Schuster said that she thought donations would “peak in the 1990s, but we’re busier now than ever. The rest is kept in a special facility in Maryland under strict preservation conditions. Only about one percent of the museum’s collection is on display at any given time. Once we determine we want to acquire the artifacts, we make arrangements for the shipping.” The museum will then preserve and digitize the documents so that they can be accessed by researchers or the public. “Sometimes we refer people to other institutions. “We want to make sure we’re the right repository for the items,” said Schuster. Prospective donors should provide a description of the artifacts, she added. Holocaust Museum either by email ( or through a form on its website ( “People used to walk in the door” with documents pre-pandemic, she said. Schuster suggested that anyone who has Holocaust-related artifacts can contact the U.S. We work together because what we do is so important.” Holocaust Museum has a loan policy, so that if we wanted to focus on something they had collected, we could borrow it easily. According to Leslie Gordon, the Breman’s executive director, “Our collections policy is limited to Georgia and Alabama, and we encourage donors to donate to either or both.
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Holocaust Museum worked with Atlanta’s Breman Museum to present a two-part virtual series that helped to explain the Museum’s process for reviewing and acquiring Holocaust artifacts. “The letters are hard to read because you hope for a good outcome, even when you know there isn’t one,” she added.Īlli Allen met with a U.S. Allen learned later that her great-grandparents were at the camp for two years, while her grandmother’s sister was there for six months. In 1942, the family received a last postcard from the Theresienstadt concentration camp via the Red Cross. In addition to letters and photographs, the family stuck in Germany sent clothes that they thought would be useful upon their arrival in America.
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They took English lessons, and my great aunt was learning how to sew” so that she would have employment when she arrived in the U.S. “They were writing about their efforts to get visas and passage out of Europe. “They wrote, ‘I can’t believe you left.’” Then her great-grandparents Blanka and Max Hartstein in Stuttgart and her great aunt in Prague started preparing for their hoped-for journey to America. “The letters started within a week of my grandparents leaving,” said Allen, which by chance was in November 1938 - a week before Kristallnacht.
But the letters, written almost once a week between 19 on onion-skin paper in German, related how progressively desperate they were to flee Europe.Īlli’s grandparents, Paula Hartstein Marx and Hugh Marx. Her maternal grandmother, Allen said, never spoke about the fact that her parents and sister died in the Holocaust. In the film, which is part of a series for “AIB Presents,” Atlantan Alli Allen said she knew of her family’s Holocaust history growing up, but it wasn’t until after her grandmother, Paula Hartstein Marx, died in 1999 and her mother, Inge Marx Robbins, found boxes of letters and artifacts in her attic, that the story became clearer. Get The AJT Newsletter by email and never miss our top stories “I think about my own childhood, carpooling with kids whose parents were survivors,” Galex told the AJT. Galex, who also narrates the documentary, said the stories related by Alli Allen and Naomi Liebman really touched her. “We had intended to air the piece earlier,” acknowledged Audrey Galex, AIB’s community engagement manager and producer of the documentary. “The letters are hard to read because you hope for a good outcome, even when you know there isn’t one,” said Alli Allen.
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