ARTS 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