[ Home Page ] [ Third Reich ] [ Old Reich ] [ Kaiser Reich ] [ Imperial Russia ] [ Axis Powers ] [ Italian Fascist ] [ WW I ] [ Landsknecht ] [ Kaiser Wilhelm ] [ Frederick the Great ]

 

 

 Third Reich Art

Page 18

 

Nazi Art

 

 

Book of German War Art

Book of German War Art

 

Book of German War Art

Book of German War Art

Book of German War Art

Book of German War Art

Book of German War Art

Book of German War Art

Book of German War Art

Book of German War Art

Book of German War Art

Book of German War Art

Book of German War Art

Book of German War Art

Book of German War Art

Book of German War Art

Book of German War Art

Book of German War Art

Book of German War Art

Book of German War Art

Book of German War Art

Book of German War Art

Book of German War Art

Book of German War Art

Book of German War Art

Book Männer und Waffen des deutschen Heeres 1941 (Item ART 18-1; WEHR 33-23; RAREBOOK 2-5)

DESCRIPTION: Here is the best and finest art collection of the entire Second World War in book form. Here we present the war-art etchings of Reich’s artist Josef Arens (1901-1979). A screw, a bolt, the "smallest detail,” everything was registered by the eye of the artist. Arens became a war illustrator in 1939 and Adolf Hitler, who all his life had wanted to embrace art, commissioned him as the official army war artist. Arens progressed right along with the German army, registering with meticulous care all of its heroic actions in his drawings. He took photographs and sketches, which later turned into works of art; all those drawings had targeted the desktop of the Führer, but with the fall of Germany his artistic renderings became war booty. When they advanced on the Rhine, U.S. troops made a POW of this notable German artist and seized his collection of drawings. “I'm against the war. I wanted to show the ruin, the destruction, the waste," Arens declared to his American captors. According to what was reported in the Spanish journal Excelsior, "Arens painted with masterly hands the ravages of war and the heroism of the German soldier.” Why was he held by the Yanks? Because it was deemed by army “intelligence” that his drawings glorified the enemy war effort and although that was a stretch, his drawings did glorify the German military tradition. Adolf Hitler entrusted him to perform a graphical history of the war and the German people were able to learn much about the war through the books like the one we offer here. However, these German drawings were not just ordinary; they were nothing short of spectacular! In addition to the ability to capture detail, the artist was concerned about capturing the reality of the war, and he did think that the war that was forced upon his fatherland was a sublime atrocity in itself: "I tried to paint soldiers as they are. Propaganda does not intervene in my drawings. Everything is presented as I saw it, making use of the sketches made in the field of battle and the photographs that I took,” said Arens. The most amazing thing of lithographs is the pathos, but also the nationalist pride that can be seen in the way that Arens observes the German soldier. In these drawings, admirable revelation is observed in these German soldiers: not merely to the victorious warrior, but also the details to the wondrous and advanced equipment and weapons available through Teutonic ingenuity and scientific advancement that was so far ahead of its time. Arens described himself as a "man of gentle face.” It is not difficult to imagine the artist as he carries his camera, notebook and pencils nestled in every corner, that could give him some security while surveying the scene with suspense and trepidation in his heart while trying to record every detail as he viewed them. From the siege of Rotterdam until the withdrawal in France, each step of the German forces was registered by his pencil. The drawings were hailed at the time as the "most amazing scenes of war that were known to date.” The description of the scenes in the pages of this book are replete with moving passion and with these very limited editions the Germans had demonstrated to the world their excellence at warfare tempered with courage and largely the thought remains that this Deutsche Wehrmacht was viewed at the time as an unbeatable army—terrible at warfare, but always honorable to the last. Please don’t even bother to mention alleged atrocities until you have availed yourself of the knowledge of the same and worst committed by the allied forces against the Germans. Arens’ charcoal drawings sometimes were fierce; for instance, the drawing of the moment in which the artillery soldiers activated a giant mortar, accurately delineated, and it ably exemplifies that Teutonic marshal spirit: The weapon was of such power that some of the gunners used a long lanyard to accelerate the firing and had to be crouching among the weeds rather aware of the mighty impact achieved. Many such superb and moving details appear in the drawings of Josef Arens. The book is in large format and measures 12 by 10 inches. It has 45 pages of text describing one after the other the following drawings and an explanation of the great conflict and the role of the German Wehrmacht Heeres. Then there are 40 full-page illustrations accomplished as only Josef Arens could ever do. The book is in excellent * plus condition and the beautiful cover is crafted in a fine textured cloth material. This without a doubt is the most sought-after art book that chronicles the life and style of the noble German Landser in his element. Vorwärts meiner Kinder!: Field Marshal (Pa-Pa) Blucher, 1813.

PRICE: $750.00

 

Tapestry
A book that further explains the Irminsul. This is not offered with the tapestry, but you can read about it by entering "Irminsul" with the author's name to your favorite search engine.

Tapestry
This is the re-created tapestry that we offer; it will have fringed edges. Here is a marvelous opportunity to own such an important and esquisite artifact.

Tapestry
ceremonies at the Extersteine. Note the bent-over Irminsul.

Tapestry
Entrance hall of the -Ahnenerbe offices in Berlin.
Here you can see the original Irminsul tapestry as it hung there.

Tapestry
Irminsul bread plate

Tapestry

Tapestry
This symbol appears on all -Ahnenerbe stationary.

Tapestry
-Standartenführer Wolfram Sievers
General Secretary of the -Ahnenerbe

Tapestry
Wolfram Sievers
Director of the -Ahnenerbe

Tapestry
Dr. Walter Darré, Racial Theoretician
The first patron of the -Ahnenerbe

Tapestry
The original Ahnenerbe tapestry as found

Superb Re-creation of the Famed Ahnenerbe Tapestry with Irminsul (Item ART 18-2; RECTAPESTRY 1-9; AHN 5-3)

DESCRIPTION: Here we proudly present a fantastic replica of the tapestry that hung in the foyer of the Ahnenerbe-Stiftung Verlag in Berlin. This was the ancestral heritage institution that was the pet project of SS-Reichsführer Heinrich Himmler. Established by Himmler in 1935, this was an academy and society concerned with prehistory. See on our site the SS-Ahnenerbe ring and the Third Reich Ahnenerbe section AHN1-1. This was certainly the most-learned group within the National Socialist structure. Its members studied all the beginnings and ancient culture of the Teutonic people and kindred races. Among expeditions of Ahnenerbe personnel that were conducted were trips to Tibet and other far-off lands. The original tapestry was found to have been designed by professor and Oberführer-SS Karl Diebitsch and constructed by his sister Else Seifert. Much about Herr Diebitsch can be seen by going to Wikipedia and you can also go to our site and see original tapestries by Diebitsch and others by going to the Third Reich section and then to the subject SS and N.S. tapestries. Having owned the original of this tapestry we at Germania became rather enamored with it and the importance of it so we decided to commission a replica of it and that is what we presently offer. The piece came out in superlative form; the only difference, of course, is size and the copy has fringes all around the edges as it is truly an afghan in nature.

The Tapestry and the Irminsul

The words that are seen top and bottom of the tapestry are “Kein Volk lebt länger als die Dokumente seiner Kultur”–“No people live longer than the documentation of their culture.” This statement was pronounced by Adolf Hitler on the occasion of the opening of the Munich art museum Haus der Deutschen Kunst on 18 July 1937. Karl Diebitsch knew that no more fitting words could ever be more appropriate for this Ahnenerbe tapestry and for its central motif he chose the Irminsul. This was a sacred pillar-like object that played an important role in the Germanic paganism of the Saxon people. It represented the Saxon Tree of Life that held up the circumpolar stars and the immortals of the heavens—the stars that kept time for the ancients and is represented in all Caucasian tribes from the Teutons, Celts, Romans, Greeks and Egyptians. The swastika, was one of our oldest Aryan symbols. This sacred Irminsul was said to have been at the top of the Extersteine near Detmold, Germany. This is a very famous rock formation that magnificently and mysteriously juts up from the ground, and was a place of worship for the ancient Teutons. Ahnenerbe archaeologist Wilhelm Teudt in 1929, interpreted much in his studies about the connection between the Irminsul and the Extersteine. In 1934 and 1935, the SS Ahnenerbe undertook extensive fieldwork in an attempt to uncover material evidence of the use of the Extersteine as a place of pagan worship. The rocks came to have great spiritual meaning to the SS in general and many SS sponsored trips by German citizens were offered, and certain reenactments and SS ceremonies were held there. On the area considered the front of the rock formations can be seen a Christian relief carved into the rocks and dated to the early ninth century. It is a crucifixion scene. If one looks closely at Nicodemus as he helps to lift the crucified Jesus from the cross he seems to have stood on the bent Irminsul as a symbol of triumphant victory for Christianity. The artist K. Diebitsch and Wolfram Sievers, who was the managing director of the Ahnenerbe and rose to rank of SS-Standartenführer, decided to reerect the Irminsul in keeping with their immense interest in bringing the past to the present and the future. The Irminsul became the official seal of the Deutsches Ahnenerbe. The tapestry we offer is huge and measures 74 x 54 inches. It’s 100-percent American made cotton and prewashed for softness and washable in cold water. It has four different types of special stitching and threads (This is not a print on fabric!). All is woven and absolutely awe inspiring when properly displayed. By using this type of weaving there is almost a 3D effect. The colors, the quality of artwork is in a word–SUPERB! The original was sold over 20 years ago for more than $22,000. Now, you can have this magnificent re-creation for only $285.00. You can consider this offer to be Germania’s service to history.

PRICE: $285.00

 

Tapestry

Tapestry
Prince Josias in SS uniform

Tapestry
Arolsen Castle in Bad Arolsen, Hesse, Germany

Tapestry
View of the Inner court of the castle

Tapestry
Star of the Arolsen crest as used today

Tapestry
Waldeck und Pyrmont Coat of Arms.
Note the Arolsen star in the center

Tapestry
Professor Karl Diebitsch at the SS Allach showrooms

Tapestry
The prince as -Obergruppenführer (general)

Super Re-creation of the Tapestry of SS-Obergruppenführer and Hereditary Prince Josias von Waldeck und Pyrmont (Item ART 18-3; AHN 5-4; RECTAPESTRY 1-10)

DESCRIPTION: Here is a re-creation of the tapestry that hung in the office of a royal prince of a royal German house. Prince Josias was one of the earliest members of the SS, and one of the first of the royal lines to join the ranks of the Schutzstaffel. The Erbprinz (“hereditary prince”) had an extraordinary and varied career and enjoyed an especially close relationship with Heinrich Himmler. He was born in Arolsen at the ruling family's castle, as the eldest son and heir of Prince Friedrich of Waldeck and Pyrmont, and his consort Princess Bathildis of Schaumburg-Lippe. He was the nephew of William II, King of Württemberg, and Emma of Waldeck and Pyrmont, Queen Regent of the Netherlands. He was badly wounded in WWI (including being a victim of a gas attack) and highly decorated receiving the Iron Cross First and Second Class and other decorations. He later volunteered for the Free Corps, (Freikorps) where he fought in Upper Silesia against the communists in 1919. Josias joined the Nazi Party in 1929, and the SS in 1930. He had married one of the sisters of the Hereditary Grand Duke Nikolaus of Oldenburg (1897-1970). Von Oldenburg’s two sisters married an SS major who was a prince of Schaumburg-Lippe; and SA Colonel Harald von Hedemann, making this a tight-knit circle of aristocratic NSDAP officials. During his first year in the SS, Josias became the chief of Himmler’s personal staff. Later, in 1933, he became the aide-de-camp of SS General Sepp Dietrich, who headed up Hitler’s personal security. That same year, he was promoted to major general (SS-Grüppenführer); this was part of his precipitous rise in rank. He also had a brief appointment as a counselor in the foreign office in 1933, and held a seat in the Reichstag throughout the era of the Third Reich. As of 1936, he headed the SS division of Fulda putting him in close proximity to Prince Philipp of Hessen, who was also an NSDAP royal and a high-ranking SA leader. Both Prince Josias and Prince Philipp were based in the city of Kassel. In Kassel, Josias created the Bureau for the Germanization of Eastern Peoples, which promoted the idea of SS-directed settlements in Eastern Europe. In 1939, he was appointed the higher SS and police leader in Weimar and in this capacity he had supervisory authority over the concentration camp at Buchenwald. The prince was also a general of the Ordnungspolizei (“regular police”) being personally appointed by Hitler in April 1941. Prince Josias was severe, hard driving, and ambitious. To cite an example, he oversaw an SS execution commando action at the Stadelheim Prison near Munich during the Röhm purge in June 1934, when he had to order the executions of several former comrades. It gave him no pleasure, but it was necessary to the future of the NSDAP, which he would defend with his own life, if necessary: “Wenn alle untreu werden, so bleiben wir doch true”: the motto meaning: “If all become unfaithful, we remain loyal.” The city of Kassel was the main headquarters of the prince, but the SS-Oberabschnitt Fulda-Werra, headed by Josias, was in the town of Arolsen. The stately Arolsen Castle, which continues to serve as the family home of the former ruling family of the Principality of Waldeck and Pyrmont, is also located in Bad Arolsen. The innermost offices of Prince Josias were in the castle itself and the original of this tapestry that we offer graced the wall of his personal office in that regal castle. The symbol of the eight-pointed star—seen in different forms—is seen in the coat of arms of Arolsen; sometimes, the Waldeck arms are shown with a six-pointed star, but the prince chose to have the eight-pointed version on his personal tapestry. Note: the tapestry, like the famed Ahnenerbe example, has in its borders a series of geometric patterns that resemble a continuous pattern comprised of the letter “H” joined. Was this in honor of Heinrich Himmler? The background of the tapestry is decorated with alternating swastikas and runes, while the Irminsul Ahnenerbe tapestry has in it a background with alternating N.S. eagles and runics. We believe this is rather evidentiary that both of these tapestries were designed by the famed SS-Oberführer and Professor Karl Diebitsch, the originator of the SS Allach porcelain firm. More information about professor Diebitsch and the Ahnenerbe can be found at on this site here. So, dear collector, here is a chance to procure a great and accurate replica of a very important relic of the Reich.

 Below are images of the SS Irminsul and the SS Arolsen tapestries
that were featured at a recent military show.
You can see the fringe that lines the edges of the pieces.
These magnificent tapestries are really limited so please act now.

Tapestry

Tapestry

PRICE: $285.00

 

Plaque

Plaque

Plaque

Plaque

Plaque

Plaque

Plaque

Plaque
SS enlisted man’s belt buckle with motto

Plaque
SS officer's buckle with SS motto

Plaque
SS dagger with the SS motto

Meine Ehre heist Treue! (My Honor is Loyalty!) Hand-carved Desk Plaque (Item ART 18-4; WAF 14-9, SS 38-7)

DESCRIPTION: This is an absolutely beautiful example of the woodcarver’s art. It was possibly done by hand in the Black Forest . . . or . . . was it done by machine? Regardless, it shows fantastic ingenuity. No one who has seen it can actually make an educated guess as to the procedure used. It is absolutely incredible. I personally believe it was carved by hand, or machine by a master carver and it was presented and used on the desks of high-ranking SS officers, probably on Heinrich Himmler’s staff. The words are the official motto of the SS going back into the 1920s, and these Allgemeine-SS and Waffen-SSmen lived by this oath even to the death! These were also the words on the blades of the SS daggers. The carving on its wooden base is 17 inches long and the base is 2 inches wide. The capital letters are about 1½ inches high, while the small letters are about an inch high. The piece is in perfect shape throughout and is stunning in its beauty. This is Germanic SS art at its zenith and is a real treasure with iconic meaning.

PRICE: $2,500.00

 

 

Landskenchte Tapestry

Landskenchte Tapestry

Landskenchte Tapestry

 

Landskenchte Tapestry

Landskenchte Tapestry

Landskenchte Tapestry

Landskenchte Tapestry

Landskenchte Tapestry

Landskenchte Tapestry

Landskenchte Tapestry

Landskenchte Tapestry

Landskenchte Tapestry

Landskenchte Tapestry

Landskenchte Tapestry

Landskenchte Tapestry

Landskenchte Tapestry

Landskenchte Tapestry

Landskenchte Tapestry

Tapestry
Dietrich Eckart, memorialized

Tapestry

Tapestry

Tapestry
Dietrich Eckart, memorialized

Tapestry

Tapestry

Tapestry
Bronze bust of Dietrich Eckart that was in the NSDAP's Braune Haus

Tapestry
Home of Dietrich Eckart in the Obersalzberg

 

Two Landsknecht Tapestries from the Home of Dietrich Eckart, Connoisseur of the Arts (Item ART 18-5; LAND 2-4; PERS 7-2)

DESCRIPTION: These two fantastic hand-woven tapestries once graced the walls of the Berchtesgaden Bavarian home of the man that Adolf Hitler called his mentor; this was Dietrich Eckart (1868-1923). Eckart began his career as a journalist and poet. He blamed his earlier lack of success on the Jews and Marxists. He also blamed the socialists for Germany’s defeat in WWI and in 1918, entered politics and created one of his several poems—the battle cry “Deutschland Erwache!” (“Germany Awake!”). Eckart was an early member of the German Workers’ Party that evolved into the National Socialist Workers’ Party (Nazi Party). He began a close friendship with Adolf Hitler and introduced the awkward, young politician to the “right” people in Munich. He also encouraged Hitler in his political agendas and nationalist aspirations. Eckart’s “Storm Song” was the oldest national hymn of the N.S. Party. In a pamphlet published shortly before his death, Eckart hailed Hitler as the man who would reveal the whole conspiracy of the left. (He often said that Moses was the first Bolshevist.) Eckart was in essence the father of the N.S. Party and for a time he did “awaken” the Germans—they listened to him; at least in Munich, Haupstadt der Bewegung,” (Capital of the Movement) and after Hitler had made his mark, that city and all of Germany listened to Eckart’s protégé. Information passed to us from German historian sources lead us to believe that Herr Eckart was a lover of the arts. We do know that he was independently wealthy and enjoyed the art and music of the Germanic peoples throughout the ages. He loved and strongly identified with Henrik Ibsen’s Peer Gynt. His father was a royal notary and law counselor in Nuremberg and was independently wealthy. The father was a collector of the finest in objects d’art. Dietrich became a playwright in Berlin under the tutelage of Georg Graf von Hülsen–Haeseler. During this time Dietrich developed an ideology of what has to be termed “genius” (higher human strata) at one point based on earlier writings by Lanz von Liebenfes. He joined the Thule Society in 1913 and became politically active in 1915. He wrote the nationalist play “Heinrich der Hohenstauffe” (“Heinrich of the High Baptism”) in which he postulated a claim to world leadership for the German people. Much more about this man of destiny can be Googled, but please read between the lines. Political correctness does have a way with defamation. This was the man to whom Hitler dedicated the first volume of Mein Kampf. During all of this fantastic and colorful career he was known to have strong interests in the collecting of Germanic art, a favorite subject in which he indulged himself. There were various art objects that depicted German warriors: from the fighting men like Arminius the Liberator (commonly called “Hermann”) who defeated Roman legions in the Battle of the Teutoberg Forest in the year 9 A.D., to Frederick Barbarossa’s knights. But, especially, he adored the stories of the Germanic Landsknechte, the colorful mercenary soldiers who had a formidable reputation and were to become an important professional warlike force through the late fifteenth and sixteenth centuries. They consisted predominantly of German mercenary pikemen and supporting foot soldiers and they achieved the reputation for being the best universal soldiers for hire in early modern Europe. Landsknechte typically came from Swabia, Alsace, Tyrol, and the Rhineland.

These two magnificent tapestries depicting typical German Landsknecht soldiers were taken from the villa of Dietrich Eckart in Berchtesgaden by an agent enlisted by the OSS, which eventually became the CIA. Locals in that picturesque Bavarian community tell us that this particular house is still in use by the CIA. We cannot offer any educated backup knowledge of this, but that is the rumor. This has been an incredible journey indeed and our information was supplied by the son of the now-deceased operative. We did not receive the tapestries from this man, but after we bought them from an antique dealer, we showed them in a private antique show. The son of this OSS official saw them and immediately approached us and identified the pieces as the very ones that his father had in his possession and later sold. The older gentleman had not even known at first that this was the house of Hitler’s mentor until he was filled in by senior staff officers who had such knowledge. There is no doubt whatever as to the location of the house, and it is well known to historians; I have seen it myself as have other military historians. It is still there: a very nice little Landhaus from which came these magnificent Landsknectsoldaten tapestries.

The Tapestries

The tapestries are rather large, and measured from inside the frame they are 5 feet x 2 1/2 feet. The frames are 1 ¼ inches wide and are what we would call “OK!” These magnificent European art objects deserve more elaborate framing and I am sure when the right collector or institution acquires them this might well be accomplished. When they were “liberated,” we believe they were in elegant frames, or so we are told, but because of the nature of the moment of “acquisition” the frames had to remain behind at the villa. As you can obviously see, the tapestries are still showing the incredible artwork used in their wonderful production and were, of course, hand produced using the weaving art form known as petit point, the finest woven art the world has ever seen. The normal way that human figures were done was by needle point. To accomplish anything like these two tapestries in petit-point weaving would be infinitely more difficult and in subjects as large as these would be a labor so arduous so as it would seem absolutely impossible. Certainly it could not and would not be accomplished today. We ask that you would just imagine the length of time, the considerable amount of years it would take to weave these two tapestries all by hand. If there would be a glimmer of doubt that this was entirely (Handarbeit) “handwork” one can look at the back and see where even the smallest detail is separately tied off by hand and again this is incredible petit point. The work is many times more tedious to do than needlepoint. Even If it had been the larger weave it still would have been worthy of museum display. Petit-point works are so extremely rare—especially when of antiquity. Most are in museums and in many cases they are considered national treasures. I believe these could and should fall into that category. It is certain that Herr Eckart did! The soldiers are just as elaborately ornamental as you could possibly imagine. They have a unique three-dimensional effect. The embellishments are ornately superb and the artist was very knowledgeable of the Landsknecht costuming, weaponry, and historical presence. No European museum curator could possibly portray these tough mercenary fighters better. The soldier on the right holds a pike that was the initial weapon of these cadres (pikemen). He also has the great two-handed sword that has come to be known worldwide as the Landsknecht sword, “Zweihänder.” He also wears the short sword known as the Katzbalger. Beside him is seen a shield that depicts a mountain flower. Actually this same flower is seen in over 70 depictions in the background of the tapestries each one hand woven individually into the entire scheme. The figure on the left has a rapier (heavy sword), and he wears in his belt the Swiss-style mercenary dagger that is what the Nazi SA dagger was modeled after in the Third Reich. Beside him you can see a shield bearing two rampant lions. Both men are dressed in extremely exuberant costumes as Landsknechts always wore. It was the historical signature of the mercenary profession in that turbulent time. It seemed to be the rule that if a soldier was very handsomely attired, the more he had a genuine appeal to those who sought to hire him. We must note that these artworks are very handsome to an exceedingly intense degree and surely are without a doubt two distinct treasures of the Western world. Now comes the rather disappointing part. After these two tapestries were framed and set to be featured in a high-art auction, there came a time that they were sadly set in a place in the auction house where they shouldn’t have been. This was inexcusable and one tapestry was actually lying on top of the other and then tragedy struck! There was a large paper tarp placed over them to keep them clean and their being in that location was to be very temporary, but in the hectic goings-on there on that day, along came a stock attendant and seeing the white paper he thought it to be a table top and he placed an extremely heavy object right on top and needless to say this object plunged right through the precious tapestries like a knife through butter–tragic? Most certainly! Did they lose all value? NO! They still are what they are. Did they lose very significant value? YES! The reserve price of these fantastic items was simply astounding. The insurance settlement was even more than astounding. Later, we were offered them and after seeing them we just had to have them. Why? Because of all we have said about them in this essay we still truly feel they are extremely important historical items and possess sheer beauty and to us the fact that they were owned by one of German history’s most important and possibly most infamous individuals does give them some significant additional prestige. However, they do stand on their own as what I can only describe as masterpieces of the weaver’s art. The damage is very noticeable when looking at them close up and a more professional repair could make them fairly whole again, but it would necessitate finding an artist who would be able to duplicate the Old World skills and frankly we do not think anyone today would be in the least capable of this. (*Our opinion). The damage is as follows: the tapestry on the right in our pictures has a gash from the bottom of the pike’s point and blade down to the hat of the man’s head and down along the outside area along the man’s face, but incredibly missing the face–thank goodness! It continues for a short distance along the sleeve of the costume. The gash on the figure on the left begins at the top of the banner and travels down through the ensign and then proceeds both right and left and then surrounds the large white hat plume and the Landsknecht hat and down to the pom-pom decoration in the center of the standard. After tracing along on the hat plume it travels about nine inches into the background and by some miracle it also missed the face. The repair that was attempted looks rather crude, but when one looks at the figures straight on, the repairs are not quickly noticeable. They are still of such a quality that any trained eye that will appreciate such excellence might just forgive their past misfortune. It is beyond incredible that the faces were missed in the horrid accident. Remember Venus de Milo is missing her arms and Nefertiti lost an eye, but they are still loved and adored. These tapestries will without a doubt end up being a prized display in a museum, someday. In the meantime, we enjoy the privilege of stewardship. Congratulations Dietrich Eckart for having owned them. Deutschland Erwache!

PRICE: Price on request: Serious inquiries only, please

 

Third Reich Art

Third Reich Art

Third Reich Art

Third Reich Art

Third Reich Art

Third Reich Art

Third Reich Art

Goetz Medal “Invasion 1944” (Item ART 18-6)

DESCRIPTION: Here is a medal that tells it all: The tragedy of the German soldier and the abject terror brought to European civilization by the forces of the allies. The apocalyptical riders of England, America, and the Soviet Russian ride along with the Grim Reaper as they attack Europe, represented by the maiden on the bull. The flames abound as the “terrorists” ply their nefarious destruction and murder fest. On the front side is a depiction of the German, shown as a knight errant. The scene is a takeoff of Albrecht Dürer’s Knight, Death, and the Devil. The soldier is fighting for the existence of his nation and the European Motherland, while the reality of death transform him into a soldier laureate, while the devil’s chicanery tries to grasp the sword out of the soldier’s hand and we know he succeeded and with it ends a heroic, but futile struggle to beat back the forces of Bolshevism and rampant western imperialism. Europe was devastated and thrown back 100 years and the victorious allies were losers also in many ways. We should never forget the honorable German soldiers who fought and suffered for 6 years and those who died for their country during this horrible fratricidal war. We should also take pause to remember the hundreds of thousands that were murdered after WWII officially ended. Ich Hat einen Kameraden einen Besseren findst du nicht, “Once I had a comrade, a better one you would not find.” The words around the edges of the medal are: “Um des Reiches und Europas Schicksal,” “For the Reich’s and Europe’s fate.” The medal says in a few pictures what we couldn’t say in a thousand words. Karl Goetz, 1875-1950, was Germany’s master medalist. In 40 years he created 633 masterpiece medals. His work always aroused the enthusiasm of German patriots all through the great war for civilization that civilization lost. The medal is struck in bronze and is one of Goetz’s largest; nearly 4 1/2 inches in diameter. The condition is excellent, rare, and prodigiously important. This is one of the largest Goetz medallions we have ever encountered and the rarity must be noted. I think that this most meaningful piece was possibly last large medallion that the great medalist ever produced in the period of WW II.

PRICE: $1,250.00

Page One

Page Two

Page Three

Page Four

Page Five

Page Six

Page Seven

Page Eight

Page Nine

Page Ten

Page Eleven

Page Twelve

Page Thirteen

Page Fourteen

Page Fifteen

Page Sixteen

Page Seventeen

Page Eighteen

 

 

[Return Home]

 

Contact Us

Please refer to item designator in parentheses in all correspondence.

Please E-mail for any additional information you may need.
If you prefer, contact 'Germania' at PO Box 68, Lakemont, GA 30552
or call at 706.782.1668.


Please! do not call during the wee hours of the morning. The best time for calling us is between 9 and 11 am and between 9 and 11 pm eastern time.