Art trade and collection management during the time of National Socialism are topics that have increasingly come into the public eye in light of current restitution claims for artworks. Vanessa Voigt describes how, alongside numerous paintings by Emil Nolde, works by Barlach, Corinth, Feininger, Heckel, Hofer, Kollwitz, Lehmbruck, Macke, Marc, von Marées, Rohlfs, Schmidt-Rottluf, and others made their way into the Sprengel art collection. The development of the Sprengel collection from 1934 to 1945 shows that there was a functioning art market and active collecting of the so-called degenerate modern art during the National Socialist period. Through a complex network of art dealers, collectors, and artists, the industrial couple from Hanover managed to achieve this.