Memoirs : Heida Hermanns Holde /

The author's mother Alice Goldschmidt was a gifted piano player, who studied with Carl Maria Breithaupt and became his most talented student. Childhood recollections. Early musical awakening. Outbreak of World War One. Recollections of air raids and scarceness of food. Inflation and political instability in post-war Germany. Piano lessons by her mother from an early age. Heida made her debut at age fourteen with the Wiesbaden Symphony under the conductor Carl Schuricht, who became a close mentor and friend. Close relationship to her mother, who had a great influence on her professional career. Heida had a number of outstanding teachers, among them Artur Schnabel, Karl Leimer and Egon Petri. Heida was accepted as a student of Petri at the "Hochschule fuer Musik" in Berlin, where she studied between 1922-1925. Salon at her aunt's house with guests such as the playwright Georg Kaiser and Siegfried Wagner. Her sister Elsie received her Ph.D. in economics and moved to Berlin as well. Heida graduated from the "Hochschule" in 1925. Soon after she won an international piano competition in Berlin. Engagements with various conductors such as Max Fiedler and Otto Klemperer. Private lessons with Arthur Schnabel and Carl Friedberg, the co-founder of Juilliard. Due to occasional experiences of antisemitism during her music career Heida decided to change her name from Goldschmidt to Hermanns. Position at the "Hoch Conservatory" in Frankfurt. Encounter with the music critic Artur Holde, Heida's future-husband. Engagement and wedding in 1932. Move to Berlin.

German-Jewish Club of 1933, Los Angeles : Ein vergessenes Kapitel der Emigration /

Radio speech on the writers, actors, artists, and others who emigrated from Nazi Germany to the Los Angeles area.

Bernard Bernstein Archive, 1941-2008 (bulk bulk 1960-1984).

Bernard Bernstein collection documents professional activities of Bernard Bernstein, a jeweler, metal smith, writer, and teacher. The collection includes artifacts, correspondence, documents, manuscripts, printed materials, photographs, other visual materials, and sketches.The larger part of the collection includes materials dealing with the artistic side of Bernard Bernstein. These materials are found throughout the collection and consist of artifacts produced during his schooling at City College (Series I: Artifacts), various jewelry designs produced by Bernard Bernstein for commercial use (Series III: Designs), certificates and awards (Series V: General), and materials pertaining to a number of shows and exhibits that Bernard Bernstein was a part of (Series IV: Exhibitions and Art Catalogues).Other materials include documents pertaining to Bernard Bernstein education, professional carrier as a teacher ( Series II: City College of the City University of New York, Series V: General), and his articles in professional journals (Series VI: Printed Materials).In some cases materials are accompanied by Bernard Bernstein’s notes explaining the significance and provenance of the documents.

The Cabbage Field.

The painting represents a figure bending over to attend the plants in a cabbage field, probably the artist's summer house in Wannsee outside Berlin, where he did most of his work after 1922.

Portrait of Benjamin Liebermann

This large ambitious painting is one of Liebermann's earliest. His uncle, the Geheime Kommerzienrat (Privy Councillor) Benjamin Liebermann (1847-1935), is elderly and slim, but erect and proudly wearing his honorary business medals, has his left hand on his hip, while his right hand rests on the back of a red velvet chair. He is wearing long sideburns and whiskers. The background is plain. The style is tight and painstaking, but already exhibits Liebermann's preference for visible, impasto brushstrokes. The emphasis is on the face, with no attempt at idealization of the akward, but strong features. The colors are mainly black and brown.

Portrait of Max Boehm ( 1871-1944 ).

The model is seated, facing the viewer and looking straight at him. He is wearing a business suit and holding a cigar. The pose is relaxed abd the color tonalities warm, with the yellow background dominant. Heavy impasto is used for face and hands. Neg. 37599 Signed upper right, also dated

Portrait of Heinrich Stahl (1868-1942 ).

H.Stahl was the last president of the Jewish Community in Berlin. He is seated in a chair with wooden arm supports. He seems a small man, an impression emphasized by a large expanse of plain, tan background. The facial expression is tense, with deeply furrowed brows.

Visionary Portrait.

The expressionist head of a young man emerges from the dark shadows. His face is a long oval, with full lips and strongly flared nostrils, framed by black hair and small black beard.

To the Mothers of the Twelve Thousand.

The size of the work and the printed title suggests, that this is a poster. It bears the emblem R.J.F., for the sponsoring organization, Reichsbund Juedischer Frontsoldaten or National Organization of the Jewish Front-line Soldiers. The mothers of "The twelve thousand" refers to the Jewish soldiers killed during World War I, when reminding Germans of the patriotism and sacrifices of German Jews, seemed important in view of the discrimination they were confronted with at the time, in 1935.

GURS:'Stamps' from the Concentration Camp, a-l.

The design of each are drawn in the miniature style of postage stamps and include mock postage prices. Presumably the method was inspired by the shortage of paper in the camp.GURS in Southern France, where these works were done, but the format is also used to stress the Irony of the content, especially in the Trio of designs marked "Liberte-Egalite-Fraternite. Aside from one marked "Avion de Gurs", all other are simply labelled "GURS" at the bottom, as is this were the country of origin of a postal system.

GURS: "Stamps" from the concentrationcamp, m-p.

The designs are drawn in the miniature style of postage stamps and include mock postage prices. Presumably this method was inspired by the shortage of paper at the camp in Gurs, Southern France, where these works were done; but specially this format is also used to stress the irony of the content, especially in the trio of design marked "Liberte-Egalite-Fraternite", aside from one marked "Avion de Gurs", all others are labelled simply " Gurs ", at the bottom as if this were the country of origin of a postal system.

Gurs: 'Stamps' from the concentration camp,q-v.

The designs are drawn in the miniature style of postage stamps and include mock postage prices. Presumably this method was inspired by the shortage of paper at the camp in Gurs, Southern France, where these works were done; but specially this format is also used to stress the irony of the content, especially in the trio of design marked "Liberte-Egalite-Fraternite", aside from one marked "Avion de Gurs", all others are labelled simply " Gurs ", at the bottom as if this were the country of origin of a postal system.

Brittany

Dr. Hans Cahnmann, Bethesda, MD

1933-1953 German Jewish Children's Aid

The records of the GJCA relate to the entire range of activities involved in receiving and placing refugee children from 1933 through the 1950s. The later materials are records of the European Jewish Children's Aid. Activities included: maintaining the reception center in New Jersey; transportation arrangements; placement in homes; issuing affidavits and passports; granting scholarships; naturalization of children; setting of GJCA policy. By-laws, minutes, reports, correspondence and certificate of incorporation. Correspondence of executive officers, mainly Cecilia Razovsky, 1930s. Correspondence between William Haber and Lotte Marcuse, 1939-40. File of Dr. Solomon Lowenstein. Minutes of meetings of the Finance Committee. Field reports, inter-office memoranda, financial and statistical reports. Correspondence with organizations and governmental agencies: Society of Friends (Quakers) in Vienna; Israelitische Kultusgemeinde of Vienna; Reichsvereinigung der Juden in Deutschland; Federation for the Support of Jewish Philanthropic Societies; Department of Justice; New York State Department of Social Welfare; U.S. Immigration and Naturalization Service; American Friends Service Committee; American Jewish Congress; B'nai Brith; National Council of Jewish Women. Correspondence with individuals: Max S. Perlman, William Rosenwald, Paul Felix Warburg. In addition to the general administrative records, there are thousands of case files.

Nachman Zonabend 1939-1944

The records reflect the organizational structure of the Jewish ghetto administration and consist of the following: Correspondence with German government agencies, 1939-1941, including the Police and Gestapo, the *Oberburgermeister* of Litzmannstadt (German name for Lodz), the *Gettoverwaltung* (German administration of the ghetto). The correspondence pertains to the establishment of the ghetto, expropriation of Jewish property, resettlement of Lodz Jews into the ghetto, sanitary conditions, ghetto industry, anti-Jewish ordinances. Announcements issued by Rumkowski, 1940-1944. A complete set of daily communications to the ghetto population on all subjects pertinent to ghetto life such as: confiscations of Jewish property, food rationing, availability of work, relief distribution, deportations, liquidation of the ghetto. Files of various departments of the Jewish ghetto administration including labor divisions and workshops, the Jewish police (*Ordnungsdienst*), Statistics Department, Ghetto Court, Archives, Resettlement Department, Deportation Commission. Of special interest are the Archives files which contain essays and reports written by the Archives staff expressly for the purpose of historical record on subjects related to ghetto life. Outstanding in this group are reports and literary sketches by Joseph Zelkowicz, including his extensive account about the *Gesperre* (Yid. Shpere) - the deportation of the children, the old and the infirm in September, 1942. In addition, the Archives files contain bulletins of the *Daily Chronicle* of the Lodz Ghetto, transcripts of speeches by Rumkowski, and issues of the *Geto-tsaytung*, a short-lived official publication of the Eldest of the Jews. Iconographic materials, including photographs and albums. The photographs taken by Mendel Grossman, Henryk Ross, Maliniak, Zonabend and others, provide an extensive visual record of ghetto life.