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Lisette Model

  • Given name:
    Lisette
  • Last name:
    Model
  • Alternative names:

    Élise Amélie Félicie Stern, Elise Seybert Model

  • Date of Birth:
    10-11-1901
  • Place of Birth:
    Vienna (AT)
  • Date of Death:
    30-03-1983
  • Place of Death:
    New York City (US)
  • Profession:
    Photographer
  • Introduction:

    Lisette Model was an Austrian-born photographer who lived in New York with her husband Evsa Model after emigrating from France. Her street photographs capturing the curiosities of everyday life quickly caught the interest of museums and magazines.

    Word Count: 37

  • Signature Image:
    Hermann Landshoff, Die Fotografin Lisette Model, New York 1948 (© bpk / Münchner Stadtmuseum, Sammlung Fotografie / Archiv Landshoff).
  • Content:

    Lisette and Evsa Model arrived in New York from Le Havre in France on 1 October, 1938. Their initial intention was simply to travel, but they decided to emigrate and remain permanently in the metropolis. Applying for a permanent visa, the couple travelled in December 1938 to Cuba for re-entering the U.S. It was a common way and also the émigrés Walter Sanders and Fritz Henle took the passage via Cuba and Mexiko the application of a permanent visa. Trained as a musician and singer, Lisette taught herself photography after her family moved from Vienna to Nice in 1926. In order to hide their Jewish roots, the family had already changed their name from Stern to Seybert. While living in Paris, Lisette made contact with other émigré photographers such as Florence Henri (1893–1982) and Rogi André (1900–1970). She and Florence Henri, with the help of Lisette's sister Olga Model, sought advice on photographing with a Rolleiflex camera. No information is available on whether Olga had already trained in photography in Vienna, or whether she had worked as a professional photographer or what direction her life took. However, on trips from her apartment in Paris to the apartment of her mother in Nice, Lisette encountered street life in the south of France and captured it with her camera. During the 1930s her first series Promenades des Anglais focused on bourgeois life on this famous street on the Côte d’Azur. The photographs were very direct and captured revealing and unexpected moments in everyday street life. Some of the images in Promenades des Anglais were taken the same year she departed for New York. On her arrival in New York in 1938, this series was her entry point to the photographic scene and to a career in the metropolis. During the 1940s it was presented in exhibitions at the Museum of Modern Art (see below) and printed in such international magazines as the British Lilliput and the American PM magazines.

    Model set about discovering her new city on foot and, shortly after her arrival to New York, created two series with her Rolleiflex camera. For Window Reflections, she photographed urban shop windows in a modernist aesthetic. The photographs were taken either inside or outside the shop windows and reflected the comings and goings of passers-by as well as the architecture of the skyscrapers and the displays in the shop windows. The result is a multilayered picture in which the window displays and the street scenes reflect and represent the complex urban life that surrounded her. Another émigré, the photographer T. Lux Feininger, was also inspired by window reflections for some of his photographs and drawings.
    This experimental and creative way of seeing, and the urban impressions of New York, can also be seen in Lisette Model's second series, Running Legs. These close-up pictures focus on passers-by but, instead of a full portrait, consist only of running legs. We see high-heeled shoes and the shoes of businessmen as groups and individuals head as fast as possible on their way. The momentum is also captured in the blurred and fuzzy photographic technique. This series of photographs has a cinematographic rhythm and gestures to the anonymous and crowded life of the metropolis, expressing Model’s own anxieties about New York urban life. In this context, it is interesting to remember that Model used a Rolleiflex camera, which was worn hanging in front of the upper body, with the view-finder at the top of the camera. This suggests that Model must have been a very physically agile photographer, well able to cope with all the stooping and bending that was required. Interestingly, some years earlier, the émigré photographer Rudy Burckhardt operated in the same way, using cropped images of passers-by for his New York N. Why album. In 1941 one image of Running Legs was published under the auspices of art director Alexey Brodovitch in Harper’s Bazaar magazine, for which the photographer Hermann Landshoff also worked, and in the same year for U.S. Camera.  In 1948, Landshoff made a portrait series of Lisette Model that includes a photograph in which she wears a miniature camera round her neck. In addition to her Rolleiflex, Model also used this model of camera. It seems likely that the two photographers knew each other through their work at Harper's Bazaar. Model's series of Running Legs was also featured in an article by the art critic Elizabeth McCausland in Minicam magazine in 1941 (McCausland 1941). Other series produced by Lisette Model included one on Coney Island and another on Sammy’s Bowery Follies, a bar on the Lower East Side which was also the subject of a series by the émigré photographer Erika Stone.

    On their arrival in New York in 1938, Lisette Model and her husband, the Russian-born painter Evsa Model, lived at 130 Riverside Drive. The Austrian émigré photographer Lilly Joss Reich also lived in the vicinity. Lisette Model (née as Seybert), as she then was, married the Russian Jewish painter Evsa Model in Paris in 1937 and would spend the rest of her life with him. As in the work of his wife, Evsa's paintings reflected urban life in the metropolis, creating their own visual language: on the one hand, the geometries, architecture and colourfulness of the metropolis; on the other hand, the anonymity of individuals in the big city. In 1943 the couple move to 55 Grove Street in Greenwich Village, an area that during the 1940s was home to many artists and photographers. The photographer Berenice Abbot lived in the borough, as did émigré photographers Rolf Tietgens and T. Lux Feininger, and Valeska Gert’s Beggar Bar was located near the Models' apartment. As early as 1941, Lisette Model had photographed Valeska Gert, the German émigré artist and dancer, and the two women had become friends.

    Other images testify that Lisette and Evsa Model’s apartment at 55 Grove Street, as well as their later apartment at 137 7th Avenue, was designed and painted by them in black, green, red and yellow, after the style of the Russian constructs and Piet Mondrian (Le Pommeré 2019) . From 1958 until Lisette Model’s death in 1968, the couple lived in a basement apartment at 137 7th Avenue. Although it had no daylight, the couple started photographic and painting courses in one of the rooms. Not far from the apartment was the New School for Social Research and from 1951 Lisette Model gave courses on photography there, filling Berenice Abbot’s former position. In her courses on “The Small Camera in Photography today” and “Photographing New York and its People” she shared her knowledge and practical experience with miniature cameras, as well as her knowledge of the urban New York landscape, directly with her students. Other émigrés offering photography and photojournalism courses were Josef Breitenbach, Charles Leirens, Marion Palfi, Kurt Safranski, Alexey Brodovitch and Tim Gidal. The émigrés Fred Stein and Werner Wolff also frequented the New School, working as commission for the Black Star photo agency. The German émigré Erika Stone was a student of Berenice Abbot at the New School.

    During the 1940s and 1950s Lisette Model’s work was shown at several locations in New York. Her first solo show was at the Photo League Gallery in 1941. The Photo League was a cooperation of professional and amateur photographers of which Model was a member. Other émigré photographers who were either members or had dealings with the Photo League included Rudy Burkhardt, Rolf Tietgens, Fred Stein and Hermann Landshoff.
    Lisette Model’s first exhibition at the Museum of Modern Art took place in 1940 and was followed by more than 20 more, until her death in 1968. A retrospective of her work was held in 1983. In 1940, she participated in the Sixty Photographs: A Survey of Camera Esthetics exhibition. Lisette Model’s image was a photograph of a women in Nice, taken in 1938. It was hung next to a photograph by Walker Evans. Among the French photographers taking part were Henri Cartier Bresson and Eugène Atget. American photographers taking part included Alfred Stieglitz, Charles Sheeler, Paul Strand, Ansel Adams , Berenice Abbot, Man Ray, Dorothea Lange, Helen Levit, Edward Steichen and Edward Weston. Other émigré photographers were Ruth Bernhard and László Moholy-Nagy. In 1943 Model took part in the Action Photography exhibition. Besides Model, works by the émigré photographers Andreas Feininger, Hebert Matter, Alfred Eisenstaedt, Henri Cartier-Bresson and Thomas Bouchard were also presented. The same year, Model participated in the Portraits exhibition, showing a portrait from her time in France. Two portraits by Lotte Jacobi, of Albert Einstein and Thomas Mann, were also shown in the exhibition. In 1944 three works by Lisette Model were shown at the Art In Progress. 15th Anniversary exhibition. Other émigré photographers represented were Josef Breitenbach, Andreas Feininger and László Moholy-Nagy70 Photographers Look At New York City: from 1853 to 1957 was the title of an exhibition shown in 1957, where five images by Lisette Model were presented alongside works by other émigrés photographers including Robert Frank, Andreas Feininger and Lisa Larsen (née Rothschild).

    Lisette Model’s work was an important contribution to the photographic urban aesthetics of photography during the 1930s and 1940s and gained a high reputation among both émigré and American colleagues. This can also be seen in the fact that she was invited to take part in the “What Is Modern Photography?” symposium at the Museum of Modern Art in 1950. This was part of a panel series launched by the Museum of Modern Art during the 1930s and 1950s. Other subjects covered were: “What Is Modern Architecture?”, “What Is Modern Painting?”, “What Is Modern Sculpture?” and “What Is Modern Design?”.

    Word Count: 1591

  • Media:
    Lisette Model at New School by Joe Covello, 1960s, New School for Research Archive, Photograph Collection, NS.04.01.01:16 (© The New School Archives and Special Collection, The New School, New York, NY).
    Announcement of "The Small Camera In Photography Today" course by Lisette Model. New School Bulletin. Art Classes, vol. 9, no. 2, September 1951, front cover and p. 34 (© New School course catalog collection, NS-05-01-01. The New School Archives).
    Lisette Model's naturalisation papers. New York, Southern District, U.S District Court Naturalization Records, 1824–1946. Petitions for naturalization and petition evidence 1944 box 942, no 490001-490300 > image 702 of 1406; citing NARA microfilm publication M1972 (Family Research. © Southern District of New York Petitions for Naturalization, 1897–1944. Records of District Courts of the United States, 1685–2009, RG 21. National Archives at New York).
    Page with photos of the apartments at 55 Grove Street and 137 7th Avenue, published in Le Pommeré, 2010, pp. 58–59 (Photo: Helene Roth).
  • Bibliography (selected):

    Die Kamera ist grausam. The camera is cruel. Meisterwerke von Lisette Model, Diane Arbus und Nan Goldin, edited by Daniel Jelitzka and Gerald A. Matt, exh. cat. FLATZ Museum, Dornbirn, 2018.

    Displaced Visions. Émigré Photographers of the 20th Century, edited by Nissan N. Perez, exh. cat. The Israel Museum, Jerusalem, 2013.

    Dogramaci, Burcu, and Helene Roth. “Fotografie als Mittler im Exil: Fotojournalismus bei Picture Post in London und Fototheorie und -praxis an der New School for Social Research in New York.” Vermittler*innen zwischen den Kulturen, special issue of Zeitschrift für Museum und Bildung, vol. 86–87, 2019, pp. 13–44.

    Dogramaci, Burcu, and Roth Helene Roth, editors. Nomadic Camera. Fotografie, Exil und Migration, special issue of Fotogeschichte. Beiträge zur Geschichte und Ästhetik der Fotografie, vol. 39, no. 151, 2019.

    Gilbert, George. The Illustrated Worldwide Who’s Who of Jews in Photography. G. Gilbert, 1996.

    Krohn, Claus-Dieter, et al., editors. Exilforschung. Ein internationales Jahrbuch, vol. 21: Film und Fotografie. edition text + kritik, 2003.

    Le Pommeré, Marianne. Evsa Model. Peintre Américain. Norma Éditions, 2010.

    Lisette Model. Photographien 1933 - 1983, edited by Reinhold Mißelbeck and Ann Thomas, exh. cat. Museum Ludwig Köln, Cologne, 1992.

    Lisette Model (Center for Creative Photography, University of Arizona, Tucson, Arizona, no. 4). Center for Creative Photography, 1977.

    Lisette Model. Fotografien 1934–1960, edited by Monika Faber and Gerald Matt, exh. cat. Kunsthalle Wien, Vienna, 2000.

    Lisette Model, edited by Sam Stourdzé and Ann Thomas, exh. cat. Galerie Baudoin Lebon, Paris, 2002.

    Lisette Model, edited by Christina Zelich, exh. cat. Fundación Mapfre, Madrid, 2009.

    Lisette Model. A Performance in Photography, edited by George Steeves, exh. cat. Mount Saint Vincent University Art Gallery, Halifax, 2011.

    Lisette Model. Street Life, edited by Monica Poggi, exh. cat. CAMERA - Centro Italiano per la Fotografia, Turin, 2021.

    McCausland, Elizabeth. "Feet." Minicam Photography, 5, January 1941, pp. 14–17.

    Meßfeldt, Elina. "THE UNIVERSAL LANGUAGE: ABOUT AN UNUSUAL LOVE-TRIANGLE BETWEEN LISETTE MODEL, EVSA MODEL AND THE CITY OF NEW YORK.“ METROMOD Blog, 15.12.2021.

    Model, Lisette. „“Pictures as Art. Instructor Defines Creative Photography As Scientific Eye That Captures Life.” The New York Times, 9, December, 1951, p. 143.

    Modern Look. Photography and the American Magazine, edited by Mason Klein, exh. cat. Jewish Museum, New York, 2020.

    New York. Capital of Photography, edited by Max Kozloff, exh. cat. Jewish Museum, New York, 2002.

    New York Photography 1890–1950. Von Stieglitz bis Man Ray, edited by Ortrud Westheider and Michael Philipp, exh. cat Bucerius Kunst Forum, Hamburg, 2012.

    Reframing America: Alexander Alland, Otto Hagel & Hansel Mieth, John Gutmann, Lisette Model, Marion Palfi, Robert Frank, edited by Andrei Codrescu and Terence Pitts, exh. cat. Center for Creative Photography, Tucson, 1995.

    Rosenblum, Naomi. A History of Women Photographers. Abbeville Press, 1994.

    Roth, Helene. “First Pictures: New York through the lens of emigrated European photographers in the 1930s and 1940s.” Contact Zones: Photography, Migration and Cultural Encounters in the United States, edited by Justin Carville and Sigrid Lien, Leuven University Press, 2021, pp. 111–132.

    Schaber, Irme. “Fotografie.” Handbuch der deutschsprachigen Emigration 1933–1945, edited by Claus-Dieter Krohn and Patrick von zur Mühlen, WBG, 1998, pp. 970–983.

    Schaber, Irme. “‘Die Kamera ist ein Instrument der Entdeckung…ʼ. Die Großstadtfotografie der fotografischen Emigration in der NS-Zeit in Paris, London und New York.” Exilforschung. Ein internationales Jahrbuch, vol. 20: Metropolen des Exils, edited by Claus-Dieter Krohn et al., edition text + kritik, 2002, pp. 53–73.

    Sussman, Elisabeth. Lisette Model. Phaidon, 2001.

    Übersee. Flucht und Emigration österreichischer Fotografen 1920–1940, edited by Anna Auer, exh. cat. Kunsthalle Wien, Vienna, 1997.

    Klaus Honnef and Frank Weyers. Und sie haben Deutschland verlassen … müssen. Fotografen und ihre Bilder 1928–1997, exh. cat. Rheinisches Landesmuseum Bonn, Bonn, 1997.

    Werneburg, Brigitte. “LIFE: Leben in der Emigration. Deutsche Fotojournalisten in Amerika.” (unpublished manuscript, 1991). werneburg.nikha.org. Accessed 15 February 2021.

    Word Count: 581

  • Archives and Sources:

    Word Count: 24

  • Author:
    Helene Roth
  • Exile:

    Paris, France (1926–1938); New York City, US (1938–1983).

  • Known addresses in Metromod cities:

    310 Riverside Drive, Bloomingdale, New York City (residence, 1938–1943); 55 Grove Street, Greenwich Village, New York City(residence, 1943–1958); 137 7th Avenue, Greenwich Village, New York City (residence, 1958–1983).

  • Metropolis:
    New York
  • Helene Roth. "Lisette Model." METROMOD Archive, 2021, https://archive.metromod.net/viewer.p/69/2948/object/5138-8103251, last modified: 27-04-2022.
  • Walter Sanders
    Photographer

    Walter Sanders was a German émigré photographer. In 1938 he arrived in New York, where he worked from 1939 until the end of his life for the Black Star agency and, from 1944, for Life magazine.

    Word Count: 33

    Portrait of Walter Sanders, Cuba, Havana, 1938 (Estate Walter Sanders).
    Walt Sanders and Alfred Kornfeld, son of Black Star cofounder Kurt Kornfeld. Sheldrake Lake, New Rochelle, NY, November 1939 (© Heirs of Kurt Kornfeld).First cover by Walter Sanders for Life, 26 June 1939 (Estate Walter Sanders).Letterhead with name Walter Suessmann, a reference to Echo and an address (Estate Walter Sanders).Photo of the Aquacade swim show by Walter Sanders for Black Star, reproduced in Life, 3 July 1939, p. 60 (Estate Walter Sanders, Photo: Helene Roth).“Life goes to The Futurama.” Image of the General Motors Show by Walter Sanders in Life, 5 June 1939, p. 79 (Estate Walter Sanders, Photo: Helene Roth).“Life visits Statue of Liberty.” Images by Walter Sanders published in Life, 2 June 1941, pp. 94–95 (Estate Walter Sanders, Photo: Helene Roth).“Por las entrañas de una estatua.”. Images by Walter Sanders, MUNDO Argentino, June 1941 (Estate Walter Sanders, Photo: Helene Roth).“The Road Back to Berlin.” Images and text by Walter Sanders in Life, 10 November 1946, p. 29 (Estate Walter Sanders, Photo: Helene Roth).Americans in Heidelberg, Life cover, Image by Walter Sanders, Life, 21 July 1947 (Estate Walter Sanders, Photo: Helene Roth).
    New York
    Josef Breitenbach
    Photographer

    On arriving in New York in 1941, the German photographer Josef Breitenbach tried to restart as a portrait, street and experimental photographer, as well as a teacher of photo-history and techniques.

    Word Count: 30

    Fred Stein, Joseph Breitenbach, n.d. (© Deutsche Nationalbibliothek. Deutsches Exilarchiv 1933-1945, Frankfurt am Main).
    Fred Stein, Backside portrait Joseph Breitenbach, n.d. (© Deutsche Nationalbibliothek. Deutsches Exilarchiv 1933-1945, Frankfurt am Main).Attestation of Identity of Josef Breitenbach, Agen, September 1940 (© The Josef and Yaye Breitenbach Charitable Foundation, courtesy of The Center for Creative Photography, Josef Breitenbach Archive, AG90:5).Affidavit for Josef Breitenbach, April 1941 (© The Josef and Yaye Breitenbach Charitable Foundation, courtesy of The Center for Creative Photography, Josef Breitenbach Archive, AG90:12).Address book Josef Breitenbach, New York (© The Josef and Yaye Breitenbach Charitable Foundation, courtesy of The Center for Creative Photography, Josef Breitenbach Archive, AG90:6).Page with collected addresses of photographers in New York by Josef Breitenbach (© The Josef and Yaye Breitenbach Charitable Foundation, courtesy of The Center for Creative Photography, Josef Breitenbach Archive, AG90:6).Page with collected addresses of colleagues at the New School for Social Research in New York by Josef Breitenbach (© The Josef and Yaye Breitenbach Charitable Foundation, courtesy of The Center for Creative Photography, Josef Breitenbach Archive, AG90:6).Application for use of photographic equipment by Josef Breitenbach, 1942 (© The Josef and Yaye Breitenbach Charitable Foundation, courtesy of The Center for Creative Photography, Josef Breitenbach Archive, AG90:12).Business card Josef Breitenbach (© The Josef and Yaye Breitenbach Charitable Foundation, courtesy of The Center for Creative Photography, Josef Breitenbach Archive, AG90:6).Letter from Fortune Magazine, 1942 (© Josef Breitenbach Archive, AG90:4, Center for Creative Photography, The University of Arizona).
    New York
    Andreas Feininger
    PhotographerWriterEditor

    Andreas Feininger, was a German émigré photographer who arrived in New York with his wife Wysse Feininger in 1939. He started a lifelong career exploring the city's streets, working as a photojournalist and writing a large number of photography manuals.

    Word Count: 39

    Portrait of Andreas Feininger by Fritz Henle, 1940/41, cropped detail (© Center for Creative Photography, University of Arizona: Andreas Feininger Archive, Photo: Helene Roth).
    Portrait of Andreas Feininger by Fritz Henle, 1940/41 (© Center for Creative Photography, University of Arizona: Andreas Feininger Archive, Photo: Helene Roth).Andreas Feininger, 1, Stockholm, 1937 (© Center for Creative Photography, University of Arizona: Andreas Feininger Archive, Photo: Helene Roth).Andreas Feininger, Close Up Equipment, 365 West 20 St. New York, 1940 (© Center for Creative Photography, University of Arizona: Andreas Feininger Archive, Photo: Helene Roth).Andreas Feininger, “An Amateur’s Wartime Darkroom.” U.S. Camera, April 1942, pp. 28–29 (Photo: Helene Roth).Scrapbook of Andreas Feininger with photographic essay “New York. A big spectacle in big pictures.” Life, 14 April 1941, pp. 86–87 (© Center for Creative Photography, University of Arizona: Andreas Feininger Archive, Photo: Helene Roth).Scrapbook of Andreas Feininger with article and photographs by him. “Experimenting with Lights at Night.” Popular Photography, February 1947, pp. 44–45 (© Center for Creative Photography, University of Arizona: Andreas Feininger Archive, Photo: Helene Roth).“Feininger’s Workshop - photo facts in pictures. Unsharpness and its cause.” Popular Photography, May 1949, pp.54–55 (Photo: Helene Roth).
    New York
    Ruth Bernhard
    Photographer

    Ruth Bernhard was a German émigré photographer who lived in New York from the 1920s to the 1940s. Beside her series on female nudes, her place in the photography network, as well as in the New York queer scene, is unknown and understudied.

    Word Count: 43

    Lotte Jacobi, Ruth Bernhard, 1945, New York (© 2021. University of New Hampshire).
    Scrapbook and published work by Ruth Bernhard (Ruth Bernhard Archive, Special Collection Princeton University © Trustees of Princeton University).Lifesavers by Ruth Bernhard, published in Advertisment Arts, January 1931 (Ruth Bernhard Archive, Special Collection Princeton University © Trustees of Princeton University).Still Life of dolls for Macy’s by Ruth Bernhard, published in Graphic Arts, 1931 (Ruth Bernhard Archive, Special Collection Princeton University © Trustees of Princeton University).Ruth Bernhard, Eighth Street Movie Theater, Frederick Kiesler-Architect, New York, 1946 (Diversity Corner is licensed under CC BY-NC 2.0).Exhibition flyer for Ruth Bernhard Photographs, PM Gallery, 1938 (Ruth Bernhard Archive, Special Collection Princeton University © Trustees of Princeton University).Description of Ruth Bernhard Photographs exhibition, by Kurt Safranski, PM Gallery, 1938 (Ruth Bernhard Archive, Special Collection Princeton University © Trustees of Princeton University).
    New York
    Alexey Brodovitch
    PhotographerArt DirectorGraphic Designer

    Alexey Brodovitch was a Russian-born émigré graphic artist, art director and photographer who, from 1933, worked in New York for Harper’s Bazaar magazine and at the New School for Social Research.

    Word Count: 31

    Hermann Landshoff, Der Grafikdesigner, Fotograf und Art Director Alexey Brodovitch in seiner Wohnung, 1942–45, New York (© bpk / Münchner Stadtmuseum, Sammlung Fotografie / Archiv Landshoff).
    Announcement of Alexey Brodovitch “Advertising Design” course at the Pennsylvanian Museum School for Industrial Art (The Philadelphia Inquirer, 24 September 1933, p. 30).Announcement of the Design Laboratory by Alexey Brodovitch at the New School of Social Research (© Clara Meyer Papers. Brodovitch, Alexey, 1949-1959, Box: 1, Folder: 35. The New School Archives).Announcement of "Art Applied to Graphic Journalism, Advertising, Design, Fashion" course by Alexey Brodovitch, published in New School Bulletin. Art Classes, 1942/43, p. 11 (© New School course catalog collection, NS-05-01-01. The New School Archives).Cover of Ballet by Alexey Brodovitch (J.J. Augustin, 1945).Design of a lamp by Alexey Brodovitch (St. Louis Post Dispatch, 25 March 1951, p. 103).
    New York
    Rolf Tietgens
    PhotographerEditorWriter

    Rolf Tietgens was a German émigré photographer who arrived in New York in 1938. Although, in the course of his photographic career, his artistic and surrealist images were published and shown at exhibitions, his work, today, is very little known.

    Word Count: 39

    Portrait of Rolf Tietgens, n.d. (© Keith de Lellis Gallery, New York).
    Der Hafen by Rolf Tietgens, Ehrmann Verlag, 1936.Rolf Tietgens. “What is Surrealism?” Minicam, July 1939, pp. 30–31 (Photo: Helene Roth).Photo by Rolf Tietgens of Streamliners at the World’s Fair published in the World's Fair special issue of U.S. Camera, August 1939, p. 45 (Photo: Helene Roth).Photo by Rolf Tietgens of the Communication Mall at the World’s Fair 1939 published in the World's Fair special issue of U.S. Camera, August 1939, p. 38 (Photo: Helene Roth).Rolf Tietgens. “Capture the ‘Life’ of the object.” Minicam, January 1940, pp. 46–47 (Photo: Helene Roth).Rolf Tietgens. “Capture the ‘Life’ of the object.” Minicam, January 1940, pp. 48–49 (Photo: Helene Roth).Felix Kraus. "Why Photographers experiment." Popular Photography, February 1945, pp. 28–29 (Photo: Helene Roth).Hans Arp. Human Concretion, 1935, limestone 73 x 49,5 x 45 cm, photograph by Rolf Tietgens and reproduced in Arp: On My Way. Poetry and Essays 1912–1947, edited by Robert Motherwell, Wittenborn, Schulz, 1948, pp. 130–131 (Photo: Helene Roth).Published photo by Rolf Tietgens (Feininger 1952, 116–117).Times Square. U.S.A. (1952) photobook by Rolf Tietgens, Keith de Lellis Gallery, 1992 (Photo: Helene Roth).
    New York
    Marion Palfi
    Photographer

    Marion Palfi was a German émigré photographer who lived in New York from the 1940s to the 1960s. Her photographic engagement in social and political topics made her name for her use of the camera to draw attention to social injustices.

    Word Count: 41

    Selfportrait of Marion Palfi (© Center for Creative Photography, University of Arizona: Marion Palfi Archive).
    Advertisement “Ein bischen tätige Liebe” for a cigarette brand with photograph of Marion Palfi and Aribert Mog (1904–1941). Modenschau. Illustrierte Monats-Zeitschrift für Heim und Gesellschaft, no. 202, October 1929, p. 43.Cover of Ebony with photograph by Marion Palfi (Ebony, 1 November 1945).Review of Marion Palfi's Suffer Little Children by Eleanor Roosevelt published in Des Moines Tribune, 10 December 1952, p. 20.Article on Marion Palfi in Aufbau magazin (Craemer 1949).Cover of Suffer Little Children by Marion Palfi (Oceana Publications, 1952).Announcement of Marion Palfi’s course at the New School for Social Research. New School for Bulletin, vol. 17, no. 2, 2 September 1959, p. 46 (© New School course catalog collection, NS-05-01-01. The New School Archives).
    New York
    Tim Gidal
    PhotographerPublisherArt Historian

    Tim Gidal was a German-Jewish photographer, publisher and art historian emigrating in 1948 emigrated to New York. Besides his teaching career, he worked as a photojournalist and, along with his wife Sonia Gidal, published youth books.

    Word Count: 35

    Portrait of Tim Gidal, n.d. (© Tim Gidal Archiv. Steinheim Institut. Photo: Horst Hahn).
    Cover of My village in Austria by Sonia and Tim Gidal (Pantheon, 1956).Plan of the village printed in My village in Austria by Sonia and Tim Gidal (Pantheon, 1956).Title page of My Village in India by Sonia and Tim Gidal (Pantheon, 1956).Announcement for “The New Grand Tour” course by Tim Gidal. New School Bulletin, vol. 13, no. 18, Spring 1956, p. 30 (© New School course catalog collection, NS-05-01-01. The New School Archives).Announcement for “Picture Reporting Through The Ages” course by Tim Gidal. New School Bulletin, vol. 13, no. 18, Spring 1956, p. 49 (© New School course catalog collection, NS-05-01-01. The New School Archives).Letter from Tim Gidal to Clara W. Mayer, 1957/58 ( © Clara Mayer Papers. Gidal, Nahum T., 1957-1958, Box: 4, Folder: 27. The New School Archives, Photo: Helene Roth).
    New York
    Ruth Jacobi
    Photographer

    Ruth Jacobi was a German-speaking, Polish-born photographer who emigrated in 1935 to New York, where she opened a studio together with her sister Lotte Jacobi. She later had her own portrait studio.

    Word Count: 31

    Lotte Jacobi, Ruth Jacobi mit Brille, c. 1935, New York (© 2021. University of New Hampshire).
    Lotte Jacobi, Ruth Jacobi, c. 1935, New York (© 2021. University of New Hampshire).A Study in Doll Heads by Ruth Jacobi-Roth published in "Salon Section. Four Of A Kind." Popular Photography, December 1937, p. 48 (Photo: Helene Roth).Sisters by Ruth Jacobi-Roth for the "Salon Section. Twins." Popular Photography, February 1938, pp. 46–47 (Photo: Helene Roth).Ruth Jacobi-Roth, Grapes, published in the “Picture of the Months” section of Popular Photography, March 1938, p. 42 (Photo: Helene Roth).Ruth Jacobi-Roth, Doll, published in "Salon Section." Popular Photography, March 1938, p. 53 (Photo: Helene Roth).Montage of three pelicans by Ruth Jacobi-Roth published in "Salon Section 1-2-3." Popular Photography, March 1939, p. 47 (Photo: Helene Roth).Head by Ruth Jacobi-Roth published in Maloney 1940, p. 138 (Photo: Helene Roth).Hafen-Romantik und Wolkenkratzer (image by Jacobi, Berlin) and Schönheit der Wolkenkratzer (image by E.O. Hoppé, Mauritius) in New York, published in Leitich 1932, pp. 14–15 (Archive Helene Roth).Das arme New York (image by Jacobi, Berlin); Trödelladen im Italienerviertel (image by Scherl) New York, published in Leitich 1932, pp. 56–57 (Archive Helene Roth).Medical Center, die größte Klinik der Welt (am oberen Hudson) (image by Presse-Photo, Berlin); Tausendäugige Häuserfront (image by Jacobi, Berlin), New York, published in Leitich 1932, pp. 48–49 (Archive Helene Roth).Ruhepause bei den Grabsteinen der Trinity Church (image by Scherl); Auch ein Platz für Mittagsruhe (image by Jacobi, Berlin); Orangedrink nach heißer Bahnhfahrt (image by Ewing Galloway, N.Y); Ein Fünfcentstück öffnet die Drehtür zur Untergrundbahn (image by Ewing Galloway, N.Y), published in Leitich 1932, pp. 16–17 (Archive Helene Roth).
    New York
    Fritz Henle
    Photographer

    Fritz Henle was a German Jewish photographer who emigrated in 1936 to New York, where he worked as a photojournalist for various magazines. He also published several photobooks of his travels throughout North America and Asia.

    Word Count: 35

    Portrait of Fritz Henle by Herbert Matter, New York, 1937 (© Estate Fritz Henle).
    Fritz Henle, New York at Night, New York, 1936–1950s' (© 2021. Fritz Henle Estate).Fritz Henle, New York Reflections, New York, 1936–1950s' (© 2021. Fritz Henle Estate).Fritz Henle, The L Train on Wall Street, New York, 1936–1950s' (© 2021. Fritz Henle Estate).Fritz Henle, Brooklyn Bridge and Baby Carriage, New York, 1936's-1950 (© 2021.Fritz Henle Estate)Fritz Henle, New York Skaters from the RCA Building, New York, 1936–1950s' (© 2021. Fritz Henle Estate).Fritz Henle, New York Art Critic at Washington Square, New York, 1936–1950s' (© 2021. Fritz Henle Estate).“The American Legion takes New York City.” Life, 4 October 1937, pp. 24f.Photographs by Fritz Henle for the reportage “Memo to: Walter Wander, Subject: 52nd Street.” Life, 29 November 1937, pp. 64–67 (Photo: Helene Roth).Cover of Paris photobook by Fritz Henle (Ziff Davis, 1947).“Men who love Paris. Fritz Henle and Elliot Paul combine pictures and text in a handsome book about their favorite city.” Popular Photography, January 1947, pp. 60–61.Norris Harkness. "Simplicity. Fritz Henle’s fashion shots prove that the easy way is often the most effective." Popular Photography, August 1944, pp. 36–37.Victor Kepler. “There’s adventure in night photography.” Popular Photography, August 1942, pp. 28–29.Cover of Fritz Henle’s rollei (Hastings House, 1950).Cover photo by Fritz Henle, Life, 30 July 1939.
    New York
    Carola Gregor
    PhotographerSculptor

    The German émigré photographer Carola Gregor was an animal and child photographer and published some of her work in magazines and books. Today her work and life are almost forgotten.

    Word Count: 30

    Homer- The Hydrophobic Duck by Carola Gregor published in U.S. Camera 1943, p. 63 (Photo: Helene Roth).
    Portrait of Fritz Goro by Carola Gregor, published in Life, 13 September 1937, p. 104 (Photo: Helene Roth).Photograph of Amazonian birds by Carola Gregor for the brochure Pavilhão do Brasil. Feira Mundial de Nova York de 1939, pp. 11–12 (Photo: Helene Roth).Mending Nets by Carola Gregor, published in Popular Photography, October 1942, p. 40 (Photo: Helene Roth).A gleaming spider by Carola Gregor, published in Popular Photography, August 1948, pp. 81–82 (Photo: Helene Roth).Reportage “Liger. A lion and a tigress produce a new kind of zoo baby” with images by Carola Gregor, published in Life, 20 September 1948, p. 109 (Photo: Helene Roth).Reportage “Liger. A lion and a tigress produce a new kind of zoo baby” with images by Carola Gregor, published in Life, 20 September 1948, pp. 111–112 (Photo: Helene Roth).War Manpower Commission. Farm labor poster distributed to Department of Agriculture. Photograph by Carola Gregor (Library of Congress, Prints & Photographs Division, Farm Security Administration/Office of War Information Black-and-White Negatives).
    New York
    Rudy Burckhardt
    PhotographerFilmmakerPainter

    Rudy Burckhardt was a Swiss-born photographer, filmmaker and painter who emigrated from Basle to New York City in 1935. He was well networked within the emerging Abstract Expressionist art scene of 1940s' and 50s'.

    Word Count: 33

    Rudy Burckhardt, Selftportrait, New York 1937 (© VG Bild-Kunst, Bonn 2021).
    Announcement for an exhibition by Rudy Burkhardt at the Photo League Gallery in Brooklyn Eagle, 30 September 1948, p. 18.Jaqueline Judge. “Rudi Burckhardt … photographer of everyday life.” Popular Photography, January 1949, pp. 52–53 (Photo: Helene Roth).Rudy Burckhardt, Portrait of the painter Willem de Kooning, New York 1937/38 (© VG Bild-Kunst, Bonn 2021).Rudy Burckhardt, Building Front Detail with Acanthus Molding in Doorway, New York City, 1938 (© VG Bild-Kunst, Bonn 2021).
    New York
    T. Lux Feininger
    PhotographerPainter

    Lux T. Feininger was a German-American émigré photographer and painter and the brother of the photographer Andreas Feininger, arriving in 1936 in New York. Although he started taking photographs during the 1920s in Germany, Feininger is better known for his career as a painter and his photographic work is largely unacknowledged.

    Word Count: 50

    T. Lux Feininger, Selfportrait in 511 East 85 Street, 1937, New York (© The Estate of T. Lux Feininger, Repro: www.Kunst-Archive.net).Announcement of an exhibition at the MINT Museum of Art showing works by Lyonel, Andreas as well as T. Lux Feininger. The Charlotte News, 24 December 1955, p. 17 (Photo: Helene Roth).Announcement of an exhibition of T. Lux Feininger’s photographs at the Prakapas Gallery. The New York Times, 17 June 1983, p. c12 (Photo: Helene Roth).Article on the 1930s Bauhaus Photography exhibition, where also works by T. Lux Feininger were shown. The Boston Globe, 14 June 1984, p. 52 (Photo: Helene Roth).
    New York
    Trude Fleischmann
    Photographer

    Trude Fleischmann was an Austrian-Jewish portrait and dance photographer who emigrated in 1939 to New York, where she opened a studio in Midtown Manhattan with the photographer Frank Elmer.

    Word Count: 28

    Portrait of Trude Fleischmann by Annie Schulz published in Die Bühne, vol. 265, January 1931, p. 15 (Photo: Helene Roth).
    Declaration of intention of Trude Fleischmann, April 1939. New York, Southern District, U.S District Court Naturalization Records, 1824–1946, Petitions for naturalization and petition evidence 1944 box 927, no 485551-485750 (© Southern District of New York Petitions for Naturalization, 1897-1944. Records of District Courts of the United States, 1685–2009, RG 21. National Archives at New York).Trude Fleischmann, Adriadic Wash Line, before 1939 published in U.S. Camera 1940, p. 131 (Photo: Helene Roth).Trude Fleischmann, Arthur Toscanini und Robert Haas, 1946, New York (© Wien Museum / Foto Birgit und Peter Kainz).Trude Fleischmann, Robert Haas bei der Arbeit in New York City, 1940s/1950s (© Wien Museum / Foto Birgit und Peter Kainz).Trude Fleischmann, Group portrait behind the scene of “Players from Abroad”, New York, 1947/48 (© Deutsche Nationalbibliothek. Deutsches Exilarchiv 1933-1945, Frankfurt am Main).Announcement of an exhibition by Trude Fleischmann at the New School for Social Research published in New School Bulletin, no. 13, 13 April 1943 (© New School course catalog collection, NS-03-01-02. The New School Archives).Trude Fleischmann, Portrait of Gert von Gontard, Elisabeth Bergner and Felix Gerstmann for the performance Iphigenie auf Tauris,New York, 1947/48 (© Deutsche Nationalbibliothek. Deutsches Exilarchiv 1933-1945, Frankfurt am Main).
    New York
    New School for Social Research
    Academy/Art SchoolPhoto SchoolUniversity / Higher Education Institute / Research Institute

    During the 1940s and 1950s emigrated graphic designers and photographers, along with artists and intellectuals, were given the opportunity to held lectures and workshops at the New School for Social Research.

    Word Count: 31

    Werner Wolff, K.S. Safranski’s Class in Pictorial Journalism, 1950 (New School for Research Archive, Photograph Collection © Steven Wolff).
    Announcement of "Art Applied to Graphic Journalism, Advertising, Design, Fashion" course by Alexey Brodovitch, published in New School Bulletin. Art Classes, 1942/43, p. 11 (© New School course catalog collection, NS-05-01-01. The New School Archives).Announcement of "Pictorial Journalism" course by Kurt Safranski in New School Bulletin, vol. 2, no. 9, 1944, p. 84 (© New School course catalog collection, NS-05-01-01. The New School Archives).Announcement of "The Small Camera In Photography Today" course by Lisette Model. New School Bulletin. Art Classes, vol. 9, no. 2, September 1951, front cover and p. 34 (© New School course catalog collection, NS-05-01-01. The New School Archives).Lisette Model at New School by Joe Covello, 1960s, New School for Research Archive, Photograph Collection, NS.04.01.01:16 (© The New School Archives and Special Collection, The New School, New York, NY).Portrait Alvin Saunders Johnson by Fred Stein, New School for Research Archive, Photograph Collection (© Fred Stein Archive).Flyer of “New Architecture and City Planning” symposium by Paul Zucker (© The New School Archives and Special Collection, The New School, New York, NY).
    New York
    Beggar Bar
    Bar

    Beggar Bar was an artists bar and cabaret which was founded in 1941 by the German actress and dancer Valeska Gert (1892–1978).

    Word Count: 20

    Advertisement “Valeska Gerts’s Beggar Bar.” Aufbau, 9 October 1942, p. 13
    New York
    Service Photo Suppliers Inc.
    Photo Supplier

    Service Photo Suppliers was a photo supplier distributing a wide variety of photo equipment and opened by the German émigré Hans Salomon (1909–?) in 1945.

    Word Count: 23

    Logo of Service Photo Suppliers, Inc. (Popular Photography, December 1948, p. 231).
    Advertisement of Service Photo Suppliers, Inc. in Popular Photography, December 1948, p. 231.
    New York
    Spiratone
    Photo Supplier

    Spiratone was a photo company and photo supplier founded in 1941 by the Austrian émigré family Hans (1888–1944) and Paula Spira (?–?) and their son Fred Spira (1924–2007).

    Word Count: 24

    Logo and address of Spiratone in Popular Photography, June 1947, p. 104.
    Advertisement in Minicam, vol. 5, no. 1, September 1941 p. 73; 84; 100Advertisement for Spiratone in Popular Photography, October 1949, p. 5.
    New York
    Hermann Landshoff
    Photographer

    Besides outdoor fashion shots, Hermann Landshoff was a portrait and street photographer. During his time in New York, he captured the cultural, artistic and intellectual émigré scene as well as his photographer colleagues.

    Word Count: 33

    Hermann Landshoff, Selfportrait, New York 1942 (© bpk / Münchner Stadtmuseum, Sammlung Fotografie / Archiv Landshoff).
    Hermann Landshoff, Die Fotografin Lisette Model, New York 1948 (© bpk / Münchner Stadtmuseum, Sammlung Fotografie / Archiv Landshoff).Hermann Landshoff, Der Grafikdesigner, Fotograf und Art Director Alexey Brodovitch in seiner Wohnung, 1942–45, New York (© bpk / Münchner Stadtmuseum, Sammlung Fotografie / Archiv Landshoff).
    New York
    László Moholy-Nagy
    PhotographerGraphic DesignerPainterSculptor

    László Moholy-Nagy emigrated to London in 1935, where he worked in close contact with the local avantgarde and was commissioned for window display decoration, photo books, advertising and film work.

    Word Count: 30

    László Moholy-Nagy, Cover of sales leaflet for Marcel Breuer’s Isokon Long Chair, 1937 (Pritchard Papers, University of East Anglia, © László Moholy-Nagy).
    László Moholy-Nagy, Bill of Fare, farewell dinner menu for Walter Gropius, London, March 1937, front page (Pritchard Papers, University of East Anglia, © László Moholy-Nagy).Mary Benedetta. The Street Markets of London. Photographs by László Moholy-Nagy. (reissued 1972). Benjamin Blom, 1972, “Petticoat Lane: The Spectacle Man” and “Petticoat Lane: In a side street. Some Arabian visitors at a second-hand clothes stall” (Photo: Private Archive, © The Moholy-Nagy Foundation).Barbara Hepworth, Ben Nicholson, their triplets and Hattula Moholy-Nagy at 7 Farm Walk, the London home of László and Sibyl Moholy-Nagy, June 1936 (provided by The Moholy-Nagy Foundation).
    London
    Kurt Safranski
    Picture AgentFounding MemberTeacherCartoonistPublisherIllustrator

    Kurt Safranski was one of the founding members of the Black Star photo agency, a teacher at the New School for Social Research and the author of photojournalistic articles and books.

    Word Count: 31

    Portrait of Kurt Safranski with his wife Maria and daughter Tina Safranski, photographer unknown, n.d. (© Heirs of Kurt Safranski).
    Cover of Selling Your Pictures by Kurt Safranski (Ziff Davis Publishing Company, 1940).Kurt Safranski “Backgrounds.” Minicam Photography, July 1945, pp. 52–53 (Photo: Helene Roth).Kurt Safranski. “Dr. Salomon.” Popular Photography, August 1948, pp. 56–57.Announcement of "Pictorial Journalism" course by Kurt Safranski in New School Bulletin, vol. 2, no. 9, 1944, p. 84 (© New School course catalog collection, NS-05-01-01. The New School Archives).Werner Wolff, K.S. Safranski’s Class in Pictorial Journalism, 1950 (New School for Research Archive, Photograph Collection © Steven Wolff).Announcement of "Pictorial Journalism. Photographs as a Language and their special Problems" course by Kurt Safranski at the New School for Social Research, Spring 1949 (© The New School Archives and Special Collection, The New School, New York).
    New York
    Werner Wolff
    Photographer

    Werner Wolff was forced to leave Germany in 1936 due to his Jewish background and emigrated via Hamburg to New York, where he could follow his career as photographer and photojournalist.

    Word Count: 30

    Lotte Jacobi, Werner Wolff, 1943, New York (© 2021. University of New Hampshire).
    “Speaking of Pictures. Mrs. Roosevelt Takes Voice Lessons.” Life, 13 March 1939, pp. 6–9 (Photo: Helene Roth).Agreement between Black Star and Werner Wolff, 1947 (The Family of Werner Wolff © Ryerson Image Center).Camera Features stamp (The Family of Werner Wolff © Ryerson Image Center).Contact sheets for reportage on Empire State Building by Werner Wolff, 1946 (The Family of Werner Wolff © Ryerson Image Center).Rear side of contact sheets for reportage on Empire State Building by Werner Wolff, 1946 (The Family of Werner Wolff © Ryerson Image Center).Text for reportage on Empire State Building, written by Werner Wolff, 1946 (The Family of Werner Wolff © Ryerson Image Center).List of images and description for reportage on Empire State Building, written by Werner Wolff, 1946 (The Family of Werner Wolff © Ryerson Image Center).“Daredevil at Work” reportage by Werner Wolff in Popular Photography, September 1946, p. 39 (Photo: Helene Roth).Werner Wolff, K.S. Safranski’s Class in Pictorial Journalism, 1950 (New School for Research Archive, Photograph Collection © Steven Wolff).
    New York
    Erika Stone
    Photographer

    Erika Stone is a German émigré, who moved to New York with her parents and sister in December 1936, at the age of 12. She went on to carve out a career as photographer.

    Word Count: 32

    Portrait of Erika Stone, 1951 (© Erika Stone, Courtesy of Katarina Doerner Photographs, Brooklyn, NY).
    Letter in which Erika Stone (Klopfer) is honoured as photo contest winner for Life magazine, November 1926, 1951Erika Stone, Bowery Beauties, New York, 1946 ( © Erika Stone, Courtesy of Katarina Doerner Photographs, Brookly, NY).Erika Stone, Harlem Street Photographer, NYC, ca. 1950 ( "Lot 182: Erika Stone" by sfcamerawork is licensed under CC BY-NC-SA 2.0).
    New York
    Fred Stein
    PhotographerLawyer

    Always accompanied by his camera, the German émigré photographer Fred Stein discovered New York City during the 1940s and 1950s. His pictures provide an human and multifaceted view of the metropolis.

    Word Count: 31

    Fred Stein, Self-portrait, 1941 (© Fred Stein Archive).
    Fred Stein, El at Water Street, 1946 (© Fred Stein Archive).Portrait Alvin Saunders Johnson by Fred Stein, New School for Research Archive, Photograph Collection (© Fred Stein Archive). Children Photographs exhibition by Fred Stein, April 1947 (© Fred Stein Archive).Affidavit in Lieu of Passport (© Fred Stein Archive).Fred Stein, Anette Kolb, New York, 1945 (© Fred Stein Archive).Fritz Neugass. “The saga of the S.S. Winnipeg.” Modern Photography, July 1951, pp. 72–73 (Photo: Helene Roth).Black Star contract by Fred Stein, April 1, 1944 (© Fred Stein Archive).New York 1949 calendar by Fred Stein, Lumen Publisher (© Fred Stein Archive).Mixed articles and reviews on 5th Avenue photobook form Fred Stein's scrapbook (© Fred Stein Archive).Portrait of Fritz H. Landshoff (of Querido Publishing House) by Fred Stein, 1944 (© Fred Stein Archive).Portrait of Kurt Wolff (of publishing house Pantheon Books) by Fred Stein, 1959 (© Fred Stein Archive).Announcement by Pantheon Books from Fred Stein’s scrapbook (© Fred Stein Archive).Rapho Guillumette agency letter to Fred Stein, 1944 (© Fred Stein Archive).Cover of 5th Avenue photobook (Pantheon Books, 1947) by Fred Stein (© Fred Stein Archive).
    New York
    Charles Leirens
    PhotographerMusicianMusicologist

    Charles Leirens was a Belgian-born musician and photographer who emigrated to New York in 1941. While publishing two books on Belgian music, he also gave courses in musicology and photography at the New School for Social Research.

    Word Count: 36

    Announcement for “Photography with the Miniature Camera” course by Charles Leirens. New School Bulletin. Art Classes 1951/1952, vol. 9, no. 2, p. 33 (© New School course catalog collection, NS-05-01-01. The New School Archives).
    Fritz Neugass. “The saga of the S.S. Winnipeg.” Modern Photography, July 1951, pp. 72–73 (Photo: Helene Roth).Cover of photobook 20 Portraits d’artistes by Charles Leirens (Editions de la Connaissance, 1936).Announcement for the Photographic Portraits of Prominent Europeans by Charles Leirens exhibition at the Bignou Gallery, published in The Brooklyn Daily Eagle, 10 October 1943, p. 16.Article on Photographic Portraits of Prominent Europeans by Charles Leirens exhibition at the Bignou Gallery, published in The Brooklyn Daily Eagle, 17 October 1943, p. 32.Announcement for “Portraiture with the Miniature Camera” course by Charles Leirens.New School Bulletin. Art Classes 1947/1948, vol. 5, no. 2, p. 29 (© New School course catalog collection, NS-05-01-01. The New School Archives).Flyer for Morocco by Charles Leirens exhibition at the New School for Social Research from 27 January to 18 February, 1949 (© New School Publicity Office Records. The New School Archives and Special Collections).
    New York
    Lotte Jacobi
    Photographer

    In October 1935 the German émigré photographer Lotte Jacobi, together with her sister Ruth Jacobi, opened a photo studio on 57th Street. The two sisters had to leave their parents' photo studio in Berlin in the 1930s and emigrated to New York.

    Word Count: 41

    Lotte Jacobi, Self-portrait, New York, 1937 (© 2020. University of New Hampshire).
    Lotte Jacobi, Central Park, New York, 1936 (© 2020. University of New Hampshire).Lotte Jacobi, New York Stock Exchange, New York, 1938 (© 2020. University of New Hampshire).Lotte Jacobi, Ernst Fuhrmann, New York, 1942Lotte Jacobi, Hanya Holm dancing with troup, 1937 (© 2020. University of New Hampshire).Flyer for Lotte Jacobi’s exhibition at the Norlyst Gallery, 1948 (© 2020. University of New Hampshire).Willi Wolfradt. "Lichtbild-Schöpfungen." Aufbau, 15 October 1948, p. 19.Lotte Jacobi, Werner Wolff, 1943, New York (© 2021. University of New Hampshire).Lotte Jacobi, Ruth Bernhard, 1945, New York (© 2021. University of New Hampshire).
    New York
    Lilly Joss
    Photographer

    Lilly Joss was an émigré freelance photographer in New York. She worked for the Black Star photo agency and magazines and was also a portrait and theatre photographer.

    Word Count: 28

    Portrait of Lilly Joss, detail from an article, published in Barbara Green. “Magazine Photographer Lilly Joss.” The Camera, March 1948, p. 42 (Private Archive Helene Roth).
    Frühling im Central Park series. Junges Paar mit Kinderwagen by Lilly Joss, New York, 1944 (© Wien Museum / kunstdokumentation.com).“The Kid’s spoke up” article with images by Lilly Joss, The Los Angeles Times, 4 February 1945, p. 79 (Photo: Helene Roth).Four images by Lilly Joss for the “Spring 1944” reportage, Life 24 April 1944, pp. 96–97 (Photo: Helene Roth).Two little boys in a Chinese kindergarten by Lilly Joss for the “Salon Section”, Popular Photography, March 1945, pp.46–47 (Photo: Helene Roth).Joss Reich, Lilly. The Viennese Pastry Cookbook. From Vienna With Love over 200 authentic recipes for classic pastries and warm desserts. New York: The Macmillan Company, 1970.
    New York