• Skilton, John D., Jr. Defense de l’art Européen: Souvenirs d’un off cier américan “Spécialiste des Monuments”. Paris: Les Editions Internationales, 1948.

• Smyth, Craig Hugh. Repatriation of Art from the Collecting Point in Munich after World War II. New Jersey: Abner Schram Ltd., 1988.

• Speer, Albert. Inside the Third Reich. New York: Macmillan, 1970.

• Spotts, Frederic. Hitler and the Power of Aesthetics. Woodstock and New York: Overlook Press, 2002.

• Trial of the Major War Criminals before the International Military Tribunal: Nuremberg 14 November 1945–1 October 1946. Nuremberg: International Military Tribunal, 1947.

• Tutaev, David. The Consul of Florence. London: Secker and Warburg, 1966.

• Valland, Rose. Le Front de l’Art: 1939–1945. Paris: Librarie Plon, 19 61.

• Vasari, Giorgio. Lives of the Artists: Volume I. Translated by George Bull. London: Penguin 1987.

• Wheelock, Arthur K., ed. Johannes Vermeer. The Hague: Royal Cabinet of Paintings, Mauritshuis and the Board of Trustees, National Gallery of Art, Washington, 1995. Published in conjunction with the exhibit “Johannes Vermeer” shown at the National Gallery of Art, Washington, and the Royal Cabinet of Paintings Mauritshuis, The Hague.

• Whiting, Charles. Bloody Aachen. New York: Stein and Day, 1976.

• Woolley, Lt. Col. Sir Leonard. The Protection of the Treasures of Art and History in War Areas. London: His Majesty’s Stationery Offce, 19 47.

• Yeide, Nancy. Beyond the Dreams of Avarice: The Hermann Goering Collection. Dallas: Laurel Publishing, 2009.

• “A l’Institut: Gaston Palewski fait l’éloge d’un grand défenseur des Beaux– Arts Jacques Jaujard”. Le Figaro, November 21, 1968.

• Bradsher, Greg. “Nazi Gold: The Merkers Mine Treasure”. Prologue Magazine 31, no. 1 (Spring 1999).

• Canady, John. “James Rorimer Left Cloisters to Excel in a Bigger J o b ”. New York Times, May 12, 1966.

• Chamson, André. “In Memoriam, Jascques Jaujard”. Musees et Collections Publiques (1967): 151–153.

• Cohn, Marjorie B. “George Stout’s Legacy”. Journal of the American Institute for Conservation 18, no. 1 (1978).

• Esterow, Milton. “Europe is Still Hunting its Plundered Art”. New York T i me s, November 16, 1964.

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• Bricken, Jules, and John Frankenheimer. The Train. Santa Monica, CA: MGM Home Entertainment, 1964.

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Archives des Musées Nationaux, France:

• Rose Valland Papers

Archiv der Stadt Linz, Austria:

• Nachlass Dr. Ernst Kubin

• Högler, Otto. Papers, Sch 0018

• Michel, Prof. Dr. Hermann. Papers, Sch 0008, Sch 0011, Sch 0042– 0046

• Plieseis, Sepp. Papers, Sch 0042–0046

• Pöchmüller, Dr. Ing. Emmerich. Papers, Sch 0016, Sch 0032

Archiv und Wissenschaftsgeschichte des Naturhistorischen Museums Wien, Austria:

• Annalen, 56. Band, 1948

Dokumentationsarchiv des Österreichischen Widerstandes, Wien, Austria:

• Eder, Max. Papers, DÖW 10610

• Michel, Prof. Dr. Hermann. Papers, DÖW 8378

• Seiberl, Dr. Herbert. Papers, DÖW 3296a 1–2, DÖW 3296b

• Sieber, Karl. Papers, DÖW 3296a 1–2, DÖW 3296b

King’s College Archive Centre, Cambridge:

• The Papers of Ronald Edmond Balfour, Misc. 5

Metropolitan Museum of Art, New York City, The Cloisters Archives:

• James J. Rorimer Papers

National Gallery of Art, Washington, DC:

• Gallery Central Files

• Walter Farmer Papers

• James J. Rorimer Papers

• Edith Standen Papers

National Archives and Records Administration, Washington, DC:

• RG 165, 238, 239, and 331

• OSS Art Looting Investigation Unit Reports, 1945–46 M1782

New York Public Library for the Performing Arts, Jerome Robbins Dance Division, Archives:

• Lincoln Kirstein Papers, ca 1913–1994 MGZMD 123

• Lincoln Kirstein Papers, ca 1914–1991 MGZMD 97

[Writing by Lincoln Kirstein is © 2009 by the New York Public Library (Astor, Lenox and Tilden Foundations) and may not be reproduced without written permission.]