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CAMPS

1 NAZI TRIANGLE CHART

1 NAZI TRIANGLE COLORS, these posters were used in 'Concentration Camps' to identify different categories of 'Häftlinge' - prisoners.

2 CHILDREN

2D Art-High School, Mother

2D ART-HIGH SCHOOL, MOTHER(S) by Bella Burrell, Springdale Jr. Sr. High School. Mother(s) is a depiction of Rosa Kugelman’s point of view as her daughter, Stella, was separated from her upon arriving in Ravensbruck. Tear blurred colors, only seconds to remember your four year old’s face forever. Although Rosa ultimately does not survive the concentration camp this would not be the last time she and her daughter would meet. Through the help of other women in the camp Stella and Rosa would reunite once more. Not only did these women ensure Stella wouldn’t forget her mother, but protected her in Rosa’s absence. Stella survived Ravensbruck, having only her camp mothers and her own resilience to blame.

3rd Place Art Winner

3RD PLACE ART WINNER, Willem Dorros, 8th grade, Christ Presbyterian Academy in Nashville
When I was 11 years old, I saw a play put on by a high school in Chicago. It was about the children at the Terezin Camp in the Czech Republic. The play detailed the horrific things done during the holocaust, yet showed how the children were joyful and full of hope and love. I took home with me a book filled with poems from the children in Terezin: “I Never Saw Another Butterfly.” The book is full of drawings and writings from children, many who were younger than me and who were persecuted just for being alive.

12 July 1884

12 JULY 1884 | A Czech Jewish woman, Markéta Lanzerová, was born in Krnov.
She was deported to #Auschwitz from #Theresienstadt Ghetto on 18 December 1943. She did not survive. Tennyson. Sarah in @tennysonsarah1 Markéta, called 'Margaret' by her friends, was the daughter of Ludwig Vogel +Johana Schäffer. She was married to Eduard, a merchant, born 31-7-1876 to Zikmund Lanzer +Charlotta Bellak. They were deported to Theresienstadt on 17-12-1941 & Eduard, 66, perished there on 7-8-1942.

291576

291576, unknown artist.

A charred corpse in the Leipzig-Thekla sub-camp of Buchenwald

A CHARRED CORPSE IN THE LEIPZIG-THEKLA SUB-CAMP OF BUCHENWALD. [The body is possibly that of an American POW.] 1945 April 19 - May 1945. Leipzig-Thekla, Germany. United States Holocaust Memorial Museum, courtesy of National Archives and Records Administration, College Park.

A CONCENTRATION CAMP SCENE

A CONCENTRATION CAMP SCENE, in the camp yard, surrounded by a barbed wire fence. The prisoners are divided into two groups on either side of the yard with the uniformed guards standing in the center. Hartman, Jan

A Day Off

A DAY OFF, by Włodzimierz Siwierski, Auschwitz 1941 (Auschwitz-Birkenau State Museum)

A DRAWING BY DAVID OLERE

A DRAWING BY DAVID OLERE: Nazi Germany built the Auschwitz death camp after occupying Poland during World War II.

A dying Hungarian Pianist

A DYING HUNGARIAN PIANIST includes an inscription, a quote from the subject: “I am glad you are recording what they have done to me”.

A FACE BEHIND

A FACE BEHIND the Barbed Wire. Artwork Marian Kołodziej. Photo by Piotr Markowski.

A former gas chamber

A FORMER GAS CHAMBER at Stutthof concentration camp, east of Gdańsk in Poland. Photograph: Pool/Getty Images

A group of forced laborers

A GROUP OF FORCED LABORERS at work in Kraków-Płaszów camp in German-occupied Poland. Courtesy of The Wiener Holocaust Library Collections.

A GROUP OF YOUNG CHILDREN

A GROUP OF YOUNG CHILDREN just before they were executed by an Einsatzkommando (Soviet Union, wartime. Central State Archives of Film, Photo and Phonographic Documents of the Latvian SSR, USHMM Photo).

A KAPO INFLICTS A BEATING

A KAPO INFLICTS A BEATING at Bergen-Belsen. Ervin Abadi. Completed at Hillersleben DP camp, May, 1945. Soldier Monroe Williams collection.

A pencil sketch by unknown inmate

A PENCIL SKETCH BY UNKNOWN INMATE

A PHOTOGRAPH OF JEWISH CHILDREN

A PHOTOGRAPH OF JEWISH CHILDREN in Terezín taken during the inspection by the International Red Cross

A photograph secretly taken

A PHOTOGRAPH SECRETLY TAKEN by Ravensbrück prisoners, showing a group of Polish civilian women and children arriving at Ravensbrück from Warsaw after the suppression of the Warsaw Uprising in 1944. c. October 1944. Courtesy of the United States Holocaust Memorial Museum.

A PICTURE IS WORTH

A PICTURE, is worth 6 million words.

A Polish-French Jew

A POLISH-FRENCH JEW, David Olère, painted Auschwitz death camp scenes after surviving the horrors there. This is a self-portrait.

A Portrait of Piotr Kajzer

A PORTRAIT OF PIOTR KAJZER, by Franciszek Jaźwiecki, Buchenwald 1944. (Auschwitz-Birkenau State Museum)

A ROMANI (GYPSY) VICTIM

A ROMANI (GYPSY) VICTIM of Nazi medical experiments to make seawater safe to drink. Dachau concentration camp, Germany, 1944.

A snow detail at the Natzweiler- Struthof concentration camp

A SNOW DETAIL AT THE NATZWEILER- STRUTHOF CONCENTRATION CAMP, 1944. USHMM ws #13011, courtesy of ecpad

A STAR OF DAVID

A STAR OF DAVID carved into a wall of a children’s barracks at Birkenau

CAMP WESTERBORK

CAMP WESTERBORK, Camp Westerbork was a transit camp in Drenthe province, northeastern Netherlands, during World War 2. Established by the Dutch government in the summer of 1939, Camp Westerbork was meant to serve as a refugee camp for Jews from Germany who had illegally entered the Netherlands. Camp Westerbork was utilized as a staging ground for the deportation of Jews. Only one-half square kilometer (119 acres) in area, the camp was not built for the purpose of industrial murder as were the Nazi extermination camps in Poland.

Capo selecting some prisoners

NEVER TO FORGET THE JEWS OF THE HOLOCAUST, FACTUAL?, Meltzer writes the story of the Holocaust from an interesting viewpoint. Because he is a young 15-year-old American Jew, watching the events of the war from afar, he brings a passion to the delivery of the historical information that makes it more engaging and powerful.

CHELMNO EXTERMINATION CAMP

CHELMNO EXTERMINATION CAMP 1, 8 December 1941 | The first group of Jews were deported & murdered in mobile gas chambers in Kulmhof (Chełmno). Chelmno was established December 1941. The first commandant was Herbert Lange. The camp consisted of two parts: administration section, barracks, and storage for plundered goods; burial and cremation site. It operated three gas vans using carbon monoxide. The camp began operations on December 7th, 1941, and ended operations on March 1943. It resumed operations June 23, 1944, and finally ceased operations January 17, 1945. The estimated number of deaths is 150-300,000, mainly Jews.

CHELMNO EXTERMINATION CAMP

CHELMNO EXTERMINATION CAMP 2, Chelmno was established in December 1941. The first commandant was Herbert Lange. The camp consisted of two parts: administration section, barracks, and storage for plundered goods; burial and cremation site. It operated three gas vans using carbon monoxide. The camp began operations on December 7th, 1941, and ended operations on March 1943. It resumed operations June 23, 1944, and finally ceased operations January 17, 1945. The estimated number of deaths is 150-300,000, mainly Jews.

CHILD’S DRAWING

CHILD’S DRAWING of Terezin Bunks.

CHILDREN AT THE

CHILDREN AT THE Stara Gradiska sub-camp. Photo: Jasenovac Memorial Site.

CHILDREN LOCKED UP

CHILDREN LOCKED UP in a tower in Stara Gradiska, part of the Jasenovac concentration camp. Photo: Wikimedia Commons/United States Holocaust Memorial Museum.

Cicci has everything

CICCI HAS EVERYTHING, a girl could want: a beautiful and comfortable life, a family that loves her, many friends and a great passion for music. But she is Jewish and during the war everything changes. She will only have her violin left, which she will not part with at any cost. It will be he who will tell, after a long silence, Cicci's slow descent towards the hell of the Auschwitz concentration camp, where she will be forced to play for the SS. However, he will discover that music sets you free. A moving tale based on a true story.

concentration camp

CONCENTRATION CAMP DRAWING by Bertrand Neuman from Belgium.

CREMATORIES IN EBENSEE

DAVID OLÈRE DEPARTURE FOR WORK

DAVID OLÈRE, DEPARTURE FOR WORK (1946; drawing; Lohamei HaGeta’ot, Ghetto Fighters House)

David Olère Punished in the Bunker

DAVID OLÈRE PUNISHED IN THE BUNKER by David Olère. 46x61 cm, Yad Vashem Art Museum, Israel. The cell was so narrow that Olère was unable to sit, stretch or lie down for the 48 hours of his punishment.

DAVID OLÈRE THE OVEN ROOM

DAVID OLÈRE, THE OVEN ROOM (1945; drawing, 58 x 38 cm; Lohamei HaGeta’ot, Ghetto Fighters House)

David Olère’s artwork

DAVID OLÈRE’S ARTWORK. Olère shows the cruel Nazi slogan "work makes you free" and a crematorium chimney. He died in France in 1985 aged 83.

Daybreak

DAYBREAK, 1945, Zinovii Tolkatchev, Pencil on paper. Gift of Anel Tolkatcheva and Ilya Toklatchev.

DEATH

DEATH: A drawing, likely done in 1941 and signed “Rozenfeld,” from the archive.

Deported to the camp

DEPORTED TO THE CAMP from Paris in 1943, Olère was forced into the Sonderkommando - a unit which collected corpses after gassing.

Deportees say

DEPORTEES SAY they were systematically shaven as soon as they arrived in the death camps. These accounts of abuse were pervasive in the shocking testimonies of survivors.

Detail from Entertainment

DETAIL FROM 'ENTERTAINMENT,' a drawing of the Terezín concentration camp by Bedřich Fritta, from 1943. Collection of Thomas Fritta Haas. ('Our Will to Live' by Mark Ludwig, published by Steidl/ via JTA)

DETAIL OF BURNING OF THE CORPSES AT THE NINTH FORT

DETAIL OF BURNING OF THE CORPSES AT THE NINTH FORT, 1943 Drawing by Slave Laborer Anatoli Garnik-Gran - Ninth Fort - Kaunas – Lithuania.

DISABLED PEOPLE WERE HOLOCAUST VICTIMS

DISABLED PEOPLE WERE HOLOCAUST VICTIMS, too: they were excluded from German society and murdered by Nazi programs. Published: January 26, 2023 2:06pm EST

Dissection of the Dead

‘DISSECTION OF THE DEAD.’ David Olère (1902-85) was transported to Auschwitz on March 2, 1943. He was forty-one years of age. Olère was an artist who had studied at the Academy of Fine Arts in Warsaw, Poland, before moving to Gdansk then Berlin and finally Paris, where he worked as a set designer on movies. His traveling and working across Europe had given Olère a great fluency with languages. This was to save his life when he arrived at Auschwitz. As most of the SS guards at the camp had no interest in speaking anything but German, Olère was required to work as a translator. He was assigned to work as a Sonderkommando—one of the death camp prisoners who was used to dispose of the bodies of the thousands upon thousands of gas chamber victims at Auschwitz. Olère saw at first hand the German soldiers’ brutal and horrific actions. His talents as an artist were also used by the SS guards. Olère was made write and illustrate letters home to soldiers’ families and produce drawings of the guards at their work. Olère used what little free time he had to start documenting the truth about Auschwitz. He felt utterly compelled to document the lives of all those who did not survive. Olère’s drawings proved to be crucial evidence as to how the Nazis callously exterminated the Jews at Auschwitz.

DRANCY TRANSIT CAMP

DRANCY TRANSIT CAMP, the camp of Drancy was a transit camp located not far from Paris. Like many other camps in France, it was created by the government of Philippe Petain and was under the control of the French police. In 1941, the first raids against Jews were ordered by the Nazis and conducted by the French police. The victims of these raids were transferred to Drancy.

DRANCY, FRANCE

DRANCY, FRANCE, December 3, 1942, Jews in the transit camp. Photo: Yad Vashem
64,759 Jews were deported from Drancy in 64 transports. Approximately 61,000 of these Jews were sent to Auschwitz-Birkenau and 3,753 were sent to Sobibor. Fewer than 2,000 of the almost 65,000 Jews deported from the Drancy camp survived the Holocaust.

DRAW WHAT YOU SEE

“DRAW WHAT YOU SEE!” Helga spent almost three years in the Terezín ghetto. In her free moments, she continued her diary and drawings. Shortly after arriving, Helga sent her first Terezín drawing – of children building a snowman – to her father in the Sudeten Barracks. On the basis of her father’s advice – “Draw what you see!” – she began to depict life in the Terezín ghetto. In total, she made more than a hundred drawings, which show the conditions of everyday life as well as several exceptional occurrences from the perspective of a 12–14 year old girl. Helga was unusually self-reliant for her age; she enjoyed drawing and was technically proficient. These drawings show an unquestionable talent, an attempt to master form and to provide a vivid insight, as well as a perception of reality and attention to unexpected detail without stylization or sentiment. She often took note of seemingly unimportant details that enliven her drawings with her own story. In this way, she created a unique and particularly effective group of documents, which differ from other Terezín artworks in terms of their power to convey and their authenticity.

GAS CHAMBER BUILDING IN AUSCHWITZ

GAS CHAMBER BUILDING IN AUSCHWITZ, the building that contained the first crematorium and gas chamber.

GAS VAN

GAS VAN, members of the war crimes commission examine a mobile killing van in which Jews were gassed while being transported to the crematoria at Chelmno. After the June 1941 German invasion of the Soviet Union and Einsatzgruppe mass shootings of civilians, the Nazis experimented with gas vans for mass killing. Gas vans were hermetically sealed trucks with engine exhaust diverted to the interior compartment. Use of gas vans began after Einsatzgruppe members complained of battle fatigue and mental anguish caused by shooting large numbers of women and children. Gassing also proved to be less costly. Einsatzgruppen gassed hundreds of thousands of people, mostly Jews, Roma (Gypsies), and mentally ill people.

Gassing

‘GASSING.’ David Olère, New York, Museum of Jewish Heritage - A Living Memorial to the Holocaust)

Gates at the main entrance

GATES AT THE MAIN ENTRANCE to Dachau concentration camp, 1945. National Archives Records of the Office of War Information/Public Domain

GERALD GREEN

GERALD GREEN’s The Artists of Terezín (1978), which explores the extraordinary culture that emerged among the artists, writers, musicians, and composers who were interned in the ghetto, labor, transit, and concentration camp.

GERMAN CONCENTRATION CAMP BROTHELS

GERMAN CONCENTRATION CAMP BROTHELS, active camp brothel in Gusen, Austria (c. 1942)

GERMAN SOLDIERS ENTERING

GERMAN SOLDIERS ENTERING a Soldatenbordell, brothel, in Brest, France (1940). The building is a former synagogue.

Ghosts

GHOSTS: A Camp Of Twins - Auschwitz, by Edith Birkin, can be seen at the Imperial War Museum

GOING TO WORK

GOING TO WORK in Theresienstadt by Leo Haas © Tomas Fritta-Haas

Gregory Perillo

GREGORY PERILLO, The Evil and the Innocent (2016-17)

GURS TRANSIT CAMP

GURS TRANSIT CAMP, view of the Gurs transit camp from the camp water tower, 1940-1941. Once the program for the eradication of the Jews was put into motion in the camps in German-occupied Poland, the Vichy regime turned over the 5,500 Jews who were located in Gurs to the Nazis, who deported them via Drancy, mostly to Auschwitz. The camp held 64,000 total inmates, of whom 5,500 Jews.

Hanging and Eating

HANGING AND EATING (Auschwitz Museum, Poland) Jan Komski was a Polish painter. He studied painting, anatomy, and art history at the Kraków Academy of Fine Arts. During World War II, he worked in the resistance movement. In 1940 he fled Poland and headed toward France to join Sikorski's Army that was being formed there. However, he was arrested at the border of Czechoslovakia and imprisoned in Nowy Sącz and Tarnów before being sent to Auschwitz I in the first prisoner transport to that concentration camp. He was given prisoner number 564 under the name Jon Baraś, due to the forged identification papers he was carrying when arrested.

Heidi Winner

HEIDI WINNER did a concentration project for Advanced Placement Studio Art that concerned the Holocaust of WWII. Her grandfather lived through a concentration camp and these are the works she did about that.

HELGA WEISSOVA

HELGA WEISSOVA, who was 14 when she was liberated, painted the girls' dorm ahead of an inspection by the Red Cross

Henri Pieck - Buchenwald 1

HENRI PIECK - BUCHENWALD 1, on the lookout for freedom in Buchenwald. Drawing by Henri Pieck, December 28, 1945, concentration camps, drawings, World War II, The Netherlands, 20th century press agency photo, news to remember, documentary, historic photography 1945-1990, visual stories, human history of the Twentieth Century, capturing moments in time.

Henri Pieck – Buchenwald 2

HENRI PIECK – BUCHENWALD 2, after being arrested on 9 June 1941 for resistance activities, Pieck spent the rest of World War II in German custody, first in the “Oranjehotel” (a detention center used at the beginning of the war by the Dutch as a POW camp that was later taken over by the Germans), after which he was deported to Buchenwald via the Nazi transit camp Amersfoort.

HOLOCAUST CAMP DRAWING

HOLOCAUST CAMP DRAWING, drawing by Mieczysław Koscielniak, a former prisoner of Auschwitz. A conductor can be seen in the background. (published in M. Koscielniak: Bilder von Auschwitz, 2d ed. (Frankfurt a. M., 1986), n.p.)

HOLOCAUST CROWD SCENE

HOLOCAUST CROWD SCENE, this painting graphically depicts the horror and brutality of the Nazi concentration camps with the crowd of Jewish prisoners, stripped of their own clothing and dressed in striped camp uniforms, depicted in attitudes of grief, suffering and lamentation. They are flanked by two thuggish Nazi guards wearing swastika armbands, one making a Nazi salute and the other pointing inward to focus attention on a prisoner prominently displaying the yellow badge with the Star of David that Jews were forced to wear in Nazi-occupied Europe, used here symbolically to indicate martyrdom.

HOLOCAUST

Holocaust survivor preserves Treblinka in art

HOLOCAUST SURVIVOR PRESERVES TREBLINKA IN ART. Willenberg's drawings are an attempt to preserve the memory of a terrible place.

Horrified German civilians

HORRIFIED GERMAN CIVILIANS forced to come to the camp, examine the corpses of prisoners murdered by the SS during the evacuation of the Leipzig-Thekla concentration camp.

In 1940 though the cabins were dilapidated

IN 1940, THOUGH THE CABINS WERE DILAPIDATED and the camp was almost empty, the French government interned : – German, Austrian and Polish refugees from the Paris area. A number of the refugees came from the first round-up at the Vélodrome d’Hiver. So it was that on 12 May 1940, the French authorities ordered the assembly of foreign women at the Vel d’Hiv. They were arrested and dispatched to Gurs.
– Frenchwomen from Moselle whose husbands were German or of German origin. These women were suspected by the French authorities of being part of the “Fifth Column”. – Political prisoners…Conditions in the camp were extremely precarious. They got worse in the winter of 1939. The cabins couldn’t withstand bad weather. It was permanently damp. People were packed together: each intern disposed of a space of only 70 cm. Mud was a major problem at the Gurs Camp. There weren’t enough drainage ditches and when they filled with water, the area turned to marsh.

In 1942 in Dachau

IN 1942 IN DACHAU, an evening of song given by the Czechoslovakian camp choir was recorded in this drawing by Vladimir Matejka. The huge crowd enjoying this rare musical treat shows clearly how important it was for prisoners to be able to organize a musical performance like this (published in Kopf hoch, Kamerad! Künstlerische Dokumente aus faschistischen Konzentrationslagern, ed. Deutsche Akademie der Künste zu Berlin, 2d ed. (Berlin, 1966), ill. 21).

In preparation for painting

IN PREPARATION FOR PAINTING their portraits, artist David Kassan filmed his subjects’ testimonies, getting to know them deeply. His intimate understanding of his subjects and of their unique histories enables him to convey a sense of their experiences during the Holocaust as much as it does their individual appearances now: The visceral, lifelike imagery captures each person’s spirit, pain and dignity. Kassan’s paintings become a form of testimony in their own right, revealing the luminous visage of resilience, the complex nature of survival and a contemporaneous reflection of their lives in the aftermath of genocidal violence.

IN THE FIRST MONTHS OF 1945

IN THE FIRST MONTHS OF 1945. On 27 January 1945, the Soviet Army liberated Auschwitz. Ivan Martynushkin was one of the liberators of Auschwitz. Below are some excerpts of what he witnessed.
“We beat back the Germans in one village, passed through, and came out onto some kind of enormous field almost completely surrounded by electrified barbed-wire fences and watchtowers, we saw buildings beyond the barbed wire. And as we got closer, we began to see there were people.” “We saw emaciated, tortured, impoverished people. Those were the people I first encountered…We could tell from their eyes that they were happy to be saved from this hell. Happy that now they weren’t threatened by death in a crematorium. Happy to be freed. And we had the feeling of doing a good deed—liberating these people from this hell.”

MATOUSEK

MATOUSEK, Ota (1890-1977).

MAUTHHAUSEN DELOUSING IN COURTYARD

MAUTHAUSEN DELOUSING IN COURTYARD, 6,000 naked prisoners awaiting disinfection.

MAUTHAUSEN

MAUTHAUSEN prisoners hauling earth for the construction of the "Russian camp" at Mauthausen.

MECHELEN TRANSIT CAMP IN BELGIUM

MECHELEN TRANSIT CAMP IN BELGIUM, on the night of April 19th, 1943, a train pulled out of Mechelen, a small town in Belgium. It carried 1,631 men, women and children and was the 20th convoy to leave the infamous Kazerne Dossin assembly camp for Auschwitz-Birkenau. Up to that point, of the 18,000 people who had already made the journey only a handful had escaped.

MEMORIES OF THE HOLOCAUST

MEMORIES OF THE HOLOCAUST, Roman Halter

Messengers of Memory

MESSENGERS OF MEMORY: A 25-Year Retrospective of the Annual Chapman University Holocaust Art & writing Contest

Mieczyslaw Koscielniak

Mieczyslaw Koscielniak Wooden barracks in Auschwitz II

Mieczysław Kościelniak

MIECZYSŁAW KOŚCIELNIAK, Obozowa egzystencja [Existing in the camp], Auschwitz 1940.

MUNKACS JEWS TO BE GASSED

MUNKACS JEWS TO BE GASSED, in the birch forest in Birkenau waiting near the gas chamber. On 10 November 1938, the Hungarian army entered Munkács. The Jews of the town blessed the return of Hungarian rule, but their optimism was soon brought to an end. The Hungarian authorities persecuted the Jews from the beginning of their annexation of the town. Jews fell victim to physical violence, abuse and robbery. The authorities harassed Zionist groups, limited the Jews' economic activities, and recruited many men for forced labor in the Hungarian army. On 19 March 1944, the German army invaded Hungary and four weeks later, the concentration of Jews began. Jews from Munkács were forced into two ghettos, and those from the surrounding areas were assembled at two brick factories on the outskirts of town. On 11 May 1944 the deportations to Auschwitz began, and on 23 May the last deportation train left Munkács.

MURRAY ZIMILES, AKTION

MURRAY ZIMILES, AKTION, Poland 1939–45 from The Holocaust.

MURRAY ZIMILES, EXECUTION

MURRAY ZIMILES, EXECUTION of resistance fighters from The Holocaust

MURRAY ZIMILES, THE FINAL

MURRAY ZIMILES, THE FINAL solution from The Holocaust.

MURRAY ZIMILES, TO THE OVENS

MURRAY ZIMILES, TO THE OVENS from The Holocaust.

Nazi Germany murdered

NAZI GERMANY MURDERED about one million Jews and 100,000 non-Jews at the Auschwitz complex.

Neuengamme 1

NEUENGAMME 1, medical experiments were also conducted at Neuengamme. Prisoners were used to test means of combatting lice-borne typhus, and a number of Jewish children were transported from Auschwitz for the purpose of testing drugs combatting TB. These children were all murdered in April '45.

Neuengamme concentraion camp

NEUENGAMME CONCENTRATION CAMP, a sick Polish survivor in the Hannover-Ahlem concentration camp receives medicine from a German Red Cross worker.

NO ESCAPE NO CHOICE 1

NO ESCAPE NO CHOICE: His helpless victims give the mighty capo, almost always a German criminal, a ride. For them the choice was obey or perish. Komski Drawing.

ODESSA MASSACRE 1941

ODESSA MASSACRE 1941: Jewish Romanian deportees, murdered by their Romanian escorts in Transnistria; one of several massacres carried out during the “Holocaust by bullets” phase of extermination behind the Eastern Front. Per the original caption, this particular crime was perpetrated "between Brizula (Bârzula, Byrzula) and Grozdovca", that is just outside Podilsk, in modern Ukraine. This particular killing is also detailed by Carp on page 259 of his book, who attributes the random shootings within one convoy to a Romanian Army Sub-officer named Tarca; according to Carp’s notes on the same page, this was the first-ever convoy of Bessarabian Jews to reach Transnistria, having been made to walk the distance from the concentration camp of Vertiujeni.

OIL PAINTING DEPICTING A ROLL CALL

OIL PAINTING DEPICTING A ROLL-CALL 1941/1942 by Wincenty Gawron who was born in 1908 in Stara Wieś. He studied arts in Lwów, Kraków and Warszawa. After the outbreak of World War II, he joined a secret military organization. He was arrested in 1941 and brought to Auschwitz.

Olère shows the cruel

OLÈRE SHOWS THE CRUEL Nazi slogan "work makes you free" and a crematorium chimney. He died in France in 1985 aged 83.

ONE OF THE ARTWORKS

ONE OF THE ARTWORKS which will go on display belonged to Ernest Morgenstern, who was not an artist; in fact, he was a lawyer by profession when he was deported from his hometown in Czechoslovakia to Theresienstadt, the concentration camp in Czechoslovakia, in January 1942. He had the artistic skills to depict the events as he witnessed them. His non-Jewish fiancée, Trudy, smuggled art materials in to him with various transports and thus began his compulsion to draw and to document.

ONE OF THE DEATH PITS BELSEN

ONE OF THE DEATH PITS, BELSEN. SS guards collecting bodies, 1945, Leslie Cole: Leslie Cole (1910-1977) trained as an artist at the Royal College of Art in London and became a teacher at Hull College of Art in 1937. He was determined to be a witness to the unfolding events of the Second World War. After originally being turned down as a war artist by the War Artists Advisory Committee (WAAC), Cole eventually became a salaried war artist. He travelled widely, recording the aftermath of the war in Malta, Greece, Germany and the Far East. Cole's work consistently addressed the suffering of human beings, and in three oil paintings he bears witness to the conditions in Bergen-Belsen at liberation. He presents the perpetrators as a matter of fact. In One of the Death Pits, Belsen, Cole shows former SS guards collecting and throwing corpses into death pits as uniformed British troops look on. The former guards are depicted almost as anonymously as the dead bodies.

OVENS AT AUSCHWITZ

OVENS AT AUSCHWITZ, crematoria at the former Nazi death camp Auschwitz I. Their construction was a prelude to much larger crematoria complexes later constructed at Birkenau, or Auschwitz II, in Poland.

PHOTO OF PRISON SHIRT WORN BY GERSHON FRIEDBERG FROM KOVNO, LITHUANIA

PHOTO OF PRISON SHIRT WORN BY GERSHON FRIEDBERG FROM KOVNO, LITHUANIA. WE DO NOT OWN THE SHIRT.

PHOTOGRAPHS OF SOLDIERS AND JEWS

PHOTOGRAPHS OF SOLDIERS AND JEWS are details from Alice Lok Cahana’s mixed-media piece recounting memories of the Holocaust. The work is dedicated to Raoul Wallenberg.