Artwork and Oranges

Wedged between piles of documents filed away in the folders of archival boxes housed on shelves in warehouses, artifacts and artwork sometimes lurk. Though all archival materials are deemed valuable in understanding JDC history, some findings underscore the unique stories that are brought to life when art springs forth from the vaults. Such is the case with a set of vivid drawings made by Jewish refugee children in the JDC-supported “Wartheim” children’s home in Heiden, Switzerland, which was recently uncovered in a folder of postwar correspondence pertaining to JDC representative Saly Mayer.

Saly Mayer was a Swiss Jewish leader and JDC representative in Switzerland from May 1940 through October 1949. He acted as a major link between JDC and Jews in Nazi-occupied Europe and satellite countries, forwarding vital loans , money, clothing, and medical supplies.

Following Kristallnacht and the annexation of Austria and the Sudetenland by Germany in 1938, Jewish refugees had begun to stream into Switzerland, which preserved its neutrality throughout the war. JDC worked with local relief committees to support Jewish refugee facilities, sanitariums, and children’s homes in Switzerland and provided relief funds, which continued following the war with organizations such as the Swiss Jewish Refugee Committee with Saly Mayer as a valuable intermediary. View photographs of JDC assistance in Switzerland.

A note filed alongside these drawings indicates that the colorful artwork was created in March 1948. Addressing Saly as their uncle, a title by which he was affectionately and commonly known, the children thank him for the oranges he brought them—a special treat especially during the postwar period. In gratitude, they sat down before Shabbat and got to work drawing small postcards to express their thanks.

The sweet drawings capture idyllic Swiss terrain with layered shading and clean perspective. Green mountains of varied grasses dotted with flowers climb up to snowcapped mountain tops, while children sled across snow colored to reflect both the sun and shade. The attention to detail is inspired, from the bills of quacking ducks to the face of a focused skier, while the depth of color is striking, especially because it is achieved with colored pencils. Lines of buildings are meticulously drawn, and proper perspective is preserved as ducks waddle in front of blooming trees. Each drawing is signed, indicating that the children showed pride in their work and perhaps even wanted Saly to know who made what.

The vibrant drawings were an exciting splash of color for archivists to see while cataloging black-and-white documents, but their message expands beyond aesthetics. Although we do not know the specific wartime experiences of each child, the emergence of such peaceful, bucolic scenes from those who survived a world war speaks to their resilience and hope. The calm and joy reflected in these images underscore the significance of Mayer’s work on behalf of Jewish refugees. One can easily imagine how precious these postcards were to Saly, especially in the immediate aftermath of the war. They symbolized a return to normalcy in which Jewish children could once again sit down before Shabbat to enjoy oranges and art. For JDC, this small art collection stands as a powerful reminder that our representatives overseas hold immense responsibility and the ability to make a lasting difference: to save lives, nurture renewal, and help safeguard the future of the Jewish people.