Memoirs.

The material forms only one part of Marianne Lieberman's memoirs. It covers her time in Vienna and Maribor, Slovenia, between the years of 1939 and 1942, with individual chapter headings. Marianne Lieberman remembers her rigid father who would not see her creative talent. She describes early recollections from school, right after the Anschluss in 1938. Her father, being Jewish, had to flee Austria immediately, Marianne Lieberman and her mother went to Slovenia where they stayed with an aunt in 1939. She describes her problems of being baptized. She believed her mother went back to Vienna in 1941, that is why she headed in the same direction. Her first stop was in Graz at a relative's house. Back in Vienna, she was considered a "Mischling" and therefore in danger.

Dreiundsechzig 1933-2005

Irene Runge wrote 14 books so far. This one was written for the occasion of her 63rd birthday - instead of a speech, it was printed and delivered to 63 of her friends. The book is a memoir, and jumps back and forth in time. It consists mostly of personal memories and anecdotes, but there is also an essay-style to it, with very reflective passages and analyses. It is divided into many chapters, which also resemble diary entries. Irene Runge is a member of the "second generation". She was born in the New York exile, but her parents moved back to Germany after the war, during a climate in the USA, which made it very difficult for sympathisers with the communist party. Her memories give rich insight into the life as an emigrant in New York, but also as re-emigrant in Germany. She writes about the their disappointments with the evolving German Democratic Republic (GDR), Eastern Germany, experiences, which repeated again in 1989/1990, when the reunification with West Germany took place. The year 1989 had practical consequences for her private life--she lost her job at the university, because her past seemed not compatible. She discusses the PDS, the party which evolved from the communist party of Eastern Germany, Berlin after the "Wende" (reunification), and life in Berlin after the reunification. At one point she asks whether the current Turkish-Muslim community in Berlin could be comparable to the living conditions of the Jewish community in the 1930. This is a rare memoir documenting many recent aspects of German-speaking Jewry.

Ernest W. Michel Papers, 1698, 1938-1996 (bulk 1946-1987)

This collection contains the papers of Ernest W. Michel, Holocaust Survivor Journalist and public speaker,including clippings of newspaper articles written by and about Michel, correspondence between Michel and many important Jewish and political figures and autograph files, which Michel collected. Many of these files concern Michel’s Holocaust experiences, speaking engagements, the World Gathering of Jewish Holocaust Survivors, and Michel’s work with the United Jewish Appeal.

Der Parlamentarismus : System und Krisis.

Doctoral thesis exploring communist and fascist threats to the parliamentary system

Wilhelm Weinberg Collection 1928-1938

Copies of documents pertaining to the education of Rabbi Wilhelm Weinberg

"... I want an Ocean between us!" : Letters from Samuel Kahn, devoted father of one of the thousand children brought from Germany to the United States in 1934.

The manuscript contains letters written by Samuel Kahn to his daughter in the USA between 1934 and 1937.

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.

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.

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.