Walter and Freddy Godshaw (Gottschalk) with their uncle Ernst Meyerhof; London, England.

From left to right: Walter Godshaw, Ernst Meyerhof, and Freddy Godshaw

Ernst Gottschalk sitting in a car petting his dog Whip; London, England.

Digital Image

Portrait of Franz Catzenstein with his uncle Ernst Gottschalk.

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Portrait of Ernst Gottschalk (seated second row center) with eight unidentified soldiers; Rendsburg, Germany. Military Portraits groups

Morgen hat Reserve Ruh / Auf Wiedersehen / Beste Gruesse; postcard signer Gottschalk; addressee: L Nurzinsky, Altona-Othmarschen, Aidikes Str.

Silhouette of Ernst Gottschalk Artworks

Digital Image

Studio portrait of Joseph Molling and business partner Ernst Joachim (?); Hannover, Germany.

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Family portrait of (back l-r) Frieda Arens, Fritz Unger, Gustav Arens, Grete Glasner, (front l-r) Lise Arens, Gitta Unger and Ernst Glasner.

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Outdoor group portrait, Haus Horst Changer?, including Ernst Peter Pick (first row center) Portraits Groups

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Hugo Rothenberg Collection 1919-1944

Photocopies of correspondence between Hugo Rothenberg and Hermann Goering (1919 and 1938-1944) relating to emigration of Jews from Nazi Germany. Report by Helle Rothenberg on situation of Jews in Germany under Nazi regime. Swedish letters + German translation of letters by Thomas Kantzow to Hugo Rothenberg.

wise maurice, langendorf ernst,landscapes, hallstaettersee, Portraits Groups

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Ernst Loewi's drugstore; Vienna Business Establishments; Stores

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Deutsch-Boehm Family collection 1834-1938 Bulk: 1834-1892

The collection holds original official documents pertaining to the ancestors of Hermann Deutsch, such as his father, Hugo Deutsch, and his grandfather, Simon Deutsch, and the last will and testament of Abraham Nathan Meyer, great-grandfather of Hermann Deutsch. Also included are documents for Hermann Boehm. There is a printed obituary by Hugo Preuss for Hugo Deutsch and the copy of a 1938 document, declaring the end of the Simon Boehm company.

Die letzten Lebensjahre meines Vaters Prof. Ernst Neisser 1939-1942

Description of Prof. Neisser's last years in form of a letter written by his daughter to a relative in the USA; concentrates mainly on suicide of Ernst Neisser and his cousin in 1942 to escape deportation.

Remembering the Peel Island Lazaret through re-imagining the Teerk Roo Ra forest

This paper discusses my current research which aims to re-member the site of the Peel Island Lazaret through re-imagining the Teerk Roo Ra forest as a series of animated artworks. Teerk Roo Ra National Park (formally known as Peel Island) is a small island in Moreton Bay, Queensland and is visible on the ferry journey from Cleveland to Stradbroke Island. The island has an intriguing history, and is the site of a former Lazaret and quarantine station. The Lazaret treated patients diagnosed with Hansen’s disease (or Leprosy), and operated between 1907 and 1959. In this paper I will discuss conceptions of the non-indigenous historical context of the Peel Island Lazaret and the notion of the liminal state (Turner,1967). Through this discussion conceptions of place from Australian cultural theorist Ross Gibson are also examined. The concept of two overlapping realms is then explored through the clues and shared stories about the people who inhabited the site. There is then an explanation of my own approach to re-member this place through re-imagining the forest that witnessed the events of the Lazaret. I then draw on theories of the uncanny from German Psychiatrist Ernst Jentsch, Austrian Neurologist Sigmund Freud and South African animation theorist Meg Rickards to argue that my experience of the forest of Teerk Roo Ra was an uncanny experience where two worlds or states of mind existed simultaneously and overlapped, causing a viscerally unsettling uncanny experience. Through an analysis of Czech Surrealist Animator Jan Švankmajer’s cinematic narrative Down to the cellar (1982), my creative work Structure #24(2011), and Australian Artist Patricia Piccinini’s cinematic artwork The Gathering (2007), I discuss the situation of the inanimate and the animate co-existing simultaneously. Using this approach I propose an understanding of the uncanny as an intellectual uncertainty as outlined by Jentsch (1906). I also develop the notion of the familiar being concealed and becoming unfamiliar through mimicry (Freud, 1919). These discussions form an introduction to my creative work Nocturne #5(2014) which re-members the forests of Teerk Roo Ra as an uncanny place primarily expressed through animation.

Hannah Ruth London papers, 1919-1990.

The collection consists primarily of research notes for Ms. London's published works on portraits, miniatures and silhouettes of American Jews. The notes contain family histories of the subjects as well as information on the artists, and are arranged both by subject and artist. The collection also contains published articles on the subject by London, and photographs and lantern slides of the artwork that have been removed to the picture collection.