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Erich Mercker, Die Stätte des 9. November

Erich Mercker, Die Stätte des 9. November Erich Mercker, Die Stätte des 9. November Erich Mercker, Die Stätte des 9. November

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Price:€ 11500.00

Description

'Die Stätte des 9. November’ ('The City of the 9th November') 
Depicted is the exact location of the Hitler Putsch at 9 November 1923.
Created before July 1944
(the stamp on the back is from Mercker studio in the Franz-Joseph-Strasse 16, Munich, which was bombed at 12 July 1944)

Exactly the same painting by Mercker (but in a larger format) was displayed at the GDK 1939 room 10, under the name ‘Die Stätte des 9. November’ (photo below). This work was bought for 2,000 RM by Adolf Wagner, Minister of the Interior and of Cultural Affairs of Bavaria. Wagner also organized the ceremonies for the annual commemorations of the Beer Hall Putsch every November 9th in Munich. The original GDK-copy is not in the possession of the Deutsches Historisches Museum and not in the possession of the U.S. Army Centre of Military History (therefore probably destroyed).



The painting depicts the Memorial of the fallen Putschists at the Feldherrnhalle, the spiritual center of the Nazi's (notice the SS-guards). At November 9, 1923, at this location, the Hitler Putsch took place: precisely at this part of the Residenzstrasse, Hitler and his 2.000 supporters met a force of 130 soldiers blocking the way under the command of State Police Senior Lieutenant Baron Michael von Godin. The two groups exchanged fire, killing four state police officers and 16 Nazis.
The yellow buildings, at the background of the Statue of the Bavarian King Ludwig I, housed apartments and offices. They were located at the Ludwigstrasse and partial damaged during the war; it took until 1951 before they were fully restored. The buildings, currently used by the Bavarian Ministry of Finance, were designed in 1817 by Leo von Klenze, the architect who also designed the Palais Leuchtenberg, the Alte Pinakothek, the Glyptothek, the Odeon, the Ruhmeshalle and the Walhalla in Regensburg. At the right we see a lion-sculpture in front of the ‘Alte Residenz’, part of the former royal palace of the Bavarian monarchs of the House of Wittelsbach.
The Feldherrnhall was hardly damaged during WWII.


Extreme scarce work of art
Art works considered as overt propaganda were massively destroyed
As described below, in accordance with the Potsdam Agreement of August 1945, the Allied Control Council laws and military government regulations, all collections of works of art related or dedicated to the perpetuation of German militarism or Nazism, were destroyed. Thousands of paintings were considered of ‘no value’ and burned. Around 8,722 artworks were shipped to military deposits in the U.S. In 1986 the largest part was returned to Germany, with the exception of 200 paintings which were considered as overt propaganda: depictions of German Soldiers, war sceneries, swastika’s and portraits of Nazi leaders.


Erich Mercker's stamp on the back of the painting. His studio in the Franz-Joseph-Strasse 16, Munich, was bombed at 12 July 1944, and much of his art works were destroyed.




The Feldherrnhalle
Munich's Feldherrnhalle, prominently located at the Odeonsplatz, was built between 1841 and 1844. At the instruction of King Ludwig I, architect Friedrich von Gärtner designed this open loggia and modelled it after the Loggia di Lanzi in Florence. Built as a tribute to the Bavarian army that fought in the Thirty Years’ War (1618 – 1648) and in the War of Liberation against Napoleon (1812 – 1814), the 20-meter-high structure features bronze statues of two generals of Bavaria, Count von Tilly (1559-1632) and Marshall Wrede (1767-1838). In addition, two lions, sculpted by Wilhelm Ruemann in 1906, grace the steps. The sculpture at the center of the Feldherrnhalle represents the Bavarian army and was created in 1899 by Ferdinand von Miller. On the back wall of the loggia hang two bronze reliefs, one honouring the fallen soldiers in the war with France (1870/1871), and the other honouring the fallen soldiers in World War I.

The Beer Putsch
The Feldherrnhalle became famous as the site of a pre-World War II skirmish between the Bavarian police and followers of Adolf Hitler. On Sunday, November 9th, 1923, approximately 2,000 Hitler supporters organized an illegal march down the Ludwigstrasse towards the Feldherrnhalle to start the so-called 'people's revolution'. The state police ordered the marchers to stop and when they failed to do so, the police opened fire and killed 16 marchers. Four policemen were also killed during the clash and many others were wounded. Following the skirmish, Hitler was arrested and sent to prison to serve a short term. The battle between the marchers and the police has come to be known as the Beer Hall Putsch because the march began at the Bürgerbräu Keller, one of the city's largest beer halls. 

Left: Annual Midnight Swearing-In Ceremony of SS, Feldherrnhalle, Munich, 1938
Right: Recruits being sworn in front of the Feldherrnhalle on November 7, 1935.  


Nazi Memorial: 'Und Ihr habt doch gesiegt!'
In 1933 a memorial to the fallen putschists was erected (the ‘Mahmal der Bewegung’) on the east side of the Feldherrnhalle, opposite the spot in the street where the dead had fallen and the putsch had been halted. The memorial, designed by architect Paul Ludwig Troost and executed by sculptor Kurt Schmid-Ehmen, bore the names of the sixteen 'martyrs of the movement' who were killed on 9 November 1923 (fourteen here at the Feldherrnhalle and two others at the War Ministry). The back of the monument bore the slogan 'Und Ihr habt doch gesiegt!,' which was from a speech by Hitler and can be translated ‘And yet you triumphed!’. During the Third Reich, SS men constantly guarded the monument, demanding the outstreched arm and accompanying salute known as the ‘Hitlergruss’ from passerby as a gesture of respect. Since citizens who refused this gesture were harassed, some begain to avoid walking by the monument altogether by cutting through the Viscardigasse immediately behind it, which soon acquired the name ‘Drückberger-Gassl’, or Shirkers’ Alley.

Left: 'Memorial of the fallen Putschists', Feldherrnhalle, Munich, during WWII. 
Right: The cenotaph in June 1945. After being dismantled by the American military government, the memorial (measuring 3 meters wide and 3,5 meters high, including the ‘Steinadler’ by Kurt Schmid-Ehmen on top) was removed and melted down to be used for the restoration of the Residenz.
  

   
After 1945
In 1945 the Putsch-memorial was removed and destructed. Today a small bronze plaque in front of the hall commemorates the four policemen killed in the attempted putsch
In 1995 Reinhold Elstner, a 75-year-old German World War II veteran committed self-immolation in front of Feldhernhalle to protest against "the ongoing official slander and demonization of the German people and German soldiers 50 years after the end of World War II". Elstner died twelve hours later in a Munich hospital.


- condition : II                    
- size : 54 x 54 cm, unframed 49 x 49 cm 
- signed : right, under
- type : oil on paperboard                             
- misc. : created approx. 1939





Erich Mercker, ‘Grossbaustelle der OT. I‘ (‘Large construction site of the Organisation Todt I’). GDK 1944 room 12. Bought by Albert Speer for 10.000 Reichsmark. Previously in the possession of the U.S. Army Center of Military History (collection/ depictions fall within the public domain). Nowadays owned by Deutsches Historisches Museum. Size 203 x 139 cm.


Right: Erich Mercker, ‘Grossbaustelle der OT. II’ (‘Large construction site of the Organisation Todt II’. Depicted is the construction of a U-boat bunker. GDK 1944 room 12. Previously in the possession of the U.S. Army Center of Military History (collection/ depictions fall within the public domain). Nowadays owned by Deutsches Historisches Museum. Size 203 x 139 cm.




The extreme scarcity of National Socialistic art
Massive, systematic destruction of Nazi art since 1945: the Potsdam-Agreement
From 1933 to 1949 Germany experienced two massive art purges. Both the National Socialist government and OMGUS (the U.S. Military Government in Germany) were highly concerned with controlling what people saw and how they saw it. The Nazis eliminated what they called ‘Degenerate art’, erasing the pictorial traces of turmoil and heterogeneity that they associated with modern art. The Western Allies in turn eradicated ‘Nazi art’ and forbade all artworks military subjects or themes that could have military and/or chauvinist symbolism from pictorial representation. Both the Third Reich and OMGUS utilized the visual arts as instruments for the construction of new German cultural heritages.
The Potsdam Agreement of 2 August 1945, subparagraph 3, Part III, Section A stated that one purpose of the occupation of Germany was ‘to destroy the National Socialistic Party and its affiliated and supervised organizations and to dissolve all Nazi and militaristic activity or propaganda.’ In accordance with Allied Control Council laws and military government regulations, all documents and objects which might tend to revitalize the Nazi spirit or German militarism would be confiscated or destroyed. For example, Title 18, Military Government Regulation, OMGUS stated that: ‘all collections of works of art related or dedicated to the perpetuation of German militarism or Nazism will be closed permanently and taken into custody.’ As a consequence, thousands of paintings –portraits of Nazi-leaders, paintings containing a swastika or depicting military/war sceneries– were considered ‘of no value’ and destroyed. With knives, fires and hammers, they smashed countless sculptures and burned thousands of paintings. Around 8,722 artworks were shipped to military deposits in the U.S.
OMGUS regulated and censored the art world. The Information Control Division (ICD, the key structure in the political control of post-war German culture in the American zone) was in fact a non-violent version of the Reichskulturkammer (Reich Chamber of Culture). With its seven subdivisions (i.e. press, literature, radio, film, theatre, music, and art), the ICD neatly replaced the Reich Chamber of Culture. The ICD established through its various sections a system of licensed activity, with screening and vetting by Intelligence to exclude all politically undesirable people.

‘Free’ German artists producing ‘free German art’ after 1945
In the ideology of OMGUS, painting was conceived of as a strategic element in the campaign to politically re-educate the German people for a new democratic internationalism. Modern art allowed for the establishment of an easy continuity with the pre-Nazi modernist past, and it could serve as a springboard for the international projection of Germany as a new country interacting with its new Western partners.
‘Free’ artists producing ‘free art’ was one of the most powerful symbols of the new Germany, the answer to the politically controlled art of the Third Reich. Modern art linked Western Germany to Western Europe – separating the new West German aesthetic and politics from that of the Nazi era, the U.S.S.R., and East Germany – and suggested an ‘authentically’ German identity.



The Neuremberger Congress Hal
The Congress Hall ('Kongresshalle') is the biggest preserved national socialist monumental building. Planned by the Nuremberg architects Ludwig and Franz Ruff, it was intended to serve as a congress centre for the NSDAP and would have provided 50,000 seats. It was located on the shore of and in the pond Dutzendteich and marked the entrance of the Nuremberg Rally Grounds. The building reached a height of 39 m (a height of 70 m was planned) and a diameter of 250 m. The building is mostly built out of clinker with a facade of granite panels. The design is inspired by the Colosseum in Rome. The foundation stone was laid in 1935, but the building remained unfinished and without a roof. Since 2001, the Documentation Center Nazi Party Rally Grounds, with the permanent exhibition ‘Fascination and Terror’, has been located in the northern wing.

Left: Erich Mercker, the construction of the Kongresshalle in Nürnberg. Sold by a German auction house in 2018. Size 39,5 x 50 cm. A larger version of 'Kongresshalle Nürnberg' (construction phase -spring 1938), hung in the Neue Reichskanzlei.
Right: a historical photo of the construction of the Congress Hall.
  

Left: a historical photo of the construction of the Congress Hall. In the construction phase, at one point a group of columns were placed to test the sturdiness of the built structure. Later this colonnade was pulled down.
Right: the Congress Hall, photo taken after 2010.
  


Left: Erich Mercker, 'Im Reiche der Hochöfen' ('In the Realm of the Blast Furnaces'), postcard*. GDK 1942, room 12. Bought by Joseph Goebbels for 5.000 Reichsmark.
Right: Erich Mercker, 'August-Thyssen Hütte' ('August-Thyssen Steel Works'), art-print*. GDK 1939 room 12. Depicted in 'Kunst dem Volk', 1939.
 


Erich Mercker, 'Tirol baut Auf' ('Tyrol is Building'). GDK 1940 room 12. Bought for 2.500 Reichsmark by the 'Hauptamt für Technik' in Munich. 



Erich Mercker, ‘Linz, Hermann-Göring-Werke im Bau‘ (‘City of Linz, the Herman-Göring-Werke under Construction’). GDK 1941 room 12. Size 120 x 150 cm. Bought by Hitler for 5.000 Reichsmark. According to the Bundesarchiv, document R43II/1062b, the painting hung in the Führerbau in Munich. In the possession of the Deutsches Historisches Museum.



Left: Erich Mercker, postcard, ‘Statten der Arbeit’.
Right: Erich Mercker, ‘Putzig bei Danzig’ (‘Putzig, small port-town near Danzig’). GDK 1943, room 5. Sold for 5.000 RM. World War II began with the shelling by the Germans of the Westerplatte, a peninsula in Danzig, on 1 September 1939. In 1941 Mercker, together with Claus Bergen, was ordered by the Reichspropagandaminsterium to paint cities and landscapes within the ‘Generalgouvernement’, the occupied area of the Second Republic of Poland that was under colonial administration of Nazi Germany from 1939 to 1945. It included much of central and southern Poland, and modern-day western Ukraine. During his journey in 1941 Mercker painted ‘Putzig bei Danzig’.
   


Erich Mercker, ‘Märzfeld, Nürnberg’ (‘Märzfeld, Nuremberg’). GDK 1941 room 12. Size 120 x 105. Bought by Hitler for 5.000 Reichsmark. According to the Bundesarchiv, document R43II/1062b, the painting hung in the Führerbau in Munich. In the possession of the Germanische Nationalmuseum in Nürnberg.



Erich Mercker, 'Hochofen im Bau' ('Blast furnace under construction'), art print. GDK 1943 room 12; depicted in the exhibition catalogue. Bought by Albert Speer for 5.000 Reichsmark. 





PARIS WORLD EXHIBITION, 1937
The 1937 Exposition Internationale des Arts et Techniques dans la Vie Moderne (‘International Exposition of Art and Technology in Modern Life’) was held in Paris: the French capital’s sixth and latest International Exposition, after fairs held in 1855, 1867, 1878, 1889, and 1900. It took place between 25 May and 25 November, centred upon the Trocadéro, just across the Seine from the Eiffel Tower.

The 1937 event was to showcase the best of the world’s contemporary scientific and technological achievement. Pavilions, decorated and designed by top artists and architects, were devoted to the cinema, to radio, light, the railway, flight, refrigeration and printing.
The 1937 Exposition Internationale faced some of the most important dualisms that divided humanity against itself: the split between France and her colonies, between art and science, between socialism and capitalism, between fascism and democracy. The official philosophy of the exposition still paid homage to the twin gods Peace and Progress, as all parties at the great ceremony in Paris intoned the faith: no matter how bleak the world seems to be, the twin gods will see humanity through to a glorious future.
By June of 1940, Paris would belong to the conquering Nazis.

Mercker won the 'Grosse Goldene Medaille' ('Grand Gold Medal') in 1937 at the World Exhibition in Paris for four monumental paintings of 5 by 4 meters in the German Pavilion:
- 'Nürnberg' (‘City of Nuremberg‘);
- ‘Pfannlochbrücke‘, Deutsche Alpenstrasse bei Gästhoff Mauthäusl ('Pfannloch-bridge/ Bad Reichenhall);
- ‘Schiffshebewerk Niederfinow´ (‘Ship Hoist Niederfinow');
- ‘Nächtliche SS-Kundgebung in einem Stadion’ ('SS-Party Rally at night').
In total 22 large format paintings by German artist were displayed in the German Pavilion.


Left: Erich Mercker, 1937, working at ‘Nürnberg’, one of the four monumental paintings created for the German Pavillion at the World Exhibition in Paris. Right on the photo is visible: ‘Schiffshebewerk Niederfinow‘; another version of this work hung in the GDK 1937.
Right: 'Nürnberg' by Mercker, displayed at the World Exhibition 1937. Size 500 x 400 cm. In the possession of the 'Germanische Nationalmuseum', Nürnberg.
 


Left: Erich Mercker, ‘Pfannlochbrücke‘, Deutsche Alpenstrasse bei Gästhoff Mauthäusl ('Pfannloch-bridge, near Bad Reichenhall). Displayed at the World Exhibition 1937. Size 500 x 400 cm. Art print. Depicted in ‘Nationalsozialistische Monatshefte‘, 10 Jahrgang, 1939.
Right: 'Pfannlochbrücke' by Mercker depicted on a postcard. At the back the text: 'Die Strassen des Adolf Hitlers, -die Deutsche Alpenstrasse, -Erich Mercker, Bau der Pfannlochbrücke'.
A work by Mercker named 'Queralpenstrasse Pfannlochbrücke' hung in the Neue Reichkanzlei, sublocation: Voss-Strasse 1 (Bundesarchiv, document R43II/1062b).
 

‘Pfannlochbrücke‘ at the World Exhibition 1937 (in the middle).



Left: Erich Mercker, ‘Schiffshebewerk Niederfinow´ (‘Ship Hoist Niederfinow'). Displayed at the World Exhibition 1937. Size 500 x 400 cm. Art print. Depicted in ‘Nationalsozialistische Monatshefte‘, 10 Jahrgang, 1939. Another version of ‘Schiffshebewerk Niederfinow' was displayed at the GDK 1937 room 12.
Right: Hitler and Joseph Goebbels looking at a model of Schiffshebewerk Niederfinow at the exhibition ‘Deutsches Volk – Deutsche Arbeit’, 1934.
 

At the left: ‘Schiffshebewerk Niederfinow' by Mercker, displayed at the World Exhibition, 1937, Paris, German Pavillion.



At the right: 'Nächtliche SS-Kundgebung in einem Stadion’ by Mercker. Displayed at the World Exhibition 1937. Size 500 x 400 cm.






Erich Mercker, ‘Aus Deutschlands Schmiede‘ (‘From Germany's Forge'), art-print. GDK 1940 room 12; depicted in the exhibition catalogue. Also depicted in 'Kunst dem Volk', 1940. Sold for 4.000 Reichsmark.  



Erich Mercker, 'Havelbrücker bei Werder' ('Havel-bridge near Werder'). Depicted in 'Nationsozialistische Monatshefte', 1939, Heft 110. Art-print.



'Cave di marmo a Flossenbürg’
At the XXIII Venice Biennale, 1942, Mercker displayed two works, including ‘Cave di marmo a Flossenbürg’. This painting, ‘Granitbrüche Flossenbürg’ ('Granite Quarry') was earlier displayed at the GDK 1941, room 12 and bought by Hitler for 4.000 RM. According to the Bundesarchiv, document R43II/1062b, the painting hung in the Führerbau in Munich. Size 120 x 120 cm (the depicted workers came from the nearby concentration camp Flossenbürg). In the possession of the Deutsches Historisches Museum, Berlin.
Displayed in 2012/13 at the the exhibition ‘Geschichten im Konflikt‘, 2012/13, held in the Haus der Kunst, Munich.
Again displayed at the exhibition ‘Artige Kunst, Kunst und Politik im Nationalsozialismus‘ (‘Compliant Art, Art and Politics in the National Socialist era’) held at Museum Situation Kunst, Bochum (November 2016 – April 2017), Kunsthalle Rostock, Rostock (April – June 2017) and at Kunstforum Ostdeutsche Galerie, Regensburg (July –  October 2017); depicted in the exhibition catalogue.



‘Ponta sulla valle dell‘ Alm‘
Erich Mercker, ‘Ostmark, Almtalbrücke der Reichsautobahn‘ (‘Ostmark, the Almtal Bridge‘). GDK 1941 room 12. Size 120 x 120. Bought by Hitler for 3.500 Reichsmark. Displayed under the name ‘Ponta sulla valle dell‘ Alm‘ at the ‘XXIII Esposizione Biennale Internazionale d’Arte – 1942. According to the Bundesarchiv, document R43II/1062b, the painting hung in the Führerbau in Munich. In the possession of the Deutsches Historisches Museum.




The Mercker-paintings in the Neue Reichskanzlei and in the Führerbau
Between 1936 and 1940, the German government purchased for more then 97.000 Reichsmarks seventeen of Mercker's paintings to embellish Hitler's New Chancellery in Berlin; Mercker painted another 8 works that were installed in the Führerbau in Munich (Bundesarchiv, document R43II/1062b).

Placed in the Neue Reichskanzlei, Berlin:

- Haus der Deutschen Kunst (Voss-Strasse 1);
- Königlicher Platz 1, München (Voss-Strasse 1);
- Queralpenstrasse Pfannlochbrücke (Voss-Strasse 1);
- Mangfallbrücke (Voss-Strasse 2);
- Zeppelinfeld Nürnberg im Bau (Voss-Strasse 4);
- Reichskanzlei Neubau (Voss-Strasse 4, Flure);
- Reichskanzlei Neubau, Richtfest Baustadium (Voss-Strasse 4 ,Flure);
- Reichskanzlei Neubau, Baustadium Ecke Hermann-Göring-Strasse (Voss-Strasse, Flur/ Kammer);
- Reichskanzlei Neubau, Baustadium Gartenseite (Kammer);
- Westbefestigung  (Voss-Strasse 4, Flure);
- Kongresshalle Nürnberg, Baustadium Herbst 1938 (Kammer);
- Limburger Brücke der Reichsautobahn (Voss-Strasse, Flur/Kammer);
- Reichsautobahn im Pfälzerwald (Voss-Strasse, Flur/Kammer);
- Werrabrücke bei Kassel der Reichsautobahn (Voss-Strasse, Flur/Kammer);
- Aetna von Taormina (Voss-Strasse 4, Flure);
- Vorfrühling in Heidelberg (Rabe);
- Gardasee vom Monte Baldo (Voss-STrasse 4, Flure).

Placed in the Führerbau, Munich:

- Marmor für die Reichskanzlei;
- Bau der Reichskanzlei;
- Linz, Hermann-Göring Werke in Bau;
- Ostmark, Almtalbrücke der Reichsautobahn;
- Granitbrüche Flossenbürg;
- Märzfeld Nürnberg;
- Baustelle Reichskanzlei;
- Rohrbachbrücke Reichsautobahnen. 





Erich Mercker, known for his depictions of Third Reich construction projects
Erich Mercker (1891–1973), born in the city of Zabern (today the French city of Saverne in the Alsache) was the son of a high-ranking Prussian officer. In his youth, his family lived in the industrial city of Metz in Lorrain (from 1871-1918 German territory). He studied from 1910-1911 at the Technische Hochschule Bauingenieurwesen (civil engineering) in Munich and later at the Technische Hochschule Charlottenburg in Berlin. It was during this period that he developed an interest in painting, particularly in industrial landscapes; he studied briefly under Professor Martin Körte. In 1914 he had defenitly decided to become a painter. Mercker served from 1915 to 1918 in relative safety behind the lines in 'Frontwetterwarte 241', a weather observation unit. After World War I he returned to Munich, committed himself to painting and, despite being self-taught, he rapidly professionalised himself. 
In 1920 he was for the first time represented in the Münchner Glaspalast. From 1920 onwards he made study-trips to Austria, Italy, France, Sweden and Norway. Mercker painted landscapes and industrial scenes and factories in Germany, e.g., ports, iron melting fabrics, steelworks, building sites, in a neo-impressionistic style. He painted works for various town halls (i.a. Saarbrücken, Heidelberg, Frankenthal), Banks (i.a. Hansabank in Munich) and for the steamers and offices of Nord deutschen Lloyd shipping line and the Hamburg-Amerikanische Packetfahrt-AG (Hapag). In 1928 he was represented with the works 'Elektrizitätswerk Essen' and 'Zentrale des R.W.E. Essen' at the exhibition 'Kunst und Technik', Folkwangmuseum, Essen.
When Hitler came to power, Mercker was asked to immortalize the immense construction projects that took place during the Nazi era. On 1 May 1933 he became member of the NSDAP. In March 1935 he created a large oil painting depicting the NSDAP-Party building in Münich; this work was hung in the Reichskanzlei in Berlin.
Mercker had eleven paintings displayed at the exhibition 'Die Strassen Adolf Hitlers in der Kunst' ('The Highways of Adolf Hilter in Art'), that travelled between Munich, Berlin and Breslau in 1936/37. At the prominent Berlin-exhibition 'Lob der Arbeit' ('In Praise of Work') in 1936, sponsored by the party's Kulturgemeinde, he displayed 'Eisenhüttenwerk' ('Iron Works').
Mercker won the 'Grosse Goldene Medaille' ('Grand Gold Medal') in 1937 at the World Exhibition in Paris for four monumental paintings of 5 by 4 meters in the German Pavilion:
- 'Nürnberg' (‘City of Nuremberg‘);
- ‘Pfannlochbrücke‘, Deutsche Alpenstrasse bei Gästhoff Mauthäusl ('Pfannloch-bridge/ Bad Reichenhall);
- ‘Schiffshebewerk Niederfinow´ (‘Ship Hoist Niederfinow');
- ‘Nächtliche SS-Kundgebung in einem Stadion’ ('SS-Party Rally at night').
In total 22 large format paintings by German artist were displayed in the German Pavilion.
Mercker maintained regular contacts with top Nazi’s like Fritz Todt, Head of Organisation Todt and Minister for Armaments until 1942, and his successor Albert Speer. The Bundesarchiv possesses a letter from Speer, dated 17 October 1944, in which Speer personally congratulates Mercker with his birthday  (R3/1590).
Beginning in 1938, Erich Mercker was represented in the Great German Art Exhibitions with 34 paintings. His most well-known works from that era were: 'Die Stätte des 9. November', 1939 ('Munich, the Day of the Hitlerputsch'), 'Marmor für die Reichskanzlei', 1940 ('Marble for the Reich Chancellery'), 'Aus Deutschlands Schmiede', 1940 ('From Germany's Forge'), 'Zeppelinfield im Bau', 1937, 'Baustelle Reichskanzlei', 1939, 'Hermann Göring Werke im Bau', 1941, 'Ein Rüstungswerk ensteht', 1943, 'U-Boote noch und noch', 1942 and 'Torpedoboote in der Werft' 1942. Adolf Hitler, Albert Speer, Robert Ley and Adolf wagner bought 15 of Mercker’s works for prices of up to 5,000 RM. One of Merckers paintings, ‘Vosstrasse’ -a picture of the construction of the New Reich Chancellery in Berlin- is still in possession of the US Army Center of Military History, Washinton DC.
Between 1936 and 1940, the German government purchased for more then 97.000 Reichsmarks seventeen of Mercker's paintings to embellish Hitler's New Chancellery in Berlin; mercker painted another 8 works that were installed in the Führerbau in Munich (Bundesarchiv, document R43II/1062b).
At the XXIII Venice Biennale, 1942, Mercker displayed two works: ‘Cave di marmo a Flossenburg’ and ‘Ponta sulla valle dell‘ Alm‘ (‘Ostmark, Almtalbrücke der Reichsautobahn‘ or ‘Ostmark, the Almtal Bridge‘, GDK 1941, bought by Hitler). The painting ‘Cave di marmo a Flossenburg’ (‘Granitbrüche Flossenbürg’, or 'Granite Quarry', was earlier displayed at the GDK 1941, room 12 and bought by Hitler for 4.000 RM.
In 1944, when Mercker was bombed out of his studio in the Franz-Joseph Strasse in Munich, he moved to the Allgäu. 
After 1945 he mainly painted commissioned works for large companies like MAN, Volkswagen and Bayer. In 1954 he returned to Munich. Between 1950 and his death in 1973, Mercker participated in every one of the annual Münchner Künstlergenossenschaft (MKG)-exhibitions in Munich, all of which were held in the Haus der Kunst (formerly Haus der Deutschen Kunst); his paintings were often selected for reproduction in the exhibition catalogues. Mercker frequently served as a member of the exhibitions' juries. In the 1960s he served as the secretary of the MKG, and in 1965 he became president of the MKG. In 1971 he was appointed the Honorary President of the MKG and remained in this post until his death two years later.  
Nowadays the works of Mercker hang in several museums and institutions, including the Stadtmuseum Kiel, the Kurpfälzisches Museum in Heidelberg, the Germanisches Nationalmuseum in Nürnberg, the Stadtmuseum in Frankenthal, the Westpreußisches Landesmuseum Münster. In the possesion of the Deutsches Historisches Museum are: ‘Marmor für die Reichskanzlei‘ (GDK 1940 room 12), ‘Granitbrüche Flossenbürg‘ (GDK 1941 room 12), ‘Baustelle Reichskanzlei‘ (GDK 1939 room 12), ‘Märzfeld in Nürnberg‘ (GDK 1941 room 12), ‘Hermann Göring-Werke in Linz‘ (GDK 1941 room 12), ‘Ostmark-Almtalbrücke der Reichsautobahn‘ (GDK 1941 room 12), ‘Reichsautobahn Rohrbachbrücke‘ (GDK 1939 room 12),  ‘Grossbaustelle Märzfeld‘, ‘Grossbaustelle der OT. I‘ (GDK 1944 room 12) and 'Grossbaustelle der OT. II’ (‘GDK 1944 room 12). Last two works were previously in the possession of the U.S. Army Center of Military History.
In the possession of the Bayerische Staatsgemäldesammlungen are: ‘Deutsche Industrie‘ and two landscapes by Mercker. The Grohmann Museum in Milwaukee, founded by the industrialst Eckhart G. Grohmann, owns 81 works of Erich Mercker. 'Nürnberg', displayed at the Worldexhibition 1937, is in the possession of the 'Germanische Nationalmuseum', Nürnberg.
Merckers work 'Baustelle Reichskanzlei' ('Building-site New Reich Chancellery', GDK 1939, bought by Hitler) was displayed at the exhibition ‘Aufstieg und Fall der Moderne‘, Weimar, 1999. 
'Granitbrüche Flossenbürg' ('Granite Quarry Flossenbürg', GDK 1941, bought by Hitler) was displayed in 2012/13 at the the exhibition ‘Geschichten im Konflikt‘, 2012/13, held in the Haus der Kunst, Munich. 'Granitbrüche Flossenbürg' was again displayed at the exhibition ‘Artige Kunst, Kunst und Politik im Nationalsozialismus‘ (‘Compliant Art, Art and Politics in the National Socialist era’) held at Museum Situation Kunst, Bochum (November 2016 – April 2017), Kunsthalle Rostock, Rostock (April – June 2017) and at Kunstforum Ostdeutsche Galerie, Regensburg (July –  October 2017); depicted in the exhibition catalogue.


* As also stated in our General Terms and Conditions, German Art Gallery offers the depicted postcards for sale. Allmost all of these postcards are 'Haus der Deutschen Kunst' editions. Prices on request.