Van Diemen-Lilienfeld Galleries Archive. Collection Summary 1930 - 1970". library.nga.gov . Retrieved 2021-04-15. Dr. Karl Lilienfeld immigrated to New York from Germany in 1925 and founded his eponymous gallery there the same year. In November 1932 there was an announcement that Dr. Lilienfeld would "continue to conduct" the Lilienefeld Galleries at 21 East 57th Street and would also "act as general representative" for Van Diemen Galleries, New York. In 1935 the Van Diemen Galleries, Berlin headquarters were liquidated by the National Socialists (Nazis). Around 1936 the New York branch of Van Diemen Galleries became the Van Diemen-Lilienfeld Galleries with Dr. Lilienfeld the director of the merged venture. The gallery was recognized as the Van Diemen-Lilienfeld Galleries until the early 1960s.

In a similar way, strippers put on a show that’s only meant to entertain, which sadly some dumb men think is real. As the legendary stripper Toni Elling once said, it’s all about entertainment: Directors Eduard Plietzsch (1919-1935) and Kurt Benedict (1923-1933) headed the branches van Diemen and Dr. Benedict & Co. Until 1929 these two galleries, together with Altkunst Antiquitätene and Dr Otto Burchard & Co. belonged to Albert Loeske's Margraf group before being inherited by its employees Jacob and Rosa Oppenheimer. [4] Aryanization in 1933 in Nazi Germany [ edit ]Rosa and Jacob Oppenheimer fled to France in 1933 as refugees. Jakob died in Nice in 1941 and Rosa was interned in the French Drancy concentration camp, then deported to Auschwitz where she perished on 2 November 1943. [8] Merger of the New York branch with Lilienfeld Gallery [ edit ] While disturbing, violent, and creepy, this is most definitely not "the scariest movie ever made!" Not by a long shot. While the acting is above-average, especially for a horror movie, and there are some frightening moments of haunting demonic imagery, this is basically another tale of teens unwittingly unleashing paranormal terror. It's a "Demon Git-R-Dun To-Do List" familiar to any horror movie fan: Make lights turn on and off, slam doors, possess poor Verónica while she's trying to eat dinner, etc., until said demons get bored with these antics and turn increasingly murderous. The Internet has a fair selection of vintage images of strippers and burlesque dancers from the nineteen-forties, the fifties, sixties, seventies, and so on. Many are strangely orphaned like most of the kazillions of images out there. Just think, every day there are more images merely uploaded than all of the pictures produced during the 19th century. That’s kind of staggering. Most of these pictures drift unanchored to any connecting narrative.

sisterMAG (2019-10-07). " "The First Russian Exhibition" in Berlin (1922)". sisterMAG . Retrieved 2021-04-15. In 1935, the New York branch merged with the Lilienfeld Gallery, under its founder Karl Lilienfeld, who had immigrated from Germany to New York. It was called the van Diemen-Lilienfeld Gallery until the mid-1960s. [9] Nazi-looted art and claims for restitution [ edit ]

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Provenance Research: Staatliche Kunsthalle Karlsruhe (State Art Gallery of Karlsruhe)". www.lootedart.com . Retrieved 2021-04-15. In 2000 the painting Bildnis der Marchesa Veronica Spinola Doria (Portrait of the Marchesa Veronica Spinola Doria )(1607-8) by Rubens which was in the museum's collection was claimed by a French legal firm on behalf of the community of heirs of Jacob and Rosa Oppenheimer. [11] The Berlin Galleries (van Diemen, Dr Benedict & Co., Dr Otto Burchard & Co and Altkunst Antiquitäten) were liquidated by the National Socialists in 1935 and the artworks auctioned off at the Paul Graupe auction house. [7] Murder of Rosa Oppenheimer in the Holocaust [ edit ] All of which reminds me of the old Hans Christian Andersen story “ The Shadow,” which I’m sure you all know or have at least been told at some point in your childhood. Simply put, it’s the story of a man whose shadow escapes one night and starts living a life of its own. This shadow becomes more and more independent until it is the dominant figure and its original creator, the man himself, becomes utterly subservient. Old photographs are like that. They have their own life which becomes the shadow by which we know or identify the subject’s life. Like these photos of strippers culled from magazine spreads and publicity shots used to tout some gentertainment. We know little about the women who posed for these pictures—or the lives they lived—but we (for want of a better word) identify them by their shadow—which in this case is their photograph.