Table Of ContentARTS IN EXILE IN
BRITAIN 1933-1945
POLITICS AND
CULTURAL IDENTITY
THE YEARBOOK OF THE RESEARCH CENTRE
FOR GERMAN AND AUSTRIAN EXILE STUDIES
6
INSTITUTE OF GERMANIC AND
ROMANCE STUDIES
UNI ERSITY OF LONDON
Editorial Board
Charmian Brinson, Richard Dove, John Flood,
Anthony Grenville, Marian Malet, J.M. Ritchie,
Jennifer Taylor, Ian Wallace
The aim of the Research Centre is to promote research in the field of German-
speaking exiles in Great Britain. To this end it organises conferences and
publishes their proceedings, holds research seminars, and publishes its own
Yearbook. Its members cooperate in the writing of scholarly studies, including
Changing Countries: The Experience and Achievement of German-speaking
Exiles from Hitler in Britain from 1933 to Today (London: Libris, 2002)and
Wien-London, hin und retour: Das Austrian Centre in London 1939-1947
(Vienna: Czernin Verlag, 2004). Though the Research Centre has primarily
concerned itself with the German-speaking refugees from Nazism in Britain,
it is extending its scope to include German-speaking exiles of other periods
and comparable groups of European refugees. Given its location near the
heart of the principal centre of settlement of the refugees from Germany, the
Research Centre readily provides advice and useful contacts to scholars and
postgraduates working in the field.
Amsterdam - New York, NY2005
ARTS IN EXILE IN
BRITAIN 1933-1945
POLITICS AND
CULTURAL IDENTITY
Edited by
Shulamith Behr
and Marian Malet
The paper on which this book is printed meets the requirements of
‘ISO 9706: 1994, Information and documentation - Paper for documents -
Requirements for permanence’.
ISSN: 1388-3720
ISBN: 90-420-1786-4
Editions Rodopi B.V., Amsterdam - New York, NY2005
Printed in The Netherlands
TABLE OF CONTENTS
Table of Illustrations vii
Preface 11
Klaus E. Hinrichsen:
The Art Historian behind ‘Visual Art behind the Wire’ 17
Shulamith Behr
ART AS POLITICS
Politics, Photography and Exile in the
Life of Edith Tudor-Hart (1908–1973) 45
Duncan Forbes
Hanging Hitler:
Joseph Flatter’s Mein Kampf Illustrated Series, 1938–1942 89
Rebecca Scragg
Fred Uhlman’s Internment Drawings 135
Anna Müller-Härlin
BETWEEN THE PUBLIC AND THE DOMESTIC
A Minor Language?
Three Émigré Sculptors and their Strategies of
Assimilation 167
Margaret Garlake
Ernst L. Freud – Domestic Architect 201
Volker M. Welter
CREATINGFRAMEWORKS
‘It all happened in this street, Downshire Hill’:
Fred Uhlman and the Free German League of Culture 241
Anna Müller-Härlin
Exhibitions as Morale Boosters.
The Exhibition Programme of the Warburg Institute
1938–1945 267
Dorothea McEwan
vi
Muteness as Utterance of a Forced Reality -
Jack Bilbo’s Modern Art Gallery (1941-1948) 301
Jutta Vinzent
Immigrant Picture Restorers of the German-speaking
Worldin England from the 1930s to the Post-war Era 339
Ulrik Runeberg
Index 372
TABLE OF ILLUSTRATIONS
1. Kurt Schwitters,Klaus Hinrichsen, 1941, oil on board,
Private Collection, London. © DACS 2005 21
2. Edith Suschitzky,The Arrest, Vienna, c. 1933.
Scottish National Photography Collection 49
3. Edith Suschitzky, Unemployed Workers’ Demon-
stration, Vienna, 1932.
Scottish National Photography Collection 59
4. Kuckuck, no. 34, 21 August 1932, p. 4. 61
5. Edith Tudor-Hart,London Market, date unknown.
Scottish National Photography Collection 63
6. Edith Tudor-Hart, Dog Beauty Parlour, c. 1937, and
London Backyard (Gee Street, Finsbury), 1936, also
published in Lilliput, April 1939, pp. 426–427.
(Photo: courtesy of Wolfgang Suschitzky) 69
7. Edith Tudor-Hart,Sedition?, published in Left Review,
March 1935. 70
8. Edith Tudor-Hart, Basque Children, Stoneham Camp,
England, 1938.
Scottish National Photography Collection 76
9. Joseph Flatter, The Agitator, 1938, Mein Kampf
Illustrated series, ink and wash on paper, 32.4 x
47.2 cm. IWM ART 16684.
Caption: ‘If the Jew conquers the world, this planet will
drive again through the ether once again empty of
mankind as it did millions of years ago.’ MK/II.
(Collection Imperial War Museum, © The Artist’s Estate) 95
10. Joseph Flatter,Written and Living Documents,
c. 1942, ink and crayon on paper, 43.8 x 29.8 cm.
IWM ART LD 7095.
Caption: ‘Reminds me of the young days when we
played about with burning books.’
(Collection Imperial War Museum, © The Artist’s Estate) 103
11. Joseph Flatter, Poor Fuehrer, he did not know of the
Concentration Camp Horrors, 1938, Mein Kampf
Illustrated series, ink on paper, 43.8 x 29.8cm.
IWM ART LD 6878.
Caption: ‘If during the last war twelve or fifteen
thousand of these Jews had been forced to submit to
poison gas, the millions of sacrifices made at the front
would not have been made in vain.’
(Collection Imperial War Museum, © The Artist’s Estate) 105
viii
12. Joseph Flatter, Heil Horlicks!, 1939, Mein Kampf
Illustrated series, ink on paper, six cartoon sequence,
each 13.9 x 11.4 cm. IWM cat: LD6853. 114
Captions:
(I) I am the German Fuehrer but very often I feel dead
tired. Lately I can’t make up my mind when it comes to
important decisions.
(II) Public speeches now prey on my nerves, my self-
confidence is failing me. The audience is falling off.
(III) Till my friend Herman in his straightforward way
told me that in a state like that I was not exactly helping
to win the war. He talked of night starvation, named a
famous professor I was to see.
(IV) ‘What all men need, mein Fuehrer, is First Group
Sleep’, the professor said, ‘there are three Sleep groups,
you unfortunately belong to the third. What you want is
Horlicks, but you can’t get it now - it’s made in cursed
England, you know.’
(V) In order to get Horlicks the Fuehrer at last orders the
Invasion of England - -
(VI) - But there is also a Fourth Group Sleep the Fuehrer
was not told about!
(Collection Imperial War Museum, © The Artist’s Estate)
13. Joseph Flatter, I dreamt of a wreath of laurels,
c. 1938–40, Mein Kampf Illustrated series, ink and
crayon on paper, 27.9 x 36.8 cm. IWM LD 7077.
Caption: ‘I dreamt of a wreath of laurels’.
(Collection Imperial War Museum, © The Artist’s Estate) 118
14. Fred Uhlman, Sermon on the Mount, 1940, pen and
charcoal on paper, 20.5 x 25.0 cm,
Galerie der Stadt Stuttgart 136
15. Fred Uhlman, À mon enfant nouveau né, Douglas IoM,
July 1940, pen, black ink and charcoal on paper,
20.5 x 25.3 cm.
In: Captivity, Twenty-four Drawings by Fred Uhlman,
introduced by Raymond Mortimer
(London: Jonathan Cape, 1946). 146
16. Fred Uhlman, Danse macabre, 1940, pen, black ink
and charcoal on paper, 19.5 x 16.7 cm.
In: Captivity, Twenty-four Drawings by Fred Uhlman
(as above). 146
17. Fred Uhlman, Le bateau des fous II, 1940, Indian and
brown ink, crayons on paper, 22.9 x 32.9 cm,
(Photo: courtesy of Fitzwilliam Museum, Cambridge) 148
ix
18. Fred Uhlman, Ecclesia Militans III, August 1940, pen,
black ink, charcoal and graphite on paper, 20.3 x
25.3 cm. In: Captivity, Twenty-four Drawings by Fred
Uhlman(as above). 149
19. Fred Uhlman,Wenn er wiederkaeme, 1940, black chalk
and black ink, grey wash on paper, 17.9 x 24.2 cm.
(Photo: courtesy of Fitzwilliam Museum, Cambridge) 152
20. Fred Uhlman, Ecclesia Militans V, 1940, Indian and
brown ink, grey wash on paper, 18.8 x 20.3 cm.
(Photo: courtesy of Fitzwilliam Museum, Cambridge) 154
21. Fred Uhlman, Untitled, 1940, pen, black ink and
charcoal, 23.7 x 31.1 cm.
In: Captivity, Twenty-four Drawings by Fred Uhlman
(as above). 156
22. Georg Ehrlich,Pax, 1945, bronze, over-lifesize, Canley
Cemetery, Coventry. (Photo: Margaret Garlake) 181
23. Siegfried Charoux, Manual Work: Mining (detail),
1951, Portland stone, 3.6m high, St Swithin’s,
Walbrook, London.
(Photo: Conway Library, Courtauld Institute of Art, London) 185
24. Franta Belsky, Fountain, 1961/2, bronze, 914 cm high,
Shell Centre, London.
(Photo: Terry Cavanagh) 191
25. Franta Belsky, Joy-ride, 1958, bronze, over-lifesize,
Stevenage New Town.
(Photo: Conway Library, Courtauld Institute of Art, London) 192
26. Paul and Ilka Schimek house, Westend, Berlin, 1922,
demolished c. 1973, garden façade.
(Photo: RIBA Library Photographs Collection) 214
27. Dr Theodor and Margot Frank country house, Geltow
near Berlin, 1928–30, oblique view of entrance façade
and kitchen yard as seen in 1992.
(Photo: Volker M. Welter) 217
28. Dr Adolf and Heide Marx house, Hampstead, London,
1935–36, garden façade.
(Photo: RIBA Library Photographs Collection) 222
29. Miss Nellie Muriel Gill,called Miss K. Gill, music room
at Pine House, Churt, Hindhead, Surrey, 1936, garden
façade.(Photo: RIBA Library Photographs Collection) 224
30. Portrait photograph of Saxl.
(WIA, Photo Archive, © The Warburg Institute, London) 269
