Alex Vömel

When the Nazis came to power in 1933, they immediately targeted, Vömel's employer, the Jewish modernist art dealer Alfred Flechtheim for persecution.

On 10 October 1950 Vömel attempted to claim artworks by Carl Barthe, Paul Klee, Juan Gris, Karl Hofer, Pablo Picasso and other artists that he had seen mentioned in a newspaper article from the occupation authorities, however William Daniels, head of the Wiesbaden Central Collecting Point, dismissed the claim, stating, "We regret to have to inform you that no paintings or drawings of the artists mentioned in your letter nor bronze sculptures by Renée Sintenis or any ivory sculptures originating from the Kongo are at present held in the Wiesbaden Collecting Point, apart from those few of known origin which could not have come from your country house at Düren".

[18] On June 17, 2013, following the recommendation of the Advisory Panel, Oskar Kokoschka's portrait of the actress Tilla Durieux was restituted to Flechtheim's heirs by the Ludwig Museum in Cologne.

[19][20] The Ludwig Museum also restituted drawings by Aristide Maillol, Ernst Barlach, Karl Hofer, Paul Modernsohn-Becker, and Wilhelm Morgner that had been sold by Vömel after the Aryanization of the Flechtheim Gallery.

[21] In 2018 the Solomon R. Guggenheim Foundation agreed to restitute Artillerymen (1915), a German Expressionist painting by Ernst Ludwig Kirchner, to the heirs of Alfred Flechtheim, and the Moderna Museet in Stockholm returned a 1910 portrait of Marquis Joseph de Montesquiou-Fezensac by Oskar Kokoschka, which Vomel had sold when the Nazis expropriated the gallery and artwork between 1933 and 1934.

[22] The Moderna Museet said: "Vomel, who joined the Nazi party early on, took advantage of his former employer's tragic situation.