a three-stepped silver mounting with a 2 x 8-inch lower panel having a relief center motif of the national eagle/swastika and “A H” in the inner border classically outlined with a Greek key pattern around it. A 10 ½ x 8-inch glass covers the inner portrait. The top of the frame has the deeply set hallmark “FHW” (firm of Franz & Hermann Wandinger) and that company was indeed one of Hitler’s favorite manufacturers of silver items and it also has the silver content mark of “900” and the traditional silver maker’s marks of half moon and crown. The condition of the frame has to be described as no less than mint. A better example you will not find, or at a better price. This may well be the optimum Hitler item for the highly discerning collector in this time where such objects are more popular than any other historical collectables out there in cyberland.

PRICE: $15,500.00; a reasonble price

 

Match Case
This piece is very much better than as depicted in the image (poor lighting!)

Match Case

 

Match Case

Match Case

Match Case

Match Case

 

Hitler Match Safe: Totally Ironic, but Neat! (Item AH 28-22)

DESCRIPTION: Adolf Hitler hated everything about tobacco and smoking and here ironically is a smoking accoutrement with his likeness on it: a matchbox safe with a beautiful color portrait of him in his uniform of the early Kampfzeit shown on it. This is easily explained, however, because in the Kampfzeit (The struggle for power) in the 20s and early 30s the future chancellor did not attack the tobacco industry at all because many of the industrial giants in the tobacco industry were early supporters at a time when the N.S. Party was in desperate need of funds. But after his “Machtergreifung” (ascension to power) especially in the mid 30s, he became the virulent antismoking advocate personified! and he was 100 percent behind the various medical personnel and doctors who wanted to ban it from the German scene; however, before the N.S. rose to power and even shortly after the 1933 victory, many tobacco companies produced many varieties of souvenir-type do-dads with the pictures of the revered Nazi leader. These ranged from kitschy-looking things such as pipes, ashtrays, cigar humidors, etc. They ranged from items that were refined and rather glamorous like this match safe to items that the Führer would have rejected out of hand. This piece is really well made and the portrait under a styrene cover is an excellently presented portrait of Hitler in his party uniform. It was a patented production with “Ges. Geschutz” clearly stamped on the back. The little safe measures 2 ½ by 1 ½ inches and is ½ inch deep. Rare? Yes, extremely rare because in all our many years in this business we have seen only this one example.

PRICE: $475.00

 

Hitler Plaque

Hitler Plaque

Hitler Plaque of Bakelite? (Item AH 28-23)

DESCRIPTION: Here is a nice plaque of the Führer–nice size, 6 x 8 inches. The material seems to be Bakelite and the figure is in high relief. Under the base is a facsimile of his signature. The three-step framing really gives a deep-dimension look to the subject. The frame appears to be of dark-stained wood. The back has been covered in black, velvet material. Nice!

PRICE: $125.00

 

First Day Issue Stamp

First Day Issue Stamp

First Day Issue Stamp
Men of the LAH Leibstandarte march in Berlin’s 1937 celebration of Hitler’s birthday.

First Day Issue Stamp
Governing officials of NS Germany assembled to celebrate Hitler’s birthday.

First Day Issue Stamp
SS-Reichsführer Heinrich Himmler presents the Führer a gift on his birthday.

First Day Issue Stamp
A great Hitler birthday cake in a Berlin school

First Day Cover from Adolf Hitler’s Birthday Featuring his Birthplace Postmarked in 1937 (Item AH 28-24)

DESCRIPTION: This postcard is a first-day cover with the stamp and cancellation that commemorates Adolf Hitler’s birthday in 1937. The cancellation is dated “20/4/1937” in Vienna, Austria, and it says under a sword and swastika (“GEBURTSTAG DES FÜRHERS”) (“The Führer’s birthday”). This was always a gala event in the Third Reich celebrating the birth of a young man with common beginnings who went on to become the most-hated man in the world by certain factions, but also he became the most beloved leader by Germanic and other followers throughout the world. Stepford Brooks, an Irish statesman and M.P. of Britain, said most wisely: “If a thousand old beliefs were ruined in our march to truth, we must still march on.” And a revisionist statement by none other than Frederick the Great went: “The greatest and noblest pleasure that men can have in this world is to discover new truths and the next is to shake off old prejudices.”

The Postcard

It is a standard postcard-size 4 1/4 x 6 inches. It pictures in color a wreath of oak leaves with swastika bindings and the house in Braunau am Inn, Austria, that was the birthplace of Hitler. The card is in extremely fine condition and rare indeed! The stamp with the Führer’s portrait is on a 12-pfennig denomination.

PRICE: $125.00

 

Hitler Plaque

Hitler Plaque

Hitler Plaque
Marks on back

Hitler Plaque
The backside

Hitler Plaque
Note: missing hanger attachment

Aluminum Plaque Depicting Adolf Hitler and his Famous Quotation (Item AH 28-25)

DESCRIPTION: Here is an original plaque cast in aluminum that features the bust portrait of Adolf Hitler and from one of his most memorable speeches are these words: ”Ich glaube an Deutschland und kämpfe dafür heute und morgen und in der Zukunft bis unser der Sieg ist.”. Translated: “I believe in Germany and fight for her today and tomorrow and in the future until victory is ours.” I believe this was a truism as it was the oft-repeated affirmation that he spoke of and his good works for his nation and his people bespeak of his intentions and his genuine firm resolve to make Germany great again! This is a fairly large plaque that measures 8 5/8 x 12 or 13 inches (22 x 32.5 cm). The only small problem is that the wire-hanging device on the back is broken away otherwise it’s in good condition albeit it has some minor chipping on the black surface. Consult our images.

PRICE: $395.00 but consignor now offers it for $325.00 (A very good value) on a genuine Third Reich patriotic item with historic importance.

 

 

Ring

Ring
Eva at the Obersalzberg. Could the ring you see be . . . the ring?

Ring

Ring

Ring

Ring

Ring

Ring

Ring

Ring
The ring???

Ring

Eva Braun? High-Dress Swastika Finger Ring (Item AH 28-26; PERS 5-24)

DESCRIPTION: This elegant ring was purchased by our German picker in Berlin and he bought it from an old gentleman who said he was a former SS member who was assigned to the Führerbunker in 1945. He was a radio operator in the communications room in those last days and hours. He claims that he received this ring from another SS officer who was in the bodyguard regiment. known as the SS-Leibstandarte Adolf Hitler, who received it directly from Hitler’s devoted mistress and longtime companion Eva Braun, who became the Hitler’s wife on April 29, 1945. The L.A.H. guards were, for the most part, treated by the Führer and Eva as members of the family. When Eva knew what her fate would be soon after the marriage the 33-year-old maiden soon to be Frau Hitler began giving many of her personal possessions away to people she admired and considered dear friends such as these devoted, loyal, SS guards and other functionaries that shared the bunker. The items were for the greatest part small trinkets and even some incidentals such as a compact case and bits of jewelry, etc. She had come by automobile from Munich to be with Hitler at the Führerbunker and she brought only two small suitcases and two handbags. She refused to leave as the Red Army fiends closed in. In our opinion, the ring we offer certainly has the look of something Eva would wear; however, we only have the word of the elderly radio operator for it. My experience with these men in the past dealings with them has really convinced me that truthfulness has always been their most obvious criteria. As for the word of our picker, his ever-dependable honesty we are ever confident of. He has for three decades been correct and reliable in his dealing with us. So, although we cannot offer any provenance with the ring, we ourselves are quite satisfied with the historical declaration as given to us. However, without some provenance that we can otherwise provide we feel that the item should be valued pricewise as if it had such provenance.

The Ring

The ring was probably presented to the L.A.H. bodyguard by Fr. Braun with compliments to the man’s wife who undoubtedly would have received it, but then that SS officer gave it to the SS radioman. Why? We do not know; neither did the man that it was bought from. The ring is quite stunning with a studded Hakenkreuz (swastika) in its center with silver support fittings with floral design. The studs that make up the swastika are in my estimation a form of cut-metal pyrites cut to look like diamonds and they do indeed! They shine with a gorgeous brilliance. The fact that they are not diamonds is founded in the historical fact and truism that Hitler and the National Socialists highly distained both gold and diamonds because the party mythos dictated that these items were considered to be the favored monetary symbols of the Jewish race. So, it follows that Eva would not flaunt diamonds and it also follows that the ring is in silver instead of gold and that fact is also historically noted. The ring is in size 6 3/4 (petite). We know many gifts were presented to her by practically every important guest to the Obersalzberg, Hitler’s retreat in the Bavarian Alps where she lived in the happier days. So, we would assume that one of these honored visitors in all probability had given it to her. So, my collecting friends, yes, purchasing it will be an act of faith but that’s what motivated us and we feel quite good about it. Let’s say: “Everything fits and is virtually quite rational in the historical recitation.”

PRICE: $1,550.00

 

 

 

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A Very Special Entry!
One of the greatest historical treasures
we have ever had the pleasure of offering.
You have to see this one!
CLICK HERE!

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