Her paintings were political accusations and constituted a threat to the Nazi regime. Lea Grundig, born in 1903 as Lina Langer, was arrested with her husband, Hans, by the Dresden Gestapo on June 1, 1938, and not for the first time. The explanation given on the form was “Suspicion of subversive activity.” What was meant was her art. With picture cycles like “Under the Swastika” or “It’s the Jew’s Fault,” Grundig, who since 1933 had been barred from her profession, hauntingly documented the brutality of the persecution of Jews and communists by the Nazis. In 1935, she gave one of her paintings the portentous title, “The Gestapo in the house.”
Since 1937, Lina and Siegmund Günzburger of Lörrach in southwest Germany and their son, Herbert, had been preparing their paperwork for emigration. The requirements amounted to nothing short of a nightmare. Prospective emigrants had to procure numerous personal documents, letters of recommendation, and affidavits. They were also required to prepare an inventory of all their belongings and to document that they had paid all their taxes. Apparently, the required documents also included this copy of the marriage certificate for Siegmund’s grandparents. Especially perfidious was the so-called “Reich Flight Tax.” Originally introduced in the waning days of the Weimar Republic to prevent capital flight in reaction to the government’s austerity policy, under the Nazis, it became a tool to cynically punish the Jews for leaving a country that was doing everything it could to make it unbearable for them to stay.
After the so-called “Aryan Paragraph” of the “Law for the Restoration of the Professional Civil Service” of April 7, 1933 came into effect, members of certain professions were required to prove their “purely Aryan descent” in order to continue practicing their professions. The 38 year-old surgeon Dr. Walter Bernhard Kunze of Freiberg in Saxony was among those who had to fill in a form regarding his lineage for the “Aryan certificate.” The form, dated May 15, 1938, contains personal data reaching back to the generation of his grandparents. To the form, the corresponding documents from the civil registry office and the parish office had to be attached. Obtaining the numerous copies from the church and communal offices in the places of birth and residence of the grandparents often entailed a significant bureaucratic burden to the individual. The “Aryan certificate” was an effective tool of National Socialist racial policy by which persons seen as “non-Aryan” could be stigmatized and increasingly marginalized.
After Polish-born Shulamit Gutgeld’s return to Palestine from several years of study in Berlin with the greats of German theater, Erwin Piscator and Max Reinhardt, she changed her name to Bat Dori – “daughter of my generation” or “contemporary.” And that she certainly was in a very conscious way: her plays were highly political and attuned to the events of the day—so much so that the British mandatory authorities forbade the performance of her 1936 play, “The Trial,” which called for peace between Jews and Arabs and was critical of the British. The Berlin branch of the Jüdischer Kulturbund, however, decided to produce the play. The document shown here is an invitation to the May 8 performance at the Kulturbund-Theater on Kommandantenstraße under the direction of Fritz Wisten.
Before Martha Kaphan could travel to Mandatory Palestine, she had to deposit the considerable amount of 800 Reichsmark at the Dresdner Bank. The Reich Office of Foreign Exchange Control, which played a major role in the exploitation of Jewish emigrants, demanded the sum for the issuance of her tourist visa. Thousands of Jews tried to enter Palestine illegally by means of tourist visas with the intention of applying for permanent visas later. Apparently, Martha Kaphan did not emigrate for long. The British Consulate confirmed her departure on December 24, 1938. The deposit was paid on December 29, 1938 in Breslau, and the account was closed on January 10, 1939.
Austrian municipalities were required by law to issue documents known as a Heimatschein to their inhabitants confirming their right of residence. These papers guaranteed their holders the right to live in a given area and were necessary to access social welfare support in case of need. In May 1938, the 1849 law establishing this system was still in force—at least on paper. The Heimatschein of Carl Grosser, a young Jewish businessman, was renewed on May 2, 1938. Grosser had graduated from the prestigious Wasagymnasium, with its strikingly high percentage of Jewish students (up to 70%), in his native Vienna in 1932. Afterward, he joined his father’s necktie business, spent time in Germany and England to expand his professional horizons, and traveled extensively throughout Europe.
In an ad in the Aufbau aimed at German immigrants, the Compass Travel Bureau in New York offered “expert advice in all matters related to immigration and the handling of all the formalities of traveling.” The reference to “formalities” elides the excruciating bureaucratic hurdles facing prospective emigrants. Jews desperate to leave Germany first had to obtain quota numbers and a plethora of documents from various German authorities and to contend with the slow postal service as they sought sponsors in America.
April 30 1938 marked the tenth and last day of “Aktion Arbeitsscheu Reich,” a punitive campaign targeting individuals deemed “work-shy” and “asocial.” The designation was sufficiently broad to target a vast array of elements deemed “undesirable” by the Nazis. Between 1,500 and 2,000 men thus classified were taken to the Buchenwald Concentration Camp in this first wave of such arrests, including Jews. They were identified by black triangles on their prison uniforms.
Marseille was one of the most important ports of departure for the refugees on their way overseas. It was here that Moses Wainstein obtained the papers he still needed for his emigration to Uruguay. This certificate of vaccination was written in Spanish for submission to the authorities there. The former Berliner had already had his belongings shipped to Marseille by a German company. Wainstein was 40 years of age at this point.
Heinrich Stahl, chairman of the Berlin Jewish Community since 1934, was heavily involved in the work of the various Jewish relief organizations, for which there was growing need as Nazism took hold. On April 13, 1938, his 70th birthday, he received a gift from the Ahawah Children’s Home, a photo album which showed the wide range of activities pursued by the charges of this exceptional institution (see March 17). The album included several photographs from the Ahawah’s new branch, which had been opened in Palestine in 1934. A heartfelt warmth and gratitude shine through this rhymed dedication thanking Stahl for his service to the community.
The entry of German troops into Austria on March 12 had preempted Chancellor Schuschnigg’s planned plebiscite on unification with Germany on March 13. The Nazis rescheduled the referendum for April 10 in conjunction with the first all-German Reichstag elections. Catholic bishops, under the leadership of Archbishop Theodor Innitzer, had issued a “solemn declaration” in which they called upon Catholic voters to cast their ballots in favor of the “Anschluss.” According to official figures, close to 100% of voters affirmed what was already an established fact. The document presented here is a voter ID to be used only by the addressee named on the front page. It explicitly excludes Jews from participating.
Was Hans Petzold, a 36 year-old native of Berlin, hoping to save himself by ending his affiliation with Judaism? Under a regime obsessed with racial purity, such measures made little difference. According to the “resignation card file” of the Berlin Jewish Community, Petzold filed to leave the Jewish religion (Judentum) on April 7, 1938. Curiously, an additional note indicates that he left the Jewish community the following month, on May 30. These files now held by the Centrum Judaicum Foundation at the Neue Synagogue in Berlin record the departures some 20,000 Berlin Jews from the faith or the community for many reasons going back to the 19th century. Some converted, some joined the orthodox secession community Adass Jisroel, and others simply moved away. After 1933, some may have hoped to escape persecution by the Nazi authorities.
The April 6 event at the Jüdischer Kulturbund (Jewish Cultural Association) in Hamburg was dedicated to dance. Elsa Caro, also known by her stage name, Juana Manorska, used challenging music not originally intended for dance as the inspiration for her performance. Since the beginning of the 20th century, the fixed, formulaic repertoire of movements in classical ballet seemed limiting and outdated to some. German dancers, among them Elsa Caro and the “half-Jewish” Gret Palucca, were at the forefront of those experimenting with new forms, a movement that gave birth to Ausdruckstanz, also known as “Expressionist Dance” or “modern dance.”
Wilhelm Hesse was the son of an orthodox business man. He resided in Hamburg with his wife Ruth and his two little daughters, Helen and Eva, whose early years he recorded in diaries that he kept for the children. The entries are interspersed with references to Jewish holidays and photographs of the children. In this entry, he documents proudly and in detail the progress of his daughter Helen, who is not yet five years old at this time. A lawyer with a doctorate, Hesse had been laid off already in April 1933.
The passage in July 1933 of a law allowing the government to revoke the citizenship of those naturalized after the end of WWI had given Nazi officials a tool to deprive “undesirables” of their citizenship. The law targeted the Nazis’ political adversaries as well as Jews; 16,000 Eastern European Jews had gained German citizenship between the proclamation of the republic on November 9, 1918 and the Nazi rise to power in January 1933. Among those whose names appear on the expatriation list dated March 26, 1938 are Otto Wilhelm, his wife Katharina and the couple’s three children, residents of Worms and all five of them natives of Germany.
Since its founding in 1904, the League of Jewish Women had worked to ensure the dignity and independence of Jewish women and especially to protect them from sexual exploitation by facilitating professional training. By 1938, another issue had come to the fore: emigration. On March 22, 1938, the Group of Professional Women within the League, represented by Dr. Käthe Mende, hosted a discussion for “female youth” about questions of career and emigration. The guest speaker was Lotte Landau-Türk, and the discussion was moderated by Prof. Cora Berliner, a former employee in the German Department of Commerce and a professor of economics who had been dismissed from public service after the Nazi rise to power in 1933.
Charles Manshel, a wealthy businessman and himself a native of Austria, promises his cousin in Baden near Vienna to prepare affidavits for her and her family once he has all the required personal information. The letter shows Manshel’s sincere efforts to not only pave the way to immigration for his relatives but also do something for the professional integration of his niece’s husband, Dr. Eduard Ehrlich. Manshel was no stranger to hardship himself, having provided for his family since his father’s premature death when he was 16 years old.
In the spring of 1938, the Berlin electrician Moses Wainstein was making arrangements to join the steady stream of Jewish emigrants. His destination was faraway Montevideo. He was planning to travel from Berlin to Marseille, where he intended to board a ship for South America. On March 1, he received the requisite French transit visa. Uruguay was regarded as a country with strong democratic traditions, little pressure on newcomers to adapt, and good job prospects for tradesmen. Jewish relief organizations and travel agencies advised prospective emigrants on choosing their new home, finding the best route possible, and procuring the required papers.
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 light of the looming danger, a young jazz musician from Breslau, Werner Dambitsch, considered various options for emigration. Like many others, he viewed Cuba, a destination for which it was significantly easier to obtain a visa, as a “waiting room” on the way to the final destination for many, the United States. While his application for immigration to Cuba was being processed, Dambitsch, to be on the safe side, seems to also have applied for a visa at the Colombian Embassy in Berlin. The document presented here is a doctor’s notice written by the doctor of the Colombian Embassy and attesting the perfect health of the prospective emigrant, one of the indispensable preconditions for receiving a visa.
After the Nazis’ rise to power, the economic historian and journalist Kurt Zielenziger fled to Amsterdam with his wife and son. There he co-founded the “Jewish Central Information Office,” the goal of which was to document the persecution of Jews by the Nazis and to spread the information. In this release, the Jewish Telegraphic Agency quotes his computation of Jewish emigrants from Germany according to destination countries. According to Zielenziger, by the end of 1937, a total of 135,000 Jews had left the country.
A representative of the New York office of Intria International Trade & Investment Agency Ltd., London, advises a client in New York to use the “Haavaramark” for “transfers to persons of Jewish descent residing in Germany.” The Haavara (transfer) Agreement had been made between Zionist representatives and the Nazis in 1933. It enabled emigrants to deposit money in a German account, which was used to pay for the import of German goods to Palestine. The proceeds from the sales of these goods in Palestine, after the deduction of costs, was disbursed to the new immigrants.
Werner Wilhelm Dambitsch was born on June 23, 1913 in Breslau (today Wroclaw, Poland). Werner was interested in music from an early age, but he had to purchase his first instrument, a saxophone, with money he had earned himself. He did this in 1932 at the age of 19 and founded with four friends the ‘Excentric [sic] Jazz Orchester’. In order to perform, the combo had to join the “Reichsverband der jüdischen Kulturbünde in Deutschland” (Reich Association of Jewish Cultural Federations) and was forced to change the name to “Erstes Jüdisches Jazz-Orchester” (First Jewish Jazz Orchestra). While the association did not guarantee steady income or employment, at least it allowed the artists to perform at events attended by Jewish audiences. This image shows Werner Dambitsch’s Kulturbund membership card.