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New England Holocaust Memorial, (sculpture)

Sculptor:
Saitowitz, Stanley
Medium:
Granite, glass, steel, concrete, and coal
Type:
Sculptures-Outdoor Sculpture
Sculptures
Owner/Location:
Administered by City of Boston Office of Cultural Affairs Boston City Hall, Room 716 Boston Massachusetts 02201
Located Carmen Park Congress Street between North & Hanover Streets Boston Massachusetts
Date:
1995
Notes:
Save Outdoor Sculpture, Massachusetts survey, 1996.
Summary:
A memorial to the Holocaust consists of six steel tower-like structures placed at regular intervals along a straight pathway, each structure represents a concentration camp --Belzac, Auschwitz, Sobibor, Majdanek, Treblinka, and Chelmno. The towers have glass walls that are etched with one million 7-digit numbers that represent the identification numbers tattooed on Holocaust victims. The towers rise above a grate-covered pit that glows and steams with burning coals. Between the towers are markers inscribed with the history of the Holocaust. Leading to the towers on both ends of the walkway are tablets inscribed with names of contributors, project information, and Holocaust background. A time capsule is buried at one end of the memorial.
Topic:
History--Europe--Holocaust
Allegory--Place--Belzac
Allegory--Place--Auschwitz
Allegory--Place--Sobibor
Allegory--Place--Majdanek
Allegory--Place--Treblinka
Allegory--Place--Chelmno
Abstract--Geometric
Control number:
IAS MA000173
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums

Holocaust Gates, (sculpture)

Holocaust Memorial Arch, (sculpture)
Sculptor:
Ciesluk, Karl
Medium:
Sculpture: bronzed jackets; Base: wrought iron
Culture:
Hebrew
Type:
Sculptures-Outdoor Sculpture
Sculptures-Arch
Sculptures-Gate
Sculptures
Owner/Location:
Free Public Library & Cultural Center of Bayonne, N.J Director's Office 697 Avenue C Mary Griffith Peters Sculpture Garden Bayonne New Jersey 07002
Date:
Modeled July-Sept. 1986. Dedicated April 24, 1988
Notes:
Save Outdoor Sculpture, New Jersey survey, 1996.
Summary:
Six authentic concentration camp jackets have been bronzed and are arranged semi-circular fashion against wrought iron bars over the gates at the entrance to the library.
Topic:
History--Europe--Holocaust
Ethnic
Dress
Allegory--Place--Treblinka
Allegory--Place--Auschwitz
Allegory--Place--Dachau
Allegory--Place--Majdanek
Allegory--Place--Buchenwald
Allegory--Place--Bergen-Belsen
Control number:
IAS NJ000210
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums

Witness : images of Auschwitz / illustrations by David Olère, prisoner at Auschwitz 1943-1945 ; text by Alexandre Oler, his son

Author:
Olère, David 1902-1985
Oler, Alexandre 1930-
Subject:
Auschwitz (Concentration camp)
Physical description:
65 p. : ill ; 23 x 26 cm
Type:
Pictorial works
Date:
1998
[1998]
Notes:
Cover title.
"... this is an advance reading copy from an unedited manuscript. It is intended for review purposes only. The completed book will contain additional illustrations, including five paintings reproduced in full color"--P. [2] of cover.
Topic:
Holocaust, Jewish (1939-1945)
Call number:
N40.1.O457x O4 1998
Data Source:
Smithsonian Libraries

Last traces : the lost art of Auschwitz / photography and text by Joseph P. Czarnecki ; introduction by Chaim Potok

Author:
Czarnecki, Joseph P
Physical description:
xv, 175 p. : ill. ; 26 cm
Type:
Books
Place:
Poland
Oswiecim
Date:
1989
20th century
Topic:
Mural painting and decoration
Auschwitz (Concentration camp) in art
Holocaust, Jewish (1939-1945), in art
Call number:
ND2812.P62 O834 1989X
ND2812.P62O834 1989X
Data Source:
Smithsonian Libraries

Médecins de la honte : la vérité sur les expériences médicales pratiquées à Auschwitz / Betty Truck, Robert-Paul Truck

Author:
Truck, Betty
Truck, Robert-Paul
Subject:
Auschwitz (Concentration camp)
Physical description:
188 p., [8] leaves of plates : ill. ; 21 cm
Type:
Books
Date:
1975
[1975]
Notes:
Includes index.
Topic:
World War, 1939-1945--Atrocities
Human experimentation in medicine
Call number:
D804.G4 T74X
D804.G4T74X
Data Source:
Smithsonian Libraries

Commandant of Auschwitz; autobiography. With an introd. by Lord Russell of Liverpool. Translated from the German by Constantine FitzGibbon

Author:
Höss, Rudolf 1900-1947
FitzGibbon, Constantine 1919-
Subject:
Auschwitz (Concentration camp)
Physical description:
285 p. illus. 22 cm
Type:
Books
Date:
1960
[1960, c1959]
Notes:
First published in Poland under the title: Wspomnienia.
Includes index.
Topic:
World War, 1939-1945--Prisoners and prisons, German
Call number:
D805.G3H553 1960X
Data Source:
Smithsonian Libraries

The bombing of Auschwitz : should the allies have attempted it? / edited by Michael J. Neufeld and Michael Berenbaum

Author:
Neufeld, Michael J. 1951-
Berenbaum, Michael 1945-
United States Holocaust Memorial Museum
Subject:
Auschwitz (Concentration camp)
Physical description:
xvii, 350 p. : ill. ; 25 cm
Type:
Congresses
Date:
2000
Notes:
Based on a symposium held April 30,1993 at the Smithsonian Institution, sponsored jointly by the National Air and Space Museum and the United States Holocaust Memorial Museum.
"Published in association with the United States Holocaust Memorial Museum."
Topic:
World War, 1939-1945--Aerial operations
Data Source:
Smithsonian Libraries

Auschwitz Survivors Tell Their Stories

Creator:
Smithsonian Magazine
Type:
Youtube videos
Uploaded:
2010-01-21T16:12:31.000Z
Video Title:
Auschwitz Survivors Tell Their Stories
Description:
Read more at http://www.smithsonianmag.com/history-archaeology/Can-Auschwitz-Be-Saved.html From the moment they arrived at the concentration camp, Jews and other Holocaust victims were treated like animals, and only a lucky group survived the experience.
Views:
165,072
Video Duration:
5 min 48 sec
Youtube Category:
Education
See more by:
SmithsonianMagazine
YouTube Channel:
SmithsonianMagazine
Data Source:
Smithsonian Magazine

Inge Prokot : Opfer-Täter : Auschwitz, Terror, Krieg : Kölnische Galerie des Kölnischen Stadtmuseums, 22. März - 27. April 1997 = Victim-Culprit / mit Texten von Paul Celan ... [et al.] ; mit Beiträgen von Michael Euler-Schmidt, Günther Bernd Ginzel, Alphons Silbermann

Victim-culpritOpfer-Täter, victim-culprit
Author:
Prokot, Inge 1933-
Celan, Paul
Euler-Schmidt, Michael
Ginzel, Günther Bernd 1946-
Silbermann, Alphons
Subject:
Prokot, Inge 1933- Exhibitions
Auschwitz (Concentration camp)
Physical description:
79 p. : chiefly ill. (some col.) ; 30 cm
Type:
Exhibitions
In art
Date:
1997
1997]
Notes:
Exhibition catalog.
Topic:
Holocaust, Jewish (1939-1945), in art
Call number:
ND588.P76 A4 1997
Data Source:
Smithsonian Libraries

Dino Brugioni Collection 1950s-2000s

Creator:
Brugioni, Dino
Physical description:
27 cubic feet (30 boxes)
Type:
Photographic prints
Collection descriptions
Lectures
Interviews
Articles
Date:
1950
1950-2000
1950s-2000s
Notes:
Dino Brugioni (b. 1921) is the former Chief of Information at the Central Intelligence Agency's (CIA) National Photographic Interpretation Center (NPIC). He flew a number of reconnaissance missions during World War II over North Africa, Italy and Germany, for which he received the Purple Heart and many other citations. After the war, Brugioni received BA and MA degrees in Foreign Affairs from George Washington University. In 1948, he joined the CIA and became an expert in Soviet industries. In 1955 Brugioni was selected as a member of the newly formed NPIC that would interpret Lockheed U-2, Lockheed SR-71 (Blackbird), and satellite photography. During Brugioni's 35 year career, he helped establish imagery intelligence as an national asset to solve intelligence problems. Brugioni's aerial reconnaissance work played a major role in discerning the US/USSR bomber and missile camps during the Cold War, and provided evidence for the Cuban Missile Crisis, the Vietnam War and the Yom Kippur War. After retirement, he encouraged the use of declassified photographic intelligence for historical research. Brugioni was one of the first historians to present photographic evidence of Auschwitz in the 1970s when he located film footage from a reconnaissance aircraft photographing a bombing run on a nearby Farben factory. Brugioni is also an authority on contrived or altered photography. He has written numerous books and articles on his field and received numerous citation and recommendations for his role in reconnaissance.
Summary:
This collection consists of 27 cubic feet of material relating to aerial reconnaissance, including the following types: aerial photography collected by Brugioni; lectures and interviews by Brugioni (on videotape); articles written by Brugioni; and the published secondary sources he collected to write those articles. The collection consists of five series. Series 1 consists of the binders created by Brugioni for his aerial reconnaissance research; Series 2 and 3 consists of subject folders relating to aerial reconnaissance; Series 4 consists of 700 scanned images of original photographs retained by Brugioni as well as copies of the following two reports: "The Holocaust Revisited: A Retrospective Analysis of the Auschwitz-Birkenau Extermination Complex," by Dino Brugioni and Robert Poirer, 1979 and "The Tighe Report," 1986; the last series consists of the videotaped lectures and interviews.
Cite as:
Dino Brugioni Collection, Accession 2012-0004, National Air and Space Museum, Smithsonian Institution
Topic:
Aerial photography
Aerial reconnaissance
Military intelligence
Cold War
Auschwitz (Concentration camp)
Cuban Missile Crisis, 1962
Local number:
2012-0004
Data Source:
National Air and Space Museum Archives

Surviving visions : the art of Iri Maruki and Toshi Maruki : an exhibition at the Massachusetts College of Art, Boston, Massachusetts, March 30-April 28, 1988 / edited by Henry Isaacs and John Junkerman ; introduction by John W. Dower

Author:
Maruki, Iri 1901-1995-
Maruki, Toshi 1912-2000-
Isaacs, Henry
Junkerman, John
Massachusetts College of Art
Subject:
Maruki, Iri 1901-
Maruki, Toshi 1912-
Auschwitz (Concentration camp)
Physical description:
40 p. : ill. (some col.) ; 27 x 30 cm
Type:
Pictorial works
Exhibitions
In art
Place:
Hiroshima-shi (Japan)
Date:
1988
C1988
Notes:
Title in Japanese on added t.p.: Ikitsuzukeru shikaku.
Topic:
World War, 1939-1945
Okinawa, Battle of, 1945 in art
In art
Call number:
ND1059.M3 A4 1988
N40.1.M3823S9 1988
Data Source:
Smithsonian Libraries

The last expression : art and Auschwitz / edited by David Mickenberg, Corinne Granof, Peter Hayes

Art and Auschwitz
Author:
Mickenberg, David 1954-
Mary and Leigh Block Museum of Art
Davis Museum and Cultural Center
Brooklyn Museum of Art
Subject:
Auschwitz (Concentration camp)
Physical description:
xv, 272 p. : ill. (some col.) ; 31 cm
Type:
Exhibitions
In art
Place:
Europe
Date:
2003
C2003
20th century
Notes:
Published in conjunction with a traveling exhibition held at the Mary and Leigh Block Museum of Art, Northwestern University, Evanston, Ill., Sept. 27-Dec. 8, 2002, the Davis Museum and Cultural Center, Wellesley College, Wellesley, Mass., Jan. 7-Feb. 14, 2003, and the Brooklyn Museum of Art, Brooklyn, N.Y., Mar. 7-June 15, 2003.
Topic:
Concentration camp inmates as artists
Art, European
Data Source:
Smithsonian Libraries

Friedl Dicker-Brandeis, Vienna 1898-Auschwitz 1944 : the artist who inspired the children's drawings of Terezin / written by Elena Makarova ; international coordinator, Regina Seidman Miller

Friedl
Author:
Makarova, Elena
Dicker, Friedl 1898-1944
Miller, Regina Seidman
Museum of Tolerance (Simon Wiesenthal Center)
Subject:
Dicker, Friedl 1899-1944
Theresienstadt (Concentration camp)
Physical description:
240 p. : ill. (chiefly col.) ; 30 cm
Type:
Exhibitions
In art
Date:
2001
C2001
Topic:
Jewish women artists
Concentration camp inmates as artists
Call number:
N40.1.D542 M35 2001
Data Source:
Smithsonian Libraries

After Auschwitz : responses to the Holocaust in contemporary art / edited by Monica Bohm-Duchen

Author:
Bohm-Duchen, Monica
Northern Centre for Contemporary Art (Sunderland, Tyne and Wear, England)
Physical description:
160 p. : ill. (some col.), map ; 28 cm
Type:
Exhibitions
Date:
1995
20th century
Notes:
Published on the occasion of the travelling exhibition 'After Auschwitz: Responses to the Holocaust in contemporary art'.
Contents:
A kind of survivor / George Steiner -- The Nazi holocaust : its moral, historical and educational significance / Ronnie S. Landau -- The complexities of witnessing ; Art confronts the holocaust / Ziva Amishai-Maisels -- Memory and counter-memory : towards a social aesthetic of holocaust memorials / James E. Young -- Fifty years on / Monica Bohm-Duchen -- Artists' statements -- List of works in exhibition
Topic:
Jewish art
Holocaust, Jewish (1939-1945), in art
Jews in art
Concentration camps in art
Art, British
Call number:
N7417.6 .A33 1995
Data Source:
Smithsonian Libraries

Überleben und widerstehen : Zeichnungen von Häftlingen des Konzentrationslagers Auschwitz 1940-46 : [Ausstellung] / Deutsch-Polnischen Gesellschaft der Bundesrepublik Deutschland e. V. und des Staatlichen Museums Oświęcim-Brzezinka ; Redaktion, Marina Stütz ; Übersetzung, Christine Kopka, Marina Stütz.]

Author:
Stütz, Marina
Kopka, Christine
Physical description:
85 p. : ill. ; 23 cm
Type:
Exhibitions
Place:
Auschwitz (Concentration camp) in art
Date:
1979
C1979
20th century
Topic:
Concentration camps in art
Art, Modern
Exhibitions
Call number:
NC95 .U14 1979
NC95.U14 1979
Data Source:
Smithsonian Libraries

Impossible to forget : the Nazi camps fifty years after / Michael Kenna ; texts by Pierre Borhan and Clément Chéroux

Author:
Kenna, Michael
Borhan, Pierre
Chéroux, Clément
Subject:
Kenna, Michael
Physical description:
127 p. : chiefly ill. ; 31 cm
Type:
Pictorial works
Place:
Europe
Date:
2001
C2001
Contents:
Camps in Austria, Belgium, Czechoslovakia, France, Germany, Holland, Italy, Latvia, and Poland: Auschwitz, Belzec, Bergen-Belsen, Breendonk, Birkenau, Buchenwald, Chelmno (Kulmhof), Dachau, Emsland (Papenburg), Flossenberg, Gross-Rosen, Gusen, (Lublin-)Majdanek, Mauthausen, Mittlebau-Dora, Natzweiler(-Struthof), Neuengamme, Plaszow, Ravensbrück, (Oranienburg-)Sachsenhausen, Salaspils, San Sabba, Sobibor, Stutthof, Theresiendstadt, Treblinka, Vught (S-Hertogenbosh), Westerbork
Topic:
World War, 1939-1945--Concentration camps
World War, 1939-1945--Prisoners and prisons, German
Data Source:
Smithsonian Libraries

Cosmogony of Desire

Diane von Fürstenberg
Artist:
Anh Duong, born 25 Oct 1960
Sitter:
Diane von Fürstenberg, born 31 Dec 1946
Medium:
Oil on canvas
Dimensions:
Stretcher: 243.8 × 182.9cm (96 × 72")
Type:
Painting
Place:
United States\New York\Kings\New York\Manhattan Island
Date:
2001
Exhibition Label:
Born Brussels, Belgium
Forty years ago, Diane Von Fürstenberg designed the iconic wrap dress that continues to captivate women from Madonna to Michelle Obama, Beyoncé to Kate Middleton. With its zipperless, buttonless construction, the dress allows its liberated wearer to move comfortably from home to the workplace to the evening and still look powerful, polished, and feminine. Von Fürstenberg says, “It’s the dress that . . . paid my bills, gave me my fame, and allowed me to be free.” Born in Belgium to Jewish parents, Von Fürstenberg credits her mother, a former prisoner in the Auschwitz concentration camp, for teaching her that “fear is not an option.”
Von Fürstenberg and artist Anh Duong share a bond as feminists. Duong began the portrait by painting one eye on the canvas and then worked the rest of the body around it. Von Fürstenberg noticed that in that one eye, “she completely and totally captured me.”
Cosmogony of Desire
Diane von Fürstenberg nacida en 1946
Nacida en Bruselas, Bélgica
Hace cuarenta años, Diane von Fürstenberg diseñó el emblemático vestido cruzado que sigue cautivando a las mujeres desde Madonna hasta Michelle Obama, Beyoncé y Kate Middleton. Confeccionado sin zíper ni botones, el vestido permite a su liberada dueña ir con comodidad del hogar al lugar de trabajo y continuar hasta la noche viéndose siempre segura, refinada y femenina. Von Fürstenberg dice que “Es un vestido que [...] pagó mis cuentas, me trajo fama y me permitió ser libre”. Nacida en Bélgica de padres judíos, Von Fürstenberg agradece a su madre, quien estuvo prisionera en el campo de concentración de Auschwitz, que le enseñara que “el miedo no es una de mis opciones”.
Von Fürstenberg y la artista Anh Duong comparten el vínculo de ser feministas. Duong comenzó el retrato pintando un ojo y en torno a él trabajó el resto del cuerpo. Von Fürstenberg observa que en ese ojo “me captó por completo”.
Anh Duong (nacida en 1960)
Óleo sobre lienzo, 2001
Donación de Diane von Fürstenberg
Topic:
Indeterminable
Diane von Fürstenberg: Visual Arts\Designer\Fashion Designer
Portrait
Credit Line:
National Portrait Gallery, Smithsonian Institution; Gift of Diane von Fürstenberg
Object number:
NPG.2015.3
See more items in:
National Portrait Gallery Collection
Exhibition:
Eye Pop: The Celebrity Gaze
On View:
NPG, South Gallery 126
Data Source:
National Portrait Gallery

Elisabeth Schumann

Maker:
Salomon, Erich
Physical Description:
paper (overall material)
Measurements:
overall: 27.9 cm x 35.5 cm; 10 31/32 in x 13 31/32 in
Object Name:
photograph
Place made:
United Kingdom: England, London
Date made:
ca 1937
Description (Brief):
Gelatin silver print; Elisabeth Schumann sings to exclusive audience at reception of the Austrian Legation in London, England. Front row, left to right: Dr. Neumayer, Austrian Finance Minister; former Spanish Queen, Victoria Eugenia; Baron von Franckenstein, Austrian envoy; Princess Marina (Dutchess of Kent); Dr. Kienbock, President of Austrian National Bank; Princess Helena Victoria; Mrs. Campbell.
Description:
The Erich Salomon Collection consists of two groups of gelatin silver prints from 1927-1943, totaling 140 prints. There is a certain amount of duplication between the groups. Accession 2002.0258 was acquired in 1965 from Salomon’s friend, Peter Hunter. These prints were made from Salomon’s original negatives. Accession 2002.0259 was acquired in 1965 from Magnum. Subjects in the collection are mainly photographs of politicians, diplomats, business magnates, royalty; European and American.
Dr. Erich Salomon (1886-1944) was born to a prominent Jewish family in Berlin, Germany. He became a lawyer before the outbreak of World War I but was drafted into service. When he returned, his family had lost its fortune and he needed to work. Salomon became interested in photography and soon specialized in taking photographs where cameras were not allowed and without his subject’s knowledge.
Salomon became famous in 1928 when his photographs from the Johann Hein murder trial in Coburg, Germany were published in the Berliner Illustrirte newspaper [see images PG*008164.42 and PG*008164.47]. From that point, Salomon became a freelance photographer, gaining admittance to even the most secure meetings and banquets. Salomon was labeled the first “candid cameraman” and called himself a bildjournalist, still the German word for “photojournalist.”
Salomon first used the common journalist’s camera – a 13 x 18 cm Contessa Nettel – but it was too cumbersome for his purposes. He soon switched to the Ermanox, a small plate-loaded camera perfect for photographing in low lighting. Salomon mastered the technique and used it until 1932 when he traded it for the Leica.
In 1933 Adolf Hitler came to power in Germany. As Jews, Salomon and his family were forced to flee to Holland, his wife’s homeland, for protection. Based in The Hague, he had greater access to the political conferences but he also began taking photographs of cultural events, such as concerts. Salomon traveled to Britain and the United States as well. In 1943, while on the verge of immigrating to America, Salomon, his wife and one son were forced to go into hiding when the Nazis overtook Holland. They were eventually deported and died at the Auschwitz labor camp in July of 1944.
Salomon’s images survive to this day because of his foresight. In order to keep the negatives safe he hid them in three separate places in Holland during the war. The first group was placed in the Dutch Parliament library. The second, he buried in the chicken coup at a friend’s home. This group was critically damaged by the dampness, though many of the plates are still printable. The third was in the custody of friend Peter Hunter. In 1952, the collection was consolidated in Amsterdam. Beginning in the 1950s, there were a number of exhibitions of his work, including a 1958 traveling exhibition which was acquired by the Smithsonian.
Location:
Currently not on view
Subject:
Photography
Erich Salomon Collection
Photo History Collection
ID Number:
PG*008164.02
Catalog number:
8164.02
2002.0258.02
Accession number:
2002.0258
See more items in:
Culture and the Arts: Photographic History
Erich Salomon Collection
Photo History Collection
Data Source:
National Museum of American History, Kenneth E. Behring Center

National Socialist Deputies

Maker:
Salomon, Erich
Physical Description:
paper (overall material)
Measurements:
overall: 36 cm x 28 cm; 14 3/16 in x 11 1/32 in
Object Name:
photograph
Place made:
Deutschland: Berlin, Berlin
Date made:
ca 1930
Description (Brief):
Gelatin silver print; German Reichstag in assembly. National Socialist deputies seated with backs to the President in protest.
Description:
The Erich Salomon Collection consists of two groups of gelatin silver prints from 1927-1943, totaling 140 prints. There is a certain amount of duplication between the groups. Accession 2002.0258 was acquired in 1965 from Salomon’s friend, Peter Hunter. These prints were made from Salomon’s original negatives. Accession 2002.0259 was acquired in 1965 from Magnum. Subjects in the collection are mainly photographs of politicians, diplomats, business magnates, royalty; European and American.
Dr. Erich Salomon (1886-1944) was born to a prominent Jewish family in Berlin, Germany. He became a lawyer before the outbreak of World War I but was drafted into service. When he returned, his family had lost its fortune and he needed to work. Salomon became interested in photography and soon specialized in taking photographs where cameras were not allowed and without his subject’s knowledge.
Salomon became famous in 1928 when his photographs from the Johann Hein murder trial in Coburg, Germany were published in the Berliner Illustrirte newspaper [see images PG*008164.42 and PG*008164.47]. From that point, Salomon became a freelance photographer, gaining admittance to even the most secure meetings and banquets. Salomon was labeled the first “candid cameraman” and called himself a bildjournalist, still the German word for “photojournalist.”
Salomon first used the common journalist’s camera – a 13 x 18 cm Contessa Nettel – but it was too cumbersome for his purposes. He soon switched to the Ermanox, a small plate-loaded camera perfect for photographing in low lighting. Salomon mastered the technique and used it until 1932 when he traded it for the Leica.
In 1933 Adolf Hitler came to power in Germany. As Jews, Salomon and his family were forced to flee to Holland, his wife’s homeland, for protection. Based in The Hague, he had greater access to the political conferences but he also began taking photographs of cultural events, such as concerts. Salomon traveled to Britain and the United States as well. In 1943, while on the verge of immigrating to America, Salomon, his wife and one son were forced to go into hiding when the Nazis overtook Holland. They were eventually deported and died at the Auschwitz labor camp in July of 1944.
Salomon’s images survive to this day because of his foresight. In order to keep the negatives safe he hid them in three separate places in Holland during the war. The first group was placed in the Dutch Parliament library. The second, he buried in the chicken coup at a friend’s home. This group was critically damaged by the dampness, though many of the plates are still printable. The third was in the custody of friend Peter Hunter. In 1952, the collection was consolidated in Amsterdam. Beginning in the 1950s, there were a number of exhibitions of his work, including a 1958 traveling exhibition which was acquired by the Smithsonian.
Location:
Currently not on view
Subject:
Photography
Erich Salomon Collection
Photo History Collection
ID Number:
PG*008164.19
Catalog number:
8164.19
2002.0258.19
Accession number:
2002.0258
See more items in:
Culture and the Arts: Photographic History
Erich Salomon Collection
Photo History Collection
Data Source:
National Museum of American History, Kenneth E. Behring Center

French Foreign Minister Briand Discovers Salomon Taking Photographs

Maker:
Salomon, Erich
Physical Description:
paper (overall material)
Measurements:
overall: 28 cm x 35.7 cm; 11 1/32 in x 14 1/16 in
Object Name:
photograph
Place made:
France: Île-de-France, Paris
Date made:
1931-07
Description (Brief):
Gelatin silver print; Banquet at Quai d-Orsay, Paris. French Foreign Minister Briand discovers Salomon taking photographs. Left to right, Paul Reynaud, Minister of Colonial Affairs; Aristide Briand; Champetier de Rives, Minister of Pensions; Edouard Herriot; Leon Berard, Minister of Justice.
Description:
The Erich Salomon Collection consists of two groups of gelatin silver prints from 1927-1943, totaling 140 prints. There is a certain amount of duplication between the groups. Accession 2002.0258 was acquired in 1965 from Salomon’s friend, Peter Hunter. These prints were made from Salomon’s original negatives. Accession 2002.0259 was acquired in 1965 from Magnum. Subjects in the collection are mainly photographs of politicians, diplomats, business magnates, royalty; European and American.
Dr. Erich Salomon (1886-1944) was born to a prominent Jewish family in Berlin, Germany. He became a lawyer before the outbreak of World War I but was drafted into service. When he returned, his family had lost its fortune and he needed to work. Salomon became interested in photography and soon specialized in taking photographs where cameras were not allowed and without his subject’s knowledge.
Salomon became famous in 1928 when his photographs from the Johann Hein murder trial in Coburg, Germany were published in the Berliner Illustrirte newspaper [see images PG*008164.42 and PG*008164.47]. From that point, Salomon became a freelance photographer, gaining admittance to even the most secure meetings and banquets. Salomon was labeled the first “candid cameraman” and called himself a bildjournalist, still the German word for “photojournalist.”
Salomon first used the common journalist’s camera – a 13 x 18 cm Contessa Nettel – but it was too cumbersome for his purposes. He soon switched to the Ermanox, a small plate-loaded camera perfect for photographing in low lighting. Salomon mastered the technique and used it until 1932 when he traded it for the Leica.
In 1933 Adolf Hitler came to power in Germany. As Jews, Salomon and his family were forced to flee to Holland, his wife’s homeland, for protection. Based in The Hague, he had greater access to the political conferences but he also began taking photographs of cultural events, such as concerts. Salomon traveled to Britain and the United States as well. In 1943, while on the verge of immigrating to America, Salomon, his wife and one son were forced to go into hiding when the Nazis overtook Holland. They were eventually deported and died at the Auschwitz labor camp in July of 1944.
Salomon’s images survive to this day because of his foresight. In order to keep the negatives safe he hid them in three separate places in Holland during the war. The first group was placed in the Dutch Parliament library. The second, he buried in the chicken coup at a friend’s home. This group was critically damaged by the dampness, though many of the plates are still printable. The third was in the custody of friend Peter Hunter. In 1952, the collection was consolidated in Amsterdam. Beginning in the 1950s, there were a number of exhibitions of his work, including a 1958 traveling exhibition which was acquired by the Smithsonian.
Location:
Currently not on view
Subject:
Photography
Erich Salomon Collection
Photo History Collection
ID Number:
PG*008164.33
Catalog number:
8164.33
2002.0258.33
Accession number:
2002.0258
See more items in:
Culture and the Arts: Photographic History
Erich Salomon Collection
Photo History Collection
Data Source:
National Museum of American History, Kenneth E. Behring Center

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