Had Austria’s history taken a normal course, Hanna Spitzer, a private teacher, would probably have stayed in Vienna and grown old there as a respected member of society. As a daughter of the late jurist and patron of the arts, Dr. Alfred Spitzer, she was co-heir to a major art collection comprising works by such greats as Kokoschka and Slevogt. Egon Schiele was represented too – among other works, with a portrait of Alfred Spitzer, who had been his sponsor and lawyer, and later his estate trustee. But the flood of anti-Semitic measures which had been unleashed by the “Anschluss” (the annexation of Austria to Nazi Germany) made it unbearable and dangerous to stay: this copy of a tax clearance certificate dated November 24, 1938 testifies to Hanna Spitzer’s efforts to gather the papers required for emigration. Already in January, she had arranged for the shipping of 11 containers of household effects and paintings to Melbourne and a delivery to the address of her sister, Edith Naumann, in Haifa.
Ernst Patzer, an employee of the criminal investigation department of the Berlin police and seriously disabled in World War I, had lost his job in March 1938. The reason was the Public Service Law of 1937 which barred those married to Jews from public service – and Patzer had been married to a German-Jewish woman for 25 years. This additional move of the Nazi regime to push Jews and their relatives out of all spheres of life hit the Patzers very hard: he was the sole wage earner and, after 25 years of service, lost not only his position but also any claim to his pension. This letter of October 24, 1938, shows how step by step, Ernst Patzer was excluded from civic participation. In vain he wrote, as a former frontline soldier, to Hitler and Göring, in order to obtain continued employment with a government agency. The marriage lasted, and he finally found work as an auditor with AEG (a producer of electrical equipment). The Patzers survived National Socialism.
Alfred Basch, born September 27th, 1915, in Magdeburg, was henceforth stateless. With the publication of his name in the Gazette of the German Reich, he was deprived of German citizenship. The basis for this was the “Law on the Revocation of Naturalizations and the Deprivation of German Citizenship.” It had been valid for five years. Yet in recent months the number of denaturalizations had clearly risen, often affecting persons and families, who after World War I thanks to the comparably liberal naturalization policy of the Weimar Republic, had become German citizens. On the basis of this law, in September 1938 alone, 116 families became stateless from one day to the next. And that wasn’t enough. The publication of their full names and places, as well as dates of birth, set them up as targets for discrimination, making it impossible for them to go on living a normal life, even if only temporarily.
Even though expressions of anti-Semitism were common in Austrian vacation resorts decades before the annexation of Austria, a phenomenon that lead to the coining of the term “Summer Resort Anti-Semitism,” they remained popular with Austrian Jews. But when Liesl Teutsch’s uncle spent his vacation in Filzmoos in the Austrian province of Salzburg in August 1938, its spectacular vistas could not distract him from the unsettling circumstances. In this postcard to his niece in Vienna, he makes it very clear that it is not just the poor weather that prevented true rest and relaxation. He seems to be apprehensive of returning to Vienna, where an uncertain future awaits him.
Ludwig Schönmann, born in Neu-Isenburg in Germany in 1865, had come to Austria early in life and was thus spared the first five years of the Hitler regime. But from the day the German army entered Austria to annex the neighboring country in March 1938, the 73-year-old witnessed all the same persecution that had befallen Jews in Germany – only at an accelerated pace. Jewish businesses were ransacked and their owners expropriated. Jews were publicly humiliated and expelled from the Burgenland region, where they had first settled in the 13th century. Jewish students and teachers were pushed out of the universities, and the infamous Nuremberg Laws were extended to Austria, leading to the removal of Jews from public service. The first page of a memorial album in honor of Ludwig Schönmann lists July 24 as the day of his death.
When the Halutz (Pioneer) Movement first began to establish itself in Germany in the 1920s, it had a hard time gaining traction among the country’s mostly assimilated Jews, who saw themselves as “German citizens of Jewish faith.” The Movement, which aimed to prepare young Jews for life in Palestine by teaching the Hebrew language as well as agricultural and artisanal skills, got its first boost during the Great Depression (from 1929), which made emigration more attractive as an opportunity for economic improvement. But even more significant growth took place after the Nazis’ rise to power: so-called “Hachscharot” sprung up all over Germany, instilling young Jews with a meaningful Jewish identity and imparting valuable skills. The photo presented here shows graduates of the Jewish Professional School for Seamstresses on Heimhuderstraße.
After three decades of making his fellow Austrians laugh, cabaret artist Fritz Grünbaum’s career was brought to an abrupt end by the Anschluss. His politics alone would have sufficed to make him intolerable for the new regime: Grünbaum had returned from action in World War I not only a decorated soldier but also an avowed pacifist. As for Nazism, he did not mince words. Since 1933, he had been getting more political, and when during a 1938 performance a power outage caused the stage lights to go out, he commented glibly, “I see nothing, absolutely nothing. I must have accidentally gotten myself into National Socialist culture.” His last performance at the famous cabaret “Simpl” in Vienna just two days before the Anschluss was followed by an artistic ban on Jews. Grünbaum and his wife Lilly, a niece of Theodor Herzl, tried to flee to Czechoslovakia but were turned back at the border. On May 24, he was interned at the Dachau concentration camp. Grünbaum was also known as a serious art collector, mostly of modernist Austrian works, and a librettist.
The diary of Dr. Hertha Nathorff (née Einstein) paints a vivid and at times nightmarish picture of the Jewish physician’s experiences in Nazi Germany. On April 24, she describes a visit with her parents in her native Laupheim in Swabia. Many Jewish shops had been sold, and their owners had emigrated. The Nazis’ efforts to malign and isolate the Jews had been so successful that passers-by were afraid to greet her. Her father had informed her that he was not going to sell the company which had been in the family’s possession for four generations and that he would prefer that it perish along with their name. The degree of isolation experienced by German Jews at the time is also evident in another episode mentioned in the diary: Dr. Nathorff is amazed at the fact that her former professor had the courage to send her regards through a patient.
A mere 20 years had passed since the end of World War I, during which Dr. Max Kirschner, a Frankfurt physician, had been decorated with the Iron Cross—remarkably, for extending aid to enemy infantrymen. Yet the fact that Kirschner had fought in the War as one of 100,000 German Jews, 12,000 of whom lost their lives, did not in the long run improve his standing with the authorities. In his eulogy for Hedwig Wallach, scion of an old Frankfurt family, he praised the deceased’s quiet devotion to her husband, her lively interest in her children and the quiet bravery with which she had borne her illness.
In the traveling exhibition “Degenerate Art,” initiated in Munich in 1937, the Nazis used 650 works of art confiscated from 32 museums in order to force their idea of art upon the populace: newer trends like expressionism, surrealism, or fauvism, to name just a few, were regarded as “Jewish-Bolshevist” and roundly disparaged. The front page of the exhibition catalog shows a piece titled “Large Head” from the workshop of the German-Jewish artist Otto Freundlich, one of the first exponents of abstract art. It was created in 1912 to symbolize hope for a new beginning. Even apart from Freundlich’s Jewish background and his artistic leanings, being a communist made him politically unacceptable in the eyes of the regime.
In the 78th and last year of its existence, the orthodox weekly Der Israelit reports on measures of the anti-semitic, pro-German Goga-Cuza government in Romania: The country’s Jews were subjected to various chicaneries and occupational bans similar to those in Germany. As a result of gains in territory and population in WWI, about 30% of Romanians belonged to minority groups, who were seen as a “Fifth Column.” Jews especially were the object of fears and suspicions which easily turned into violent hatred.