as the cause of the sale. For example, in 2009 the Restitution Committee rejected the application for the restitution of 12 works sold by the Jewish art dealer Kurt Walter Bachstitz to the Sonderauftrag Linz between 1940 and 1941. The Committee argued that Bachstitz had been "undisturbed" in the first years of the occupation and said it had not found signs of coercion. In 2012 the Commission rejected a claim of the heirs of Benjamin and Nathan Katz, former Jewish art dealers in the Netherlands. The claim related inter alia to 64 works that the art dealership Katz sold to the Sonderauftrag Linz. The Commission came to the conclusion that there were not enough indications demonstrating that the sales were made under duress. Works which Hans Posse purchased in Vienna for the Linz collection included Vermeer's The Artist in his Studio, Titian's The Toilet of Venus, Antonio Canova's Polyhymnia, and several works by Rembrandt. Among the many paintings Karl Haberstock sold to the collection were two Rembrandts, one of which, Portrait of Hendrickje Stoffels is now thought to be from the Rembrandt workshop and not a work of the master. Oddly, Hitler purchased these for an inflated price, despite the fact that seller was a partly Jewish woman and the paintings could have been confiscated. Posse also purchased over 200 pieces which Jewish owners had managed to get into Switzerland, where they were safe from expropriation. On the other hand, Posse did not shy away from confiscation either, particular in the former Czechoslovakia and Poland, where all property was subject to it, but also in the Netherlands. Size of the collection and Hitler's will It is not possible to determine with any accuracy the size of the collection which had been amassed for Hitler's planned museum in Linz, but Frederick Spotts suggests that something around 7,000 pieces had been confiscated, bought or purloined specifically for the Führermuseum, and that others from the many other art repositories scattered around Germany would most probably have been added had Hitler won the war and he and his art experts had the opportunity to sort through the artworks and assign them to various museums. According to Spotts the figure of 7,000 accords well with the data released by the Art Looting Investigation Unit. Other experts quote higher figures of up to 8,500 for the ultimate size of the collection. Despite its size, and the