The Protocols of the Elders of Zion shall apply rightly as key-text of modern Anti-Semitism. Based on the history of its in the 1920th beginning adoption in Egypt the article shows on examples – among others the writings of the Islamist Sayyid Qutb and the TV-Series Knight without a Horse – what the spatial characteristics of Arab Anti-Semitism are. As a plea against an Import-Theory, which just understands this kind of Anti-Semitism as alien superstructure, it is demonstrated on the sources, how the conspiracy-based Anti-Semitism of the Protocols of the Elders of Zion was and is linked to the social-cultural contexts of Egyptian society. A closer look is taken on the theoretical efforts by which Sayyid Qutb invented an ‘eternal enmity’ between Jews and Muslims. A hostility that has to be considered as real in the present.

The journalist Ruth Andreas-Friedrich is one of the few helpers of persecuted Jews in Nazi Germany who kept an extensive record of her actions. Her diary covers her experience of the persecution of many of her Jewish friends and acquaintances, her efforts to support them and the transformation of a circle of like-minded friends into a highly sophisticated and well-connected support network. We combine Andreas-Friedrichs description of herself and her group with the available historical sources. We argue that her non-conformist lifestyle, close ties with victims of persecution and their requests for help, admiration for charismatic helpers together with a like-minded social environment lead her to begin to help others. When most of their Jewish friends and acquaintances had either emigrated or were deported, the group’s activities almost came to a halt. New contacts were brokered by a refugee and one of the group’s members and lead to a second phase of activities in late 1944 and 1945.

In the aftermath of the Washington Conference (1998) – that was joined by 44 states and intended to develop a consensus on principles to assist in resolving issues relating to Nazi-confiscated art – numerous and spectacular cases of Art Restitution occurred. Therefore, the return of artworks looted during the Nazi era became a main question for museums all over the world – also in Israel. Orphaned artworks and cultural assets reached Israeli cultural institutions not only through transfers of the international art market but also through the distribution of Jewish Restitution Successor Organizations. On the basis of several examples this essay describes the various ways of Nazi Looted Art to Israel. Against the background of the international development of Art Restitution since 1998 till today, this essay also seeks to explore the present practice of restitution of looted art in Israel.