ABSTRACT
Collections of German modernism within the reach of Swiss museums proved a highly valuable resource for the Twentieth Century German Art organizers. In the catalogue of a 1929 solo exhibition of Karl Schmidt-Rottluff's work, a 1907 oil described as 'Fischerhauser' (Fishermen's Houses) is listed among a selection of works loaned to the exhibition from the Chemnitz City Art Collection. This work is listed in Grohmann's 1956 catalogue raisonne, where it is again described as formerly held in the Chemnitz city collection. The dimensions of this painting as provided in the Grohmann catalogue raisonne differ only slightly from those provided in the 1938 London catalogue. As the 'degenerate' art sales in Chemnitz gained momentum, so Karl Goritz's acquisitions from the outcast works continued. Back in Chemnitz, however, as was the case for many Jewish families during the early years of the National Socialist regime, Karl and Irmgard's concern for elderly relatives delayed their decision to leave.
