A STORY OF ART, LOSS AND LEGACY: BARON VON GOLDSCHMIDT-ROTHSCHILD
Baron Maximilian von Goldschmidt-Rothschild was born in 1838 in Frankfurt am Main, then part of the German Confederation. He grew up in one of the city’s most prominent Jewish banking families in a city (Frankfurt) that at the time was a thriving hub of business and intellectual life. The Jewish community, though still facing social barriers, was relatively prosperous and well-established and Maximilian was right in the middle of it all.
He eventually met and married Minna Caroline von Rothschild, likely through the close-knit social world of Frankfurt’s elite Jewish families. Both the Goldschmidts and the Rothschilds were highly respected, and their marriage symbolized a merging of two powerful banking houses. After the death of his father-in-law, Maximilian also adopted the double-barrelled name, sealing this dynastic union. The couple seemed to enjoy a joyful and loving life together and had children, including their son Albert, who would later inherit the family legacy during the difficult years leading up to World War II.
One of the great passions Maximilian and Minna shared was collecting art. Their interests focused on Old Master paintings, Renaissance and Baroque objects, and elegant 18th-century French art. Over the years, they built a remarkable collection. Their home, the Palais Goldschmidt-Rothschild in Frankfurt, wasn’t just a house—it was a cultural landmark. The rooms were filled with beautiful objects, and the atmosphere reflected their refined tastes and cosmopolitan outlook. They hosted salons and welcomed influential guests from across Europe’s political and artistic circles.
In 1903 Maximillian achieved the addition of von to his name elevating him to the aristocracy. This coupled with the passing of Minna made for a marked year, however Maximillian continued to pursue his collecting passion. In 1907 the family was elevated further with Maximillian given the title of a Prussian Baron by Emperor Wilhelm II. But by the 1930s the world around him had started to change. As the Nazis rose to power, the symbols of his family’s success including their beloved art collection, became targets. Following Kristallnacht in 1938, Maximilian, then in his 90s, was forced to sell his collection and his estate to the city of Frankfurt for a fraction of their worth. It was divided between Frankfurt museums: the Stadel Museum who received the paintings including this one, the Liebieghaus for sculptures and the Museum für Kunsthandwerk II for the objects.
After the war, efforts began to return what had been stolen. In 1949, from a collection that had numbered over 1500 pieces, a large part was returned to Maximilian’s heirs, many of which were later auctioned in 1950 at Parke Bernet in New York. This broke up the once-unified collection, but the pursuit of justice didn’t stop there. Even into the 21st century, efforts to return individual works have continued. Notable items, like a japanned powder box and the famous Elephant Automaton Clock, were restituted as recently as 2021.
These restitution efforts are more than just legal battles—they’re acts of remembrance. Every item returned is a recognition of the injustice done to Maximilian and families like his. More importantly, they serve as a tribute to the rich cultural life that was nearly erased during the Holocaust. Through the works they collected, their taste and vision continue to inspire. The return of paintings like The Grand Canal with a View of Santa Maria Della Salute and the Dogana chosen for its elegance, atmosphere, and connection to a grand artistic tradition reminds us of what was lost, but also of what can still be remembered, honored, and protected.
2 July 2025