Artworks among the trove that Cornelius Gurlitt kept for years in his Munich apartment.  From top left:  "Don Quixote and Sancho Panza" by Honore Daumier, "Riders on the Beach" by Max Liebermann, "Study of a Woman Nude, Standing, Arms Raised, Hands Crossed Above Head" by Auguste Rodin, "Child at Table" by Otto Griebel, "Sa Giustina in Pra della Vale" by  Antonio Canaletto, "Male Portrait" by Ludwig Godenschweg, "Couple" by Hans Christoph, "Mother and Child" by Erich Fraass, "Couple in a Landscape" by Conrad Felixmueller, "View of the Seine Valley" by Theodore Rousseau, "Monk" by Christoph Voll, "Tram" by Bernhard Kretschmar, "Thinking Woman" by Fritz Maskos, "The Master Exploder Hantsch" by Christoph Voll, "Female Nude" by Ludwig Godenschweg, "Seated Woman/Woman Sitting in Armchair" by Henri Matisse, "Veiled Woman" by Otto Griebel, "Girl at Table" by Wilhelm Lachnit, "Dompteuse" by Otto Dix, and "Male Nude" by Bonaventura Genelli.

MUNICH — As an expert in works of art that the Nazis called “degenerate” and in the dealers who traded them during World War II, Vanessa Voigt often wondered what had become of Cornelius Gurlitt, the son of a prominent Nazi-era art dealer and a figure she had come to view as a “phantom.”