Ante Topić Mimara is known foremost as art collector who had gathered a rich collection of artworks during his lifetime. Eighty-four artworks from his collection are in the Strossmayer Gallery of Old Masters of the Croatian Academy of Sciences and Arts today. They entered the Gallery by a donation made between 1968 and 1974. In this dissertation Topić’s donation to the Strossmayer Gallery is analyzed and revalued in the context of the Gallery's holdings to which it belongs today, and in the context of the German art market under the Nazi regime at which the donor created his collection. Enormous effort was made through a comprehensive and detailed analyzes to determine most precisely the time and place of origin for each artwork, attribution, iconography and possible compositional models, as well as to establish the earlier provenance, i.e. the circumstances of Topić acquisition. A great attention is given to copies that are viewed through the phenomenon of copyist practices widely represented in European painting. According to the identified models, the copies were found to represent one quarter of the donated artworks. Revised knowledge of the artworks is gathered in the first integral and comprehensive catalog of Topić’s entire donation to the Gallery. In addition to the analysis of individual works of art, special attention is paid to the donated collection as a whole, regarding the circumstances of inclusion in the Strossmayer Gallery, as well as the formation of the collection. None of the artworks was accompanied by documentation that would reveal the previous owners or the circumstances of donor acquisition. Previously was known only that donor acquired most of the artworks not later than 1948. At that time, the first artworks were transferred to Yugoslavia and the same year was considered as a date for Topić's donation to the Strossmayer Gallery, respectively. An exhaustive comparative analysis of data available in the literature and archival holdings (previously partly published), chronology revision and contextualization of Topić’s position in the world of collecting and the art market do not support dating of the donation in 1948. Moreover, considering Topić’s cooperation with the Yugoslav state leadership, it was concluded that his transfers of artworks from abroad to Yugoslavia and the later donation to the Strossmayer Gallery were a result of historical and socio-political intertwined circumstances.The dissertation focuses on the collection formation issues and the provenance of artworks with respect to the Nazi art market, not only in listing the ownership changing, but also in enriching the overall knowledge about artworks, or the donated collection as a whole. Through analyzes of the Third Reich auction catalogs and the backs of the paintings, more than a third of the paintings from the Strossmayer Gallery was recognized in Germany in the years before, during and after the Nazi regime. Based on these examples, it was concluded that Topić had formed his art collection - in the part that is now in the Strossmayer Gallery - in Germany during the Nazi regime or immediately afterwards. As this is an ideologically charged period of history which, through expropriation of property - including artworks, has greatly compromised the circumstances of art acquisitions, attention has been drawn to clarifying the situation regarding the arrival of items on the market. In that means, several examples of artwork sales were identified as a result of the Nazi terror. Finally, along with the artworks themselves, this dissertation also explains Topić's movements and activities, and highlights some episodes of his shady biography during and after the Third Reich era.