Check out You Tube Trailer for the film “GARBO the SPY” 

Read more about GARBO (The Spy who saved D-Day – Double Spy)   

Read more about Tomas Harris (Garbo’s MI5 Controller)

Read more about GARBO and Tomas Harris working for MI5


About Garbo and Tomas in MI5

GARBO and Tomas came to work together at MI5 for three years of scheming and planning during World War II. Their efforts which were supported by various agencies of British intelligence contributed to a huge reduction of casualties among tens of thousands of allied servicemen who landed in Normandy in France on D-Day to fight to hold the Normandy Beachheads. Many, many more would have perished had their plan failed.

Garbo (Juan Pujol) and Tomas Harris (My Great Uncle) devised a plan to build a network (The GARBO Network) of 27 imaginary spies, who mislead the Germans into expecting the landings to occur in Calais instead of the Normany beacheads. As a result, the Germans maintained all their forces in Calais and built sea defenses, instead of moving them to Normandy. Even when the Normandy invasion began the Germans,  Tomas and Garbo led them to believe it was just a diversionary tactic.  

The success of this operation led to the beginning of the end of the second world War.

This is the Introduction written by ANTHONY BLUNT in the catalogue for the Tomas Harris Art Exhibition held in 1975 at the Courtauld Institute in London in memory of Tomas Harris


The first thing that struck one about Tomas Harris was the total enthusiasm  with which he threw himself into any enterprise on which he embarked. Whether it was discovering an unknown painting by El Greco in an obscure Spanish collection, mastering a new painting technique, scrutinizing Goya’s etchings or exploiting the possibilities of an intelligence scheme against the Nazis. At that particular moment all his energies and all his imaginative force went into that one objective, which did not prevent him, a day – or an hour – later, when that particular problem had been solved, from turning with equal enthusiasm to one of his other interests, or simply to an activity in which he was an expert, entertaining his friends.

Tomas was one of the most complete human beings I have ever known. He will be mainly remembered as someone who was an expert on Spanish art, particularly on the art of El Greco and Goya, but his range of interests was much wider than that. In the arts his natural gifts were almost frightening. In 1923 he was awarded the Trevelyn-Goodall scholarship at the Slade School in London, only to find that, as he was only 15, he was theoretically too young to be eligible. In later life he had only to take up some technique – in painting, engraving, sculpture, or ceramics, to find that in a very short time he had mastered the problems involved and could use the technique with as much skill as the accepted experts. Indeed it may have been this virtuosity which prevented him from attaining in his art that concentration which was essential if his ideas were to receive complete expression. Variety of invention, range and brilliance of technique, vigour of expression – these are the qualities which stand out from the works here listed, whether in painting, engravings, sculpture, glass or ceramics.

But his art was only a part of his life.  His activities as a picture-dealer were brilliantly successful and were combined with a reputation for absolute probity which sometimes aroused jealousy among his competitors. His warmth and generosity brought him a wide circle of friends in varied fields – the art world, business, and government departments.  He was not in the strict sense of the word an intellectual, but his intuition was uncanny and having made a discovery by instinct he knew how to follow it up and consolidate it by reasoning and accumulation of evidence. It is characteristic that one of his most important acquisitions during his life as an art-dealer – a series of fifteenth-century German panels, which had incidentally once been in the National Gallery – was bought among the contents of an out-house at a country sale. Another instance was in the magnificent pair of ???????, now in the Courtauld Institute Galleries, which he saw, totally repainted, in a sale, and bought because when he opened them they smelled old.

Tomas was born in 1908, the son of an English father and a Spanish mother. His father, Lionel Harris, founded the Spanish Art Gallery, and it is no exaggeration to say that for half a century all the most important works of art which were brought to the UK from Spain came through him or, after his retirement, through Tomas. He was among the first English dealers to realise the importance of El Greco, and he also owned masterpieces by artists such as Velazquez and Goya. His interests, however, were not limited to the painting, and in his gallery one would be certain of seeing magnificent medieval tapestries, Oriental carpets and Renaissance gold and silver work.

Tomas was, therefore, brought up in an atmosphere which made him appreciate beautiful things, but his own inclination was to become a practising artist rather than a dealer. His early acceptance into the Slade School in London looked like the beginning of a brilliant career and was followed by a year studying painting and sculpture at the British Academy in Rome, where he learnt nothing from the teaching but had the opportunity to absorb all that Rome had to offer to a young art student. In 1930, however, he decided to go into art-dealing, first running a firm on his own and later joining his father as a director of the Spanish Art Gallery.

At the outbreak of war Tomas joined the War office, where his intimate knowledge of Spain was of great value. His greatest achievement, however, was as one of the principle organisers of what has been described as the greatest double-cross operation of the war – ‘Operation Garbo’ – which seriously misled the Germans about the Allied plans for the invasion of France. The story has been told,  in the semi-official account of the double-cross network, but in fact the success of the operation was mainly due to the extraordinary imaginative power with which Tomas directed it. In fact, he ‘lived’ the deception, to the extent that, when he was talking in the small circle of people concerned, it was difficult to tell whether he was talking about real events or one of the fantastic stories which he had just put across to the Nazi-Intelligence Service. After the invasion of France one of the highest commanders said that the Garbo operation was worth an armoured division. Tomas’s imagination could be turned to practical as well as artistic ends.

After the war he decided to give up art-dealing and devote himself to his two real passions: painting and collecting. Even during the war he had not entirely abandoned painting and in 1943, in spite of his other activities, he held a one-man show. This exhibition, in the constricted galleries of Reid and Lefevre, then in King Street, St James’s, was impressive and even somewhat frightening through the sheer nervous intensity of the paintings, which reflected the strain under which Tomas was living and working.

Once he had freed himself from his commitments as a dealer he spent more and more time in Spain, first in Malaga and Madrid and later in Mallorca where he built himself a house at Camp de Mar. He drew a great deal of inspiration from the landscape of Mallorca and many of the landscapes in the present exhibition are of scenes near Camp de Mar. To most observers the technique of these paintings – and of much of his earlier work – is strongly reminiscent of Van Gogh, but, if one suggested this to him, he absolutely denied ever having intended to imitate this artist.

In the years before the war Tomas’s interests had been mainly directed towards painting, but he now began to experiment in a much wider range of media, including etching, ceramics, stained glass, and tapestry. In the field he had the extraordinary privalege of being the first independent artist since Goya to have his cartoons woven at the Royal Tapestry Factory in Madrid. It is in these weeks that his astonishing versatility is most brilliantly displayed.

While devoting a great deal of his time to his activities as a creative artist, Tomas was also able to develop his interest in collecting. During his years of art-dealing he had brought together certain groups of works of art, particularly drawings, textiles and jewellery, and he now began to study these in a much more systematic way. The textiles consisted of pieces – large or small – of embroideries, brocades, figured silk dresses and waistcoats, or panels from ecclesiastical vestments, dating from the sixteenth to the eighteenth century, mainly Spanish, Italian, or French in origin. Tomas framed these fragments in cardboard mounts, like huge drawings, and organised them into a series which illustrated some of the most important aspects of silk-weaving and embroidery over three centuries. A selection of these was shown at the Courtauld Institute Galleries in 1968, and later, his family presented the whole of this magnificent collection to the Courtauld Institute in his memory.

His first collection made from scratch, so to speak, was of drawings and etchings by  Giambattista and Giandomenico Tiepolo,  and the discriminating taste with which he selected these came out very clearly when the collection was shown at the Arts Council Gallery in St James’s Square in 1955. Next he turned his attention to Durer and rapidly formed an outstanding collection of his woodcuts and engravings. He also began to interest himself in Rembrandt etchings, but his death prevented him from carrying this collection very far.

By far his greatest achievement as a collector and as a scholar was however connected with Goya. He began with a plan to make as complete a collection as possible of the artists etchings and lithographs, but gradually he became involved in a project of quite a different kind. Looking for information to the accepted authority on the subject, he discovered that the more he read the more mistakes he detected: and so he found himself gradually forced into the position of having to do Delteil’swork over again and prepare his own catalogue. The result was the two-volume work which appeared a year after his death. In this book he showed that Delteil’s account was not merely inaccurate, but basically wrong, and that in addition to confusing different impressions and issues he had invented a number which in fact never existed. Tomas’s practical knowledge of etching, in which he had taken a course at the Slade School after the war, was of the greatest value to him, and he was helped by the lynx-eye of his collaborator, Juliet Wilson, who could spot a touch of dry-point so small that no one else could detect it without a glass. In many ways this book was his greatest achievement:  it contained an analysis of the various states of the etchings, of a kind that could only be made by someone who knew the techniques involved and who could study the originals at leisure in his own collection: and this analysis led to a completely new estimate of Goya’s method of working. The brilliant photographs of details from the etchings, which Tomas made himself,  illustrate in the most cogent manner points which he made in the text.

In 1954 part of Tomas’s collection of Goya etchings was shown at the Arts Council Gallery, but far more important was the great exhibition held at the British Museum in 1963-1964 which was almost entirely drawn from Tomas’s collection. This collection, which was described by Mr Edward Croft-Murray, then Keeper of Prints and Drawings, as ‘the richest and most complete of its kind ever to be assembled’ was placed on indefinite loan at the British Museum Print Room, and recently Tomas’s family have offered it to the museum as a permanent memorial to him. To celebrate this magnificent gift a selection of the etchings will be shown in the Courtauld Institute Galleries immediately after the closing of the present exhibition.

Tomas Harris was killed in a motor accident in Mallorca on the 27th January 1964. To say that his death was a shock to his friends is a feeble statement of what they felt; and the loss to the art world was equally great. At 56 he seemed to be just starting on a new career as a scholar and art-historian. Might he have done for others – Durer and Rembrandt – what he did for Goya? Alas! we shall never know.


My research has led me to many articles written by Anthony Blunt about his good friend and colleague – the Late Tomas Harris (my grandfathers brother). Anthony Blunt wrote many tributes to Tomas for newspapers and Exhibition catalogues. Anthony Blunt was also good friends with Tomas’s sister Enriqueta Harris.

<— View details of article written by Anthony Blunt the week after Tomas’s death in the car accident in Mallorca

View Blunts introduction about Tomas Harris in the catalogue produced for the Tomas Harris 1975 Art Exhibition at the Courtauld Institute   —>

View Another Anthony Blunt article about Tomas Harris <— (Please note that article tells that Tomas designed and built his house in Camp de Mar in Mallorca, this is not correct – He purchased the house and renovated it – see photos of house before and after renovation in the Camp de Mar Gallery)

Anthony Blunt was  Knighted in 1956  and awarded an honorary fellowship at Trinity College. In 1978, while a distinguished Art historian at the Courtauld institute,  he was stripped of his knighthood and removed as an Honary member of Trinity college because his role as a Soviet Spy during the war had become exposed.

Blunt <– Wiki link was a Warburg Institute professor; director of the Courtauld Institute and professor at the University of London, before and after the war. He specialised in French and Italian Art. Enriqueta Harris, Tomas’s sister, specialised in Spanish Art, and had also worked at the Courtauld Institute. Henri Frankfort had become  director of the Warburg Institute in London in 1948,  and married Enriqueta Harris who worked at the Courtauld Institute just two years before he died in 1954.

Blunt had spent five years serving in MI5 during the war and was lavishly entertained (along with Guy Burgess, David Liddell and  Kim Philby) at the Mayfair and Logan Place residences of Tomas and his wife Hilda. Blunt was interviewed by Nigel West, author of GARBO, in May 1981, during which he informed Nigel West that in 1944 he had been introduced to GARBO (MI5’s double spy) by Tomas Harris (Garbos MI5 controller) over dinner at a restaurant in Jermyn Street in London.

Blunt was a member of the group known as the Cambridge Five <– Wiki Link . Wikipedia states that the five names refer to the fact that all members became committed Communists while attending Cambridge University in the 1930s..

TomasHarris - MI5 Garbo case officer

Since November 2009 , this popular Anita Harris Family Tree  website (  already includes a lot of posts and great information about my vast newly discovered Harris family AND Tomas Harris ( artist and MI5 officer) . 

This month ( January 2010 ) I had the idea to create another website for all you researchers out there wanting to publish your own Tomas Harris Posts in a central location – none better than on – So I bought the domain, created a website – and now you can get blogging

I have created  for all you internet surfers out there  who would  like to share your knowledge about Tomas Harris, MI5 officer, artist, scholar, Goya specialist etc
 and put it somewhere obvious that everyone can find quickly. (  WWW.TOMASHARRIS.COM )

  I have received so much positive feedback, and endless information for this website, that I am having trouble keeping up with all the new information coming my way.  Now its your turn to publish your own posts about Tomas Harris 

Last photo of TH1099I will continue to publish my own Tomas Harris and Harris family posts on to which you can subscribe to receive emails every time I add new posts (click the email link in the header on this website) .

You can also subscribe to receive emails whenever any one else adds a new post about Tomas Harris on , by subscribing to the email updates there too (from the link in the header on that site).

I have aleady received so much positive feedback about both sites – Thank you.

And also a HUGE thanks to all of you out there who are supplying me with so much fabulous information.

Foto Garden Lodge from Andreu

Njoy and Happy Blogging

PS Before you can write and publish your own posts (in English only please) on  please  contact me through the Contact Form on this site to request a username and password.

A username and password is all you’ll need to login and start Blogging (Posting) – I looking forward to hearing from you.

Anita Harris

I recently discovered my family tree. All I knew until last year was the name of my grandfather. Now I know so much more. Check out the Harris family tree  on Tribalpages website, and see my family connections  to Artists, Art Dealers, MI5, Garbo, Double Spies in World War II. OBE’s and books and Art Historians, and Antique Dealers, Diamond Dealers ..and the list goes on….

I have just been reading two books “Garb0” and the “Spy who Saved D-day”.   The first written by MI5’s double agent spy, Garbo himself, and the second written by my fathers Uncle, Tomas Harris who was Garbo’s MI5 Case officer/Controller during World War II.  Together these books tell the true story of how they came to work together for Britain and began the beginning of the end of the War.

The first Book, the one called ‘GARBO’– was written mostly MI5’s double Agent called Juan Pujol (codenamed GARBO) along with an author called Nigel West, who found him in hiding in Venezuela, and encouraged him to come back safely back to Britain for the 40th Anniversary of the D-Day Landings, to meet old colleagues from MI5 and be introduced to the Duke of Edinburgh . The book tells the personal story of the most successful double agent EVER and his MI5 controller/case officer who directed, channelled, encouraged and sustained the agents remarkable talents.

This case officer was Tomas Harris – my Great Uncle.

The second book I am reading is called ‘ The Spy who saved D-Day – (view large chunks of this book online here) ’ and was mostly written by Tomas Harris.

Both books describe  how GARBO and Tomas came to work together at MI5, and their three years of scheming and planning together during World War II. They tell a detailed story of their efforts which were supported by various agencies of British intelligence and of how they contributed to a huge reduction of casualties among tens of thousands of allied servicemen who landed in Normandy in France on D-Day to fight to hold the Normandy Beachheads. Many, many more would have perished had their plan failed. They devised a plan to build a network (The GARBO Network) which was eventually composed of 27 imaginary characters, to mislead the Germans into expecting the landings to occur in Calais and maintain all their forces there, instead of moving them to Normandy. Their other activities in MI5 also embraced campaigns in North Africa and the V-weapon offensives.

On this site are other posts that I have written, in Note form, which are facts from the two books and contain details about some individuals mentioned in the two book, Mostly Garbo and Thomas Harris. These posts contain notes which I want to share with the rest of my immediate family and are relevant to expanding their knowledge about our Harris family which we knew absolutely nothing about until about a year ago.

—————— LINKS —————–

(D-Day 6/6/1944)  – (view Link)

Marks the start of Europe invasion in Normandy, France – during World War II

MI5 (view Link)

was responsible for counter-espionage intelligence within the UK

MI6/SIS (view Link)

Secret Intelligence service for counter-espionage intelligence in foreign countries.

Garbo (view Post)

Spanish Agent Worked as a Double Spy for MI5 in Britain, when the Germans were so convinced he was a German spy, that they awarded him the Iron Cross

Tomas Harris (view Post)

MI5 Case Officer/Controller who worked with GARBO to create the GARBO network of 27 imaginary spies who mislead the Germans into thinking the invasion would occur in Calais instead of on the Normandy beachheads.

Anthony Blunt (view Post)

 at MI5 B1(b)- An Art historian workedduring the war, who was knighted then suspected of being a Soviet spy Agent which resulted in his knighthood being annulled.