Erich Baron Max Benedikt von Goldschmidt-Rothschild (1894–1987) and his wife Veronika Baroness von Goldschmidt-Rothschild (1902–1965), also known as Bina (née Countess Katharina Eleonore Veronika Irma Luise Henckel von Donnersmarck) were prominent Jewish art collectors and society figures of Weimar Berlin.
Erich was a member of the Goldschmidt and Rothschild banking dynasties. He was one of five children of Maximilian Baron von Goldschmidt-Rothschild (1843–1940), whose extensive collection was seized by the city of Frankfurt in November 1938 — which was the subject of a 2023 exhibition at the Museum Angewandte Kunst in Frankfurt and accompanied by an extensive publication. In 1920, Erich, his father Maximilian and his brother Albert co-founded the Goldschmidt-Rothschild & Co. bank in Berlin, which was later sold in 1932, in the aftermath of the Wall Street Crash.
Married in 1925, Erich and his wife Bina regularly featured in the contemporary society press like Alfred Flechtheim’s art magazine Der Querschnitt. [FIG. 1, 2] Their home at Tiergartenstrasse 2a [FIGS. 3-5] included family heirlooms as well as pieces collected by Erich, who developed a passion for collecting at a young age and whose taste, in alignment with the ‘goût Rothschild’, focused on top-quality 18th-century French furniture and decorative arts.
In 1931, Erich and Bina left Germany and later settled in California, selling Tiergartenstrasse 2a to the professional artists’ association Verein Berliner Künstler. The belongings Erich did place in storage and which thereby remained in Berlin were indeed confiscated by the Gestapo in 1942 and dispersed. The building was destroyed by bombing in 1943.
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Most of their collection was sold at auction at Hermann Ball & Paul Graupe on 23–25 March 1931. [FIGS. 6-8] Prior to the sale, the photographer Marta Huth (1891–1984) captured the interiors before their dispersal, including the room of Erich and Bina’s young son Patrick. [FIG. 9, 10] Marta’s husband, the art historian Hans Huth (1892–1977), catalogued the furniture for the sale. The art weekly Die Weltkunst reported on the auction and published the results a week after it took place. [FIG. 11]
An 18th-century Regency armchair from the 1931 Ball & Graupe auction of the collection of Erich von Goldschmidt-Rothschild (lot 113) was later identified thanks to a collection label ‘Sammlung E. v. Goldschmidt-Rothschild’ and Marta Huth’s interior photograph taken in c.1930. [FIG. 12, 13] It was sold on 23 November 2021 at Christie’s Paris.
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Most of their collection was sold at auction at Hermann Ball & Paul Graupe on 23–25 March 1931. [FIGS. 6-8] Prior to the sale, the photographer Marta Huth (1891–1984) captured the interiors before their dispersal, including the room of Erich and Bina’s young son Patrick. [FIG. 9, 10] Marta’s husband, the art historian Hans Huth (1892–1977), catalogued the furniture for the sale. The art weekly Die Weltkunst reported on the auction and published the results a week after it took place. [FIG. 11]
An 18th-century Regency armchair from the 1931 Ball & Graupe auction of the collection of Erich von Goldschmidt-Rothschild (lot 113) was later identified thanks to a collection label ‘Sammlung E. v. Goldschmidt-Rothschild’ and Marta Huth’s interior photograph taken in c.1930. [FIG. 12, 13] It was sold on 23 November 2021 at Christie’s Paris.
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Ludwig Schnorr v. Carolsfeld, cataloguer of the collection describes the house of Erich and Bina von Goldschmidt-Rothschild in his introduction to the sale catalogue:
'Anyone who has known the well-kept house of Mr. Erich von Goldschmidt-Rothschild in Berlin's Tiergartenstrasse will vividly regret the dissolution of the unique art collection of international standing. This collection was unique both in its content and in the form in which it presented itself to the visitor. A highly cultivated, strongly personal taste, combined with a comprehensive knowledge of the material and a sure sense of quality, had striven here in years of intensive collecting to realize the ideal that seemed self-evident to the 18th century: the entire stock of paintings, drawings, color engravings, furniture, silver and bronze utensils, tapestries, silk fabrics, bijouteries and porcelain was combined according to a well-considered plan as decoration of the living rooms to create a magnificent overall effect. Within this ensemble, each individual object had a specific function without being compromised in its independent validity.'
Ludwig Schnorr v. Carolsfeld, cataloguer of the collection describes the house of Erich and Bina von Goldschmidt-Rothschild in his introduction to the sale catalogue:
'Anyone who has known the well-kept house of Mr. Erich von Goldschmidt-Rothschild in Berlin's Tiergartenstrasse will vividly regret the dissolution of the unique art collection of international standing. This collection was unique both in its content and in the form in which it presented itself to the visitor. A highly cultivated, strongly personal taste, combined with a comprehensive knowledge of the material and a sure sense of quality, had striven here in years of intensive collecting to realize the ideal that seemed self-evident to the 18th century: the entire stock of paintings, drawings, color engravings, furniture, silver and bronze utensils, tapestries, silk fabrics, bijouteries and porcelain was combined according to a well-considered plan as decoration of the living rooms to create a magnificent overall effect. Within this ensemble, each individual object had a specific function without being compromised in its independent validity.'
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ALL BUILDINGS ARE DESTROYED
ALL BUILDINGS ARE DESTROYED
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Related addresses: Schöneberger Ufer 38 until May 1935 (Architect: Heinrich Schweitzer); Schöneberger Ufer 71
Budapester Strasse (1932) not identical with today’s Budapester Strasse; Lützowstrasse 32 I (October 1925–1930); Königin-Augusta-Strasse 22 (October 1930–1932) - in 1933 this street becomes Tirpitzufer 84 and in 1947 it was renamed to Reichpietschufer. Lützowufer 19a (November 1932–1937), since 1933: Galerie Nierendorf; Großadmiral-von-Koester-Ufer 65 (1935–1947), Schöneberger Ufer.
Potsdamer Strasse 134c (Mid-Oct 1918-Sept 1924); Schöneberger Ufer 38 (July 1927-1931); Großadmiral-von-Koester-Ufer 39 respectively (since 1936) Großadmiral-von-Koester-Ufer 73 (1935-1939);Kluckstrasse 12 (May 1939 –Dec 1949)
Employee and partner at the Galerie / Kunstsalon Paul Cassirer
Related addresses: Street partially still exists as Hitzigallee.
Related addresses: Koenigin-Augusta-Strasse 46, in 1933 becomes Tirpitzufer 84, in 1947 becomes Reichpietschufer. Her last address in Berlin before deportation to Theresienstadt Bleibtreustrasse 17.
ALL BUILDINGS ARE DESTROYED
Henry van de Velde (1894-1943), designer of the interior of the reading room at the gallery Paul Cassirer, Victoria Strasse 35.
(Street and building are destroyed)
Related addresses: Reichskammer der Bildenden Künste, Government agency 1933-1945; Blumes Hof 4-6 (since June 1934; street and building are destroyed; today's postcode 10785), Derfflingerstrasse 7 (from October 1935 until March 1937), Ahornstrasse 2 (1938). Today's postcode 10785
