Dr. Ernst Schaumberger was a doctor specializing in skin and sexually-transmitted diseases, a virtually apolitical occupation. However, National-Socialist ideology concerning race and morals interpreted sexual relations as a matter of political interest. Therefore, Dr. Schaumberger’s area of work became political. The confidential request, which he received from the agency of public health in Stuttgart on September 20th, is noteworthy in many ways. He was asked to report whether he had treated any girls or women who were infected with sexually-transmitted diseases due to sexual relations with Italians. So-called “racial hygiene” in National Socialism didn’t shy away from violating medical confidentiality. When Dr. Schaumberger received this letter, his days as a practicing doctor were numbered. He’d already been identified as a “Jewish doctor” in July, and an amendment to the Nazi Reich Citizenship Law decreed that, on the 30th of September, 1938, the licenses of Jewish doctors would expire. Nonetheless, he was still expected to cooperate with the Nazis.
Just a few doors down from the Palestine Office of the Jewish Agency, at No. 2 Meineke Street in Berlin, was the travel agency “Palestine & Orient Lloyd,” which closely cooperated with the Palestine Office in assisting thousands of Jews with emigration from Nazi Germany—and not only to Palestine. One of these emigrants was Dr. Rolf Katzenstein. On August 20th, 1938, the “Palestine & Orient Lloyd” issued this bill to him for passage to New York on August 27th aboard the Columbus from Bremen.
Immediately after their rise to power in January 1933, the Nazis began to extend their control over every aspect of cultural life in Germany. As a popular medium capable of reaching large numbers of people—and one perceived as being dominated by Jews—film was of central importance to the new regime. Before the production of a new movie could begin, the script had to pass pre-censorship. The final product was scrutinized by the censorship authority for film (Film-Prüfstelle) of the Reich Propaganda Ministry. Under the Nazi regime, the state’s relationship with the film industry changed. While prior to 1933, authorities had primarily sought to censor or suppress material deemed harmful, the Nazi regime actively instrumentalized the film industry to promote National Socialist ideology. The anti-Semitic film “Juden ohne Maske” (“Jews unmasked”), whose authorization card from the censors is shown here, is such a case. It received the rating “valuable to national policy”, but it was also restricted to screenings for adult audiences in the context of NSDAP events.
Section 17 of the Third Supplementary Decree on the Reich Citizenship law (Reichsbürgergesetz), issued on June 14, called for marking Jewish businesses at a date yet to be determined. The Nazis lost no time. According to this article by the Jewish Telegraphic Agency, days later, the word “Jew” and Nazi slogans were smeared on Jewish shop windows throughout Berlin in an organized fashion, with the same red, hard-to-remove oil paint used everywhere. There could be no doubt that the action was carried out with blessings from above. While no opposition from the non-Jewish population is recorded, the correspondent does point out that unlike in Vienna and in less affluent parts of Berlin, the crowd on Kurfürstendamm looked on quietly, without major enthusiasm. Tension among Jews was intensified by reports of plans to build labor camps where Jews apprehended in recent raids were to be put to work.
In today’s release, the Jewish Telegraphic Agency reports that the Deutsches Volksblatt in Vienna urges a “pitiless anti-Jewish boycott.” This, the paper argues, is the line demanded by Hermann Göring in his last speech in Vienna. Highly decorated in WWI as a fighter pilot, Göring had become a member of the NSDAP early on and was a member of its inner circle. He had established the Gestapo in 1933, was commander-in-chief of the German airforce (Luftwaffe) and as Plenipotentiary of the Four-Year Plan, he also wielded power over the German economy. Other than that, he is known for his pivotal role in bringing about the Anschluss and his passion for collecting art, which he often acquired in dubious ways.
Residents of Linz, Adolph Markus, his wife, and their two children were among the relatively few of Austria’s roughly 200,000 Jews not living in Vienna. On April 20, 1938 Markus went to visit his family in the capital in order to discuss the difficult situation and explore options for emigration. While his brother Rudi was prepared to lose his job any day, he opined that Adolph, as WWI combat veteran, had nothing to worry about. Indeed, combat veterans were exempt from certain anti-Jewish measures, as were Jews who had lost their father or a son in combat for Germany or its allies.
This stereoscopic image from March 1938 shows a lingerie store in Vienna with a sticker that says “Jewish business” attached to its window. Immediately after the German Army’s entry into Austria, celebrated in many places, on March 12, 1938, the local Jewish population began to suffer from the same kind of defamation as German Jews had since 1933. The picture is part of the Sammlung Schönstein (Schönstein Collection) at the German Historical Museum. At the beginning of the 1930s, Otto Schönstein (1891–1958) of Nuremberg established his Raumbild Verlag, which published albums of stereoscopic photographs. In 1937, Heinrich Hoffmann, Hitler’s “personal photographer,” became involved in the publishing house, which was showing signs of economic difficulties, and used it for the dissemination of NS propaganda.
The Austrian Adolph Markus had started a diary on January 12, the day Hitler forced the “Berchtesgaden Treaty” on the Austrian chancellor, Schuschnigg. The treaty stipulated the release of National-Socialist prisoners, gave free rein to Nazi political organizing, and granted a greater measure of participation in government activities to their political representatives. Markus personally witnessed the thuggish behaviour of the released prisoners and their reception by sympathizers in the streets of Linz. In his diary entry on February 20, he records the events of the preceding day and reveals his worries for his country.
This picture-postcard shows Berlin’s oldest and for some time largest department store, named after the founder of the business, Nathan Israel. The Israel family had taken up residence in Berlin in the 18th century. The business was last located at 28 Spandauer Straße, across from the Rotes Rathaus (“Red City Hall”). Under its last director, Wilfrid Israel, the department store distinguished itself by providing uncommonly generous benefits to its employees, such as health and social insurance.