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23rd March 1933 News in Brief 1/1 Previous NiB Next NiB The Enabling Act of 1933 Enacted on 23rd March 1933 HISTORICAL EXHIBITION PRESENTED BY THE GERMAN BUNDESTAG The political situation in the final stages of the Weimar Republic was confusing and unstable. Changing cabinets and coalitions and political, social and economic crises were the order of the day. Paul von Hindenburg, President of the Reich, was resorting more and more frequently to emergency decrees and dissolved the Reichstag twice in 1932. The prevailing political conditions facilitated the transition of the National Socialist German Workers’ Party (NSDAP) from a radical splinter group to a party of government. In the two elections to the Reichstag in 1932 and in the election of 1933, which was free only on paper, the NSDAP won the largest share of the vote by far. On 30 January 1933, Adolf Hitler was appointed Chancellor of the Reich by President Hindenburg. Hitler was thus placed at the head of a cabinet comprising non-attached Conservative ministers, members of the NSDAP and representatives of the German National People’s Party (DNVP). The direction in which the political situation would develop under Hitler became clear only shortly after he took office. The Reichstag Fire Decree (Reichstagsbrandverordnung), enacted only one day after the fire in the Reichstag building on 27 February 1933, severely curtailed fundamental rights, subjected the police largely to the control of the national government and thereby created all sorts of opportunities for the persecution and elimination of political opponents, which the police and the socalled auxiliary police forces formed by SA and SS troops exploited to the full. The next step towards the ‘Führer state’ was the abolition of parliamentary democracy and the rule of law. Although the NSDAP-led government had a stable working majority in the Reichstag, the National Socialists aspired to formalise their absolute de facto political power by means of an amendment to the Weimar Constitution. Through the ‘Act for the Removal of the Distress of the People and the Reich’ of 24 March 1933, more commonly known as the Enabling Act (Ermächtigungsgesetz), which consisted of only five articles, the government of the Reich was to be vested with almost unlimited powers to enact laws, even in cases where the legislation encroached on core provisions of the Constitution Since the Act entailed an amendment to the Weimar Constitution, its adoption required both a twothirds majority in Parliament and the presence in the Reichstag of at least two thirds of all its members. The prospects of achieving the requisite number of votes were good, since the mandates of the 81 deputies from the Communist Party of Germany had been rescinded under the Reichstag Fire Decree. Moreover, many Members of the Reichstag had already fled or been imprisoned or murdered. In order to secure the remaining votes, however, the support of the Centre Party was particularly important. In their negotiations with the Catholic party, Hitler and his Interior Minister, Wilhelm Frick, concealed the true purpose of the Act and emphasised its allegedly economic aims. They gave the Centre far-reaching guarantees on the continuing existence of the supreme organs of the Constitution and the Länder and promised to respect the rights of the churches, to safeguard fundamental rights and to establish a parliamentary committee to scrutinise legislative bills. In addition, they held out the prospect of a Concordat with the Vatican. With these promises, most of which were never honoured, the government finally managed to arrange the parliamentary support it required Besides the NSDAP deputies, those of the German National People’s Party, the Centre, the Bavarian People’s Party, the German State Party, the Christian Social People’s Service (Christlich-Sozialer Volksdienst) – a Protestant party – the German Farmers’ Party (Deutsche Bauernpartei) and the German People’s Party all voted for the Enabling Act. Only the deputies from the Social Democratic Party of Germany voted en bloc against the bill, in spite of the massive intimidation by the SA and SS, whose troops had moved in to surround the Kroll Opera House, where the Reichstag was now meeting. The chairman of the SPD parliamentary group, Otto Wels, combined the explanation of his group’s rejection of the Enabling Act with a passionate profession of faith in parliamentary democracy. “The elections of 5 March gave the governing parties a majority, thereby giving them the right to govern in strict accordance with the spirit and letter of the Constitution. Where that right exists, there also exists an obligation. Criticism is salutary and necessary. Never in the existence of a German Reichstag has the scrutiny of public affairs by the elected representatives of the people been stifled to such an extent as is happening now and as will happen even more under the new Enabling Act. The effects of such government omnipotence will surely be made all the more disastrous by the fact that the press is also bereft of any freedom of action.” In spite of these plain words and the clear depiction of the intended consequences of the Act, only 94 deputies voted against the bill compared with 444 who voted in favour. This means that there would have been a sufficient majority for a constitutional amendment even if the Communist deputies had been able to take part in the vote. Even today, however, it remains a moot point whether the adoption of the Enabling Act was actually consistent with the provisions of the Weimar Constitution. The adoption of the Act on 23 March 1933 enabled Adolf Hitler’s government to enact laws without the consent of the Reichstag, which continued to exist, or of the Reichsrat and without the countersignature of the President of the Reich. These extensive powers also applied, almost without restriction, to constitutional amendments and to treaties with other states. The Act thus marked the final eclipse of the democratic state based on the rule of law and the abolition of parliamentary democracy. All the legislation of the National Socialist state was based on the Enabling Act. It served to centralise the public administration, the judiciary, the security apparatus and the armed forces in accordance with the ‘Führer principle’, to standardise political life in accordance with National Socialist principles (Gleichschaltung) by banning political parties and mass organisations and to abolish freedom of the press. The concentration of power in the hands of the government, and hence in the person of Adolf Hitler, sealed the transition to dictatorship. The Enabling Act was initially adopted for a four-year period but was extended in 1937, 1939 and 1943. It remained the basis of all legislation throughout the Nazi dictatorship and was finally abolished after the capitulation by Law No 1 of the Allied Control Council on 20 September 1945. Bibliographical references: Jörg Biesemann, Das Ermächtigungsgesetz als Grundlage der Gesetzgebung im nationalsozialistischen Staat. Ein Beitrag zur Stellung des Gesetzes in der Verfassungsgeschichte 1919-1945 (Studien zur Politikwissenschaft, No 13). Münster, 1987. Martin Broszat, Der Staat Hitlers. Munich, 1969. Irene Strenge, Machtübernahme 1933 – Alles auf legalem Weg? Berlin, 2002. Administration of the German Bundestag, Research Section WD 1, March 2006. Source: www.bundestag.de Contact Brief History to inform us of additional information regarding this page

Commercial postcard sent by Hagemann & Döpping to a radio shop in Sonneberg. Featuring postage stamp: Mi.465, first issued in January 1932. Ref: 11.02.1933. German stamps Pre-1933 (used after 30th January 1933) 11_02_1933 Hagemann Radio reverse.webp 11_02_1933 Hagemann Radio reverse.webp 1/1 Commercial postcard sent by Hagemann & Döpping to a radio shop in Sonneberg. Featuring postage stamp: Mi.465, first issued in January 1932. Ref: 11.02.1933. Pre-Third Reich postage stamps (used after 30th January 1930) 1922 Mi.238-Mi.245 (12.1922-06.1923) Regular issue: Worker. Mi.244 (March 1923) with 'Sammlerverein GERMANIA Coblenz.' overprint. Unfranked to the reverse of a 1946 envelope. Ref: 24.04.1946 - 15/92 1923 Mi.277-Mi.296 (24.08-09.1923) - Regular issue: Partial or new issue 'Number in Rectangle, 'Worker' and 'Number in Circle', with overprint. Mi.280 (24.08.1923). 20 Tsd on 12 M. Ref: 01.03.1946 - 16/3 Mi.338-Mi.343 (01.12.1923) - Definitive issue: value in circle with rosette (basket lid). Mi.343 (Dec. 1923) Ref: 07.10.1933 1924 Mi.105-Mi.113 (03-06.1924) - Official stamps: Mi.355-361 and Mi.362-Mi.363 overprinted 'Dienstmarke'. Mi.111 Official (March 1924) Ref: 27.02.1934 - 2/69 Mi.364-Mi.367 (11.05.1924/1927) - Definitive issue: Buildings. Mi.364 (May 1924/1927) Ref: 24.12.1935 1926 Mi.378-Mi.384 (01.04.1926/04.1927) - Airmail stamps. Mi.381 (Apr. 1926) Ref: 27.09.1933 - 1/3 1928 Mi.410-Mi.422 (01.09.1928) - Definitive stamps: German Presidents (Ebert and Hindenburg). More information here. Mi.410 (Sept. 1928) Ref: 02.04.1933 Mi.411 (Sept. 1928) Ref: 23.03.1933 - 10/74 Mi.412 (Sept.1928) Ref: 08.05.1933 Mi.414 (Sept. 1928) Ref: 09.03.1933 Mi.417 (Sept. 1928) Ref: 21.04.1933 - 9/23 Mi.418 (Sept. 1928) Ref: 23.01.1933 - 9/22 Mi.420 (Sept. 1928) Ref: 11.03.1935 Mi.422 (Sept 1928) Ref: 17.01.1934 - 1/4 1930 Mi.435-Mi.437 (08.02/09.1930) - Definitive stamps: German Presidents (Ebert and Hindenburg). More information here. Mi.435 (Feb. 1930) Ref: 23.03.1933 - 10/74 Mi.436 (Feb.1933) Ref: 01.09.1933 - 10/28 Mi.437 (Sept. 1930) Ref: 17.05.1933 - 10/6 Mi.444-Mi.445 (30.06.1930) - Withdrawal of Allied occupation troops from the Rhineland. Mi.445 (Jun. 1930) Ref: 02.08.1934 1931 Mi.454 (15.02.1931) - Definitive stamp (Hindenburg). Mi.454 (Feb. 1931) Ref: 15.12.1933 Mi.455 (05.1931) - Airmail stamp. See 14.04.1935 Ref: Fleurs & Papillons 1932 Mi.465-Mi.466 (01.1932) - Definitive stamps: German Presidents (Ebert and Hindenburg). Mi.465 (Jan.1932) Ref: 11.02.1933 Mi.466 (Jan.1932) Ref: 24.08.1933 Mi.467-Mi.473 (01.10.1932) - Definitive stamps: Paul von Hindenburg (Medallion). Mi.467 (Oct. 1932) Ref: 24.03.1933 Mi.468 (Oct. 1932) Ref: 17.01.1934 - 1/4 Mi.469 (Oct. 1932) Ref: 15.12.1933 Mi.471 (Oct. 1932) Ref: 13.11.1933 Mi.472 (Oct. 1932) Ref: 17.01.1934 Mi.474-Mi.478 (01.11.1932) - German aid to the needy: Castles and palaces. More information here. Mi.474 (Nov. 1932) Ref: 18.03.1933 Mi.475 (Nov.1932) Ref: 28.03.1933 Mi.476 (Nov. 1932) Ref: 29.03.1933 Contact Brief History to inform us of additional information regarding this page

Cover posted from Marburg featuring two Weimar Republic stamps, Mi.411 (5 Pf first issued 01.09.1928) and Mi.435 (10 Pf first issued 08.02.1930). Ref: 23.03.1933 - 10/74 23rd March 1933 Mi.410-422 (1928) 1/1 Cover posted from Marburg featuring two Weimar Republic stamps, Mi.411 (5 Pf first issued 01.09.1928) and Mi.435 (10 Pf first issued 08.02.1930). Ref: 23.03.1933 - 10/74 Mi.410 - 422 (First issued 1st September 1928) German presidents (II) Notes: Designer: ?. Letterpress printing. Sheets 10 x 10, rolls and stamp booklets. Waffle watermark (x - vertical), Mi.412 (x, also y - horizontal - rare). Perf. 14:14¼. Quantity issued: Unknown. Ebert design valid until 30th June 1934, Hindenburg design valid until 31st December 1935 Mi.410 (3 pf - Friedrich Ebert, 1st German president). Ref: 02.04.1933 Mi.411 (5 Pf - Paul von Hindenburg, 2nd German president). Ref: 23.03.1933 - 10/74 Mi.412 (8 pf - Friedrich Ebert, 1st German president). Ref: 08.05.1933 Mi.413 (8 pf - Friedrich Ebert, 1st German president). Ref: Mi.414 (15 Pf - Paul von Hindenburg, 2nd German president). Ref: 09.03.1933 Mi.415 (20 pf - Friedrich Ebert, 1st German president). Ref: Mi.416 (25 Pf - Paul von Hindenburg, 2nd German president). Ref: Mi.417 (30 pf - Friedrich Ebert, 1st German president). Ref: 21.04.1933 - 9/23 Mi.418 (40 Pf - Paul von Hindenburg, 2nd German president). Ref: 23.01.1933 - 9/22 Mi.419 (45 pf - Friedrich Ebert, 1st German president). Ref: Mi.420 (50 Pf - Paul von Hindenburg, 2nd German president). Ref: 11.03.1935 Mi.421 (60 pf - Friedrich Ebert, 1st German president). Ref: Mi.422 Poor example (80 Pf - Paul von Hindenburg, 2nd German president). Ref: 17.01.1934 - 1/4 Contact Brief History to inform us of additional information regarding this page

Envelope featuring 4 Pf postage stamp Mi.474 depicting Wartburg Castle. Ref: 18.03.1933 18th March 1933 Mi.474-478 (1932) 1/1 Envelope featuring 4 Pf postage stamp Mi.474 depicting Wartburg Castle. Ref: 18.03.1933 THE LAST STAMPS OF THE WEIMAR REPUBLIC Mi.474 - 478 (First issued 1st November 1932) German aid for the needy: Castles and palaces Notes: Designer: ?. Printing ?. Sheets 10 x 10, Stamp Booklet. Waffle watermark (x - vertical on 474-477, y - horizontal on Mi.478). Perf. 14¼:14. Quantity issued: Mi.474 = 2,706,027, Mi.475 = 3,305,032, Mi.476 = 4,798,610, Mi.477 = 468,886, Mi.478 = 203,175. Valid until 30th June 1933 Mi.474 (4+2 Pf - Wartburg Castle). Ref: 18.03.1933 Mi.475 (6+4 Pf - Castle Stolzenfels on the Rhine). Ref: 28.03.1933 Mi.476 (12+3 Pf - Nuremberg Castle). Ref: 29.03.1933 Mi.477 (25+10 Pf - Castle Lichtenstein) Mi.478 (40+40 Pf - Marburg palace) Contact Brief History to inform us of additional information regarding this page

'Ross' Verlag postcard depicting film actress Lee Parry. Ref: 17.03.1933 17th March 1933 Lee Parry 1/1 'Ross' Verlag postcard depicting film actress Lee Parry. Ref: 17.03.1933 Lee Parry Lee Parry (born Mathilde Charlotte Benz, 1901 - 1977) was a German film actress of the silent era. She appeared in more than 40 films between 1919 and 1939. Lee Parry was born Mathilde Charlotte Benz on 14th January 1901, daughter of the stage actor, opera tenor, and variety director Josef Friedrich Benz (1863–1928), who was popularly known as 'Papa Benz', and the singer Mathilde Benz (1880–1967). Parry was discovered by director Richard Eichberg in 1919, who she subsequently married. She made her film debut in Jettatore , followed by Sins of the Parents and Nonne und Tänzerin (all 1919), all of which were directed by Eichberg. Parry was at the pinnacle of her career when she starred in the historical drama Monna Vanna (1922) opposite Paul Wegener and Hans Stürm. She co-starred in several films with Bela Lugosi during the period in which he lived in Germany, including Hypnosis and The Curse of Man . In addition to acting in films, Parry also acted on the stage and starred in several Viennese operettas. She also embarked on a successful music career, recording popular songs such as 'Ich bin von Kopf bis Fuß auf Liebe eingestellt'. Her final screen appearance was in Adieu Vienne (1939). In 1956, Parry moved to Buenos Aires with her second husband, Siegmund Breslauer, who was a director at the German exile theater Freie Deutsche Bühne. Following a theatrical comeback in the play Manon , she continued to perform for several more years on various stages across South America. Parry died on 24th January 1977 in Bad Tölz. Source: Wikipedia (2024) Contact Brief History to inform us of additional information regarding this page

'Ross' Verlag postcard depicting film actor Willy Fritsch. Ref: 10.03.1933 10th March 1933 Willy Fritsch 1/1 'Ross' Verlag postcard depicting film actor Willy Fritsch. Ref: 10.03.1933 Willy Fritsch Willy Fritsch (1901 - 1973) was a German theatre and film actor, a popular leading man and character actor from the silent-film era to the early 1960s. He was born Wilhelm Egon Fritz Fritsch, the only son of a factory owner in Kattowitz (present-day Katowice) in the Prussian province of Silesia. After the bankruptcy of his father in 1912, the family moved to Berlin, where Fritsch Sr. worked as an employee of the Siemens-Schuckert company. Young Willy originally planned an apprenticeship as a mechanic, but soon began working as an extra at the Großes Schauspielhaus theatre. From 1919 he attended Max Reinhardt's drama school at the Deutsches Theater, where he debuted with small roles and played as understudy at times side by side with Marlene Dietrich (i.e. Spring Awakening ). He made his feature debut in films as a supporting player in 1920's Miss Venus and got his first important engagement in His Mysterious Adventure three years later. In 1925, Fritsch gained international attention by playing the leading role in the silent film A Waltz Dream directed by Ludwig Berger. Afterwards he was offered a United Artists contract, but refused to move to the United States, being concerned about his limited English. His career was pushed now through the UFA film company by being cast as a juvenile lover in silent comedies such as Chaste Susanne (1926), The Last Waltz (1927), Hungarian Rhapsody (1928), and Her Dark Secret (1929). Fritsch also starred in two silent films directed by Fritz Lang: the thriller Spies (1928) and the sci-fi film Woman in the Moon (1929), where he played serious characters. Again, these films gained him international success. In 1929, he spoke the first sentence in a German talkie: 'I'm saving money to buy a horse!' ( Melodie des Herzens / Melody of the Heart , 1929)). Shortly after that, he was paired again with Lilian Harvey, whom he had already played together with twice during the mid-1920s. Their joint musical love comedy Waltz of Love (1930) was such a huge success that its producer Erich Pommer decided to continue making films with the 'perfect couple' Harvey/Fritsch. Thereupon, they appeared regularly together in UFA movies such as The Three from the Filling Station (1930), Congress Dances by Erik Charell (1931) and A Blonde Dream (1932), but Fritsch was also playing in several movies at the side of Käthe von Nagy (i.e. in Billy Wilder's screenwriting debut Her Grace Commands , 1931 or I by Day, You by Night , 1932). He mainly starred in the German versions and was sometimes replaced by Henri Garat unless his movies were dubbed. In his musical comedies, Fritsch also turned out to be a good singer performing popular German film songs written by Werner Richard Heymann or Friedrich Holländer. At the end of the Weimar era, he was one of the best paid actors in Germany, drawing large crowds of fans wherever he appeared. Even palm court music was composed for him: Ich bin in Willy Fritsch verliebt (I'm In Love With Willy Fritsch) , 1931. Besides, Friedrich Holländer dedicated a Couplet to him the same year: Gebet einer 15 3/4-Jährigen - Warum ist der Willy Fritsch so schön? ( Prayer Of A 15 3/4 Year Old: Why Willy Fritsch Is Such A Cutie ) was written for the opening of the famous Tingel Tangel Theater in Berlin. When Hitler came to power in 1933, Fritsch was able to continue his career in Germany. In the mid-1930s, he was the leading actor in highly successful comedies such as Amphitryon (1935) directed by Reinhold Schünzel or Lucky Kids (1936, director Paul Martin), the latter a German adaption of Frank Capra's film It Happened One Night . By the end of the decade, he starred in two more comedies together with Lilian Harvey ( Seven Slaps , 1937 and Woman At The Wheel , 1939) before Harvey emigrated to France. In 1940, Fritsch also played the leading role in the first German coloured motion picture Women Are Better Diplomats . Though he had joined the NSDAP in response to the pressure put on him to do so, Fritsch avoided getting involved in Nazi propaganda, other than his appearance in the 1944 aviator movie Junge Adler [de] which earned him an entry on Goebbels' Gottbegnadeten list. Starring in Austrian originated comedies such as Vienna Blood (1942) directed by Willi Forst or A Salzburg Comedy (1943) written by Erich Kästner, he managed to survive the Hitler era without any loss of prestige, even while being watched by the secret police (Gestapo) for his 'lack of political reliability' despite his party membership. After the war, he moved to Hamburg and continued to appear in movies such as Film Without A Title (1948) together with Hildegard Knef, as well as in several German blockbusters such as The Heath Is Green (1951) and When the White Lilacs Bloom Again (1953) side by side with young Romy Schneider. In 1958, Fritsch starred in the German version of Mit Eva fing die Sünde an [de] , which was later adapted and filled with additional scenes by Francis Ford Coppola for his debut release of The Bellboy And The Playgirls (1962). Fritsch's final film was 1964's I Learned It from Father (Das hab' ich von Papa gelernt) directed by Axel von Ambesser, in which he performed together with his son Thomas. Fritsch was married to artistic dancer Dinah Grace in 1937 and became a father of two sons. The younger one, Thomas Fritsch, was a successful actor as well. Fritsch died of a heart attack aged 72 and was buried at Ohlsdorf Cemetery in Hamburg. Source: Wikipedia (2024) Contact Brief History to inform us of additional information regarding this page

'Ross' Verlag postcard depicting film actress Renate Müller. Featuring a generic cancellation from Bielfeld (JB:114/813). Ref: 09.03.1933 9th March 1933 Renate Müller 1/1 'Ross' Verlag postcard depicting film actress Renate Müller. Featuring a generic cancellation from Bielfeld (JB:114/813). Ref: 09.03.1933 Renate Muller Renate Müller (1906 - 1937) was a German singer and actress in both silent films and sound films, as well as on stage. One of the most successful actresses in German films from the early 1930s, she was courted by the Nazi Party to appear in films that promoted their ideals, but refused. Her sudden death at the age of 31 was initially attributed to epilepsy, but after the end of World War II, some commentators asserted that she was in fact murdered by Gestapo officers, others that she committed suicide. The true circumstances of her death remain unknown. Born in Munich, Kingdom of Bavaria, Germany, Müller entered films in 1929 in Berlin, and quickly became popular. A blue-eyed blonde, she was considered to be one of the great beauties of her day, and, along with Marlene Dietrich, was seen to embody fashionable Berlin society. She starred in more than twenty German films, including Viktor und Viktoria (1933), one of her biggest successes, which was remade decades later as Victor Victoria with Julie Andrews. After making Sunshine Susie (1932) in England, she returned to Germany and was delayed by anti-German French officials for a short time in Paris. The incident was used by Dennis Wheatley as a basis for his short story, 'Espionage'. The story and a short discussion of the incident are included in Wheatley's short story collection Mediterranean Nights . With the rise of the Nazi Party, Müller came to be regarded as an ideal 'Aryan' woman, and, particularly in light of Dietrich's move to Hollywood, was courted and promoted as Germany's leading film actress. When Müller died suddenly, the German press stated the cause as epilepsy. However, it was later revealed that she had died as a result of a fall from a hotel (or hospital) window. According to Channel 4 documentary 'Sex and the Swastika', aired in February 2009, she jumped from a Berlin hospital window where she was being treated for a knee injury or drug addiction. Officially described as a suicide, it was theorised that she took her own life when her relationship with Nazi leaders deteriorated after she showed unwillingness to appear in propaganda films. She was also known to have been pressured to end a relationship with her Jewish lover, but had refused. Near the end of her life, she became addicted to morphine and abused alcohol. Witnesses also recalled seeing several Gestapo officers entering her building shortly before she died. It has been asserted that she was either murdered by Gestapo officers who threw her from a window, or that she panicked when she saw them arrive and jumped. The true circumstances surrounding her death remain unclear. According to Uwe Klöckner-Draga in his book 'Renate Müller – Ihr Leben ein Drahtseilakt', on 3rd April, Goebbels wrote in his diary: 'Renate tells me her tale of woe. She is a sick woman.' On the 6th, he mentioned that she had been interrogated in a very dishonourable way, and on 25th June: 'Renate Müller! I help her.' At the end of September – according to her sister Gabriele – Renate was drunk and sitting on a window sill when she lost her balance. Müller's life and death were portrayed in the 1960 film Sweetheart of the Gods . Source: Wikipedia (2024) Contact Brief History to inform us of additional information regarding this page

Postal Stationery Mi. P194I (0.2mm thickness) - Marshal von Hindenburg 5 Rpf yellow green issued in 1931 (similar to Mi. P180 issued in 1928). 'Absender' block of text in upper left panel 21mm top to bottom. Note: There is a serrated edge version (Mi. P194II), which is rarer and therefore of greater value. Ref: 09.03.1933 9th March 1933 Mi.P194 I 'Dampfbäckerei' postcard Mi. P194I (message) 'Dampfbäckerei' postcard Mi. P194I (message) 1/1 Postal Stationery Mi. P194I (0.2mm thickness) - Marshal von Hindenburg 5 Rpf yellow green issued in 1931 (similar to Mi. P180 issued in 1928). 'Absender' block of text in upper left panel 21mm top to bottom. Note: There is a serrated edge version (Mi. P194II), which is rarer and therefore of greater value. Ref: 09.03.1933 The postcard was sent from a dampfbäckerei (steam oven) business in Munich. Link to wikipedia steam oven page. Contact Brief History to inform us of additional information regarding this page

Postcard depicting Gitta Alpár (1903-1991) Hungarian Opera Singer and Actress. Imprint Iris 6616. Featuring Bochmann: Leipzig76/472Ref: 07.03.1933. 7th March 1933 Gitta Alpar 1/1 Postcard depicting Gitta Alpár (1903-1991) Hungarian Opera Singer and Actress. Imprint Iris 6616. Featuring Bochmann: Leipzig76/472Ref: 07.03.1933. ALPÁR, Gitta (1903-1991). In 1931 Alpár married the German actor Gustav Fröhlich. It was in Germany that Alpár made her first motion picture films. However, she was to appear on Hitler's 'hit list', alongside other non-conformist celebrities, in the book Juden sehen Dich (Jews Are Looking at You) by Johann von Leers. Alpár departed Germany in 1933, with her married to Fröhlich being dissolved in 1935 (it was illegal for an aryan German to be married to a Jew). Alpár's career continued and she successfully settled in the United States. Ref:07.03.1933 Contact Brief History to inform us of additional information regarding this page

Radio Directory Radio Directory Screenshot 2021-11-27 at 09.29.50.png Screenshot 2021-11-27 at 09.29.50.png 1/1 Radio Directory 1931 Link to Hagemann & Döpping catalogue of 1931 (for commercial postcard from Hagemann & Döpping see 11.02.1933 ) 1934 Süddeutscher Rundfunk (January 1934) 1935 12th German Radio Exhibition, Berlin 1935 1936 13th German Radio Exhibition, Berlin 1935 - see 09.09.1936 - 23/225 1939 16th Greater German Radio & Television Exhibition, Berlin 1939 Contact Brief History to inform us of additional information regarding this page

Commercial postcard sent by Hagemann & Döpping to a radio shop in Sonneberg. Ref: 11.02.1933. Featuring JB: 126A ('Vermeidet/ Rundfunk=/ störungen!' - Avoid radio interference!). Stamp: Mi.465 11th February 1933 JB: Erfurt Commercial postcard from Hagemann & Döpping (reverse) Commercial postcard from Hagemann & Döpping (reverse) 1/1 Commercial postcard sent by Hagemann & Döpping to a radio shop in Sonneberg. Ref: 11.02.1933. Featuring JB: 126A ('Vermeidet/ Rundfunk=/ störungen!' - Avoid radio interference!). Stamp: Mi.465 Link to Hagemann & Döpping catalogue 1931 JB:126/814 ( Vermeidet/ Rundfunk=/ störungen! ) variations Variation of JB:126A/814 cancellation. The umlaut above the 'O' has points that are wider apart on the Köln cancel than that of the Erfurt cancel, which are narrower. Variation of JB:126A/814 cancellation. The umlaut above the 'O' has points that are wider apart on the Köln cancel than that of the Erfurt cancel, which are narrower. ERFURT cancellations as featured in the Bochmann catalogues (1952) JB:Erfurt21/259 see 12.03.1939 - 22/95 GENERIC CANCELLATIONS used in numerous cities including Erfurt JB:126A (Vermeidet/ Rundfunk=/ störungen!). Used in 106 places. Ref: 11.02.1933 Contact Brief History to inform us of additional information regarding this page

Official postal correspondence of the Judicial Authority in Essen. Form 'G.K.F. 98.' Ref: 03.02.1933 Further research required 3rd February 1933 Francotyp B.2 Official postcard of the Judicial Authority in Essen (reverse). Official postcard of the Judicial Authority in Essen (reverse). 1/1 Official postal correspondence of the Judicial Authority in Essen. Form 'G.K.F. 98.' Ref: 03.02.1933 Further research required The postcard features the postage meter B.2 Francotyp Model 'C', 74 - 75mm, horizontal convex/concave, multi value meter, single circle - with stops after the D/M/Y, angular font style (Ref: FTB2). Card reference G.K.F. 98. (Gerichtskasse Form 98). Postage Meter Resource Contact Brief History to inform us of additional information regarding this page