Chinese Street

A frieze-like composition depicting storefronts with mixed English and Chinese language signs, as well as activities of shopkeepers and shoppers.

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 Samuel Mayer Ehrenberg ( 1773 - 1853 ).

This painting is in dedication " in honor of Meyer Ehrenberg by his students" as stated on a scroll held by the sitter. The scroll is dated October 7, 1820 and is followed by a list of names in two columns: (M.Ehrenberg, P.Ehrenberg, B. Ehrenberg, M.Imanuel M.Balke, B.Meier, L.Franck, M. Cohen, W.Fraenkel, M. Chohns, P.Goldschmidt, J.Lippoa, A. Nathan, M.Kramer, J.Fraenkel, M.Goldschmidt.) Ehrenberg was the founder of the first modern Jewish Day School in Germany, at Wolfenbuettel. Ehrenberg was the great-grandfather of the Jewish Theologian Franz Rosenzweig.

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.

Portrait of Wolf Zacharias Wertheimer

It is a bust-length, with three-quarter view. The portrait is of the highest technical quality aswell as a good chatacter study.

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.

Dancer Casablanca 1930

A seated figure dressed in pink against a background of vegetation. Titled in lower left corner.

Terezin, The Deportation Train.

Signed and dated lower right.

Terezin: Portrait of Jirina Kanova. (Prague 1938-Auschwitz 1944).

The child is shown in threequarter view, looking into the distance. Her dark head is silhoutted against the background and accented by a whitecolored blouse. Signed L. Buresova, Terezin 15.IX.1943

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.