Historical-scenes painter, Genre Painter, Portrait painter, Lithographer, Etcher, b. 1800 - d. 1882
Moritz Daniel Oppenheim (January 7, 1800 in Hanau, Germany – February 26, 1882 in Frankfurt am Main) was a German painter who is often regarded as the first Jewish painter of the modern era. His work was informed by his cultural and religious roots at a time when many of his German Jewish contemporaries chose to convert to Christianity. Oppenheim is considered by the scholar Ismar Schorsch to be in sympathy with the ideals of the Wissenschaft des Judentums movement, because he remained "fair to the present" without denying his past.
Oppenheim was born to Orthodox Jewish parents at Hanau, Germany in 1800; he died at Frankfurt am Main in 1882. His niece was the wife of student and fellow painter Benjamin Prins, Rosa Benari.
He received his first lessons in painting from Conrad Westermayr, in Hanau, and entered the Munich Academy of Arts at the age of seventeen. Later he visited Paris, where Jean-Baptiste Regnault became his teacher, and then went to Rome, where he studied with Bertel Thorwaldsen, Barthold Georg Niebuhr, and Johann Friedrich Overbeck. There he studied the life of the Jewish ghetto and made sketches of the various phases of its domestic and religious life, in preparation for several large canvases which he painted upon his return to Germany. In 1825 he settled at Frankfurt, and shortly after exhibited his painting David Playing Before Saul, to see which a great number of admirers from all parts of Europe visited his studio. In 1832, at the instance of Goethe, Charles Frederick, Grand Duke of Saxe-Weimar-Eisenach conferred upon him the honorary title of professor. Oppenheim was commissioned to paint several portraits of prominent members of the Rothschild banking dynasty.[1] Oppenheim portrayed his also his grandson Alfred Oppenheim, who became also a well known artist.
Oil on board painting by Moritz Daniel Oppenheim, 1800 to 1882, a German artist of Jewish descent, considered the first Jewish artist of the modern era with academic education. The artwork depicts a class with young Jewish men studying the Bible. Signed by the artist in the lower left. Golden frame. Collectible European Figurative Fine Art, Judaica, Genre Scene.
MORITZ DANIEL OPPENHEIM 1800 Hanau - 1882 Frankfurt/M. 'TWO GIRLS AT THE FOUNTAIN' (AFTER EDUARD BENDEMANN) Polychrome painting on ivory. 13.5 x 19 cm (f. 24 x 29 x 3.5 cm). Signed and dated 'M. Oppenheim pinx. 1840' lower left. Damaged, loss of color, browned, cracked. Framed behind glass in an ornamented passe-partout. MORITZ DANIEL OPPENHEIM 1800 Hanau - 1882 Frankfurt/M. 'ZWEI MÄDCHEN AM BRUNNEN' (NACH EDUARD BENDEMANN) Polychrome Malerei auf Elfenbein. 13,5 x 19 cm (R. 24 x 29 x 3,5 cm). Unten links signiert und datiert 'M. Oppenheim pinx. 1840'. Besch., Fassungsverluste, gebräunt, gerissen. Hinter Glas im ornamentierten Passepartout gerahmt.
Bilder aus dem altjüdischen Familienleben - Pictures from the life of a traditional Jewish family, by Moritz Oppenheim. Frankfurt am Main [c. 1890]. A magnificent album includes 12 picture plates describing the life of the Jewish family in Germany in the 19th century by the 'first Jewish painter' Moritz Daniel Oppenheim [1800-1882]. Among the scenes: Bar Mitzvah, Shabbat at noon, at the Rebbe's, a wedding, a disciple, and others. Plates 30x40 cm, Thick, high-quality leaves with a red frame. Original cover decorated with gold letters. A slight tear in the folder spine. General condition good - very good.
17 early postcards with paintings of Moritz Daniel Oppenheim, most of them published by A. J. Hofmann, Frankfurt, [early 20th century]. The postcards include a selection of Oppenheim's paintings depicting traditional Jewish family life in 19th-century Germany. Among them: Jewish soldiers during the Prussian-French War in the Yom Kippur prayer, Sukkot, Shabbat, Birkat HaBen, Groom, Tzedaka, Bar Mitzvah sermon, and others. 9X14 cm. Good condition.
Bilder aus dem altjüdischen Familienleben - Pictures from the life of a traditional Jewish family, by Moritz Oppenheim. Frankfurt 1901. A magnificent album includes 20 picture plates describing the life of the Jewish family in Germany in the 19th century by the 'first Jewish painter' Moritz Daniel Oppenheim [1800-1882]. Among the scenes: With the Rebbe, Bar Mitzvah, wedding, Shabbat, Birkat HaBanim, Sukkot, the beggar, and more. At the beginning of the album is a long introduction (15 pages) by Leopold Stein about each and every board. Pictures 22x18 cm, cardboard boards 38x28 cm. Thick, high-quality pages. Original illustrated cover. Gilt leaf cutting. Spine missing. Slight wear to the cover. Some pages are disconnected. condition moderate.
Artiste Moritz OPPENHEIM d'après (1800-1882) Le shabbat dans le vie juive, Musée d'art juif.1989. 155,5x118,5cm / 61,2x46,7in. Affiche originale, zincographie. Cond A-, marge inférieure irrégulière. Chaque affiche est envoyée dans un tube. Original poster, zincography. Cond A-, uneven lower margin. Each poster is sent in its tube.
Pictures of a Jewish Traditional Family, Photographs after Original Paintings by Prof. M. Oppenheim, published by Heinrich Keller, Frankfurt Damien [1882]. 12 reproductions of paintings by Moritz Daniel Oppenheim, depicting the Jewish family in Germany and its customs: Bar Mitzvah Sermon, Sukkot [one of Oppenheim's interesting illustrations showing two non-Jewish children peering into a sukkah in the midst Sukkot], Havdala on Saturday night, Yom Kippur, the exam, the canopy and more. Description in German for each reproduction. Signed in the panel - 'Oppenheim 1866'. Size: 22x18 cm, affixed to cardboard boards: 40x29 cm. Missing title page. Few stains on white margins, Slight tears in cardboard casing. A late pen description appears on each reproduction. good condition.
Bilder aus dem Altjudischen Familienleben, Photographieen nach Originalgemalden by Prof. M. Oppenheim. Published by Heinrich Keller, Frankfurt am Main.ֲ Pictures of Traditional Jewish Family Life.ֲ 20 black-and-white reproductions of paintings by Maurice Daniel Oppenheim depicting the German Jewish family and its customs (Shabbat, Pesach, Sukkot, brit milah, bar mitzvah, wedding, and more). With the special title page and a red border for each reproduction. Descriptions in German plate-signed 'Oppenheim 1869.' Including leaves of introduction by Leopold Stein. Size of the reproductions: 17.5x22 cm, affixed to cardboard: 27x38 cm. The reproductions are in very fine condition. Magnificent binding in red, with gold decorations. Dismantled binding, lacking spine.
Circle of Moritz Daniel Oppenheim 1800-1882 (German) Family seated around the table, c.1890 oil on canvas h:31 w: 25 cm. signed indistinctly lower left Other Notes: Location: Israel. For estimated delivery time please contact us. Condition report available upon request.
Technique: Oil on canvas Date: 1851 Signed in in a monogram and dated 1851 (lower left on the jug) 46 x 36 cm Literature: Sotheby's Tel Aviv, Oct., 30th, 2002, lot #205. Illustrated on p. 89.
Follower of Moritz Daniel Oppenheim 1800-1882 (German) Family seated around the table, c.1890 oil on canvas h:31 w: 25 cm. signed indistinctly lower left Other Notes: Location: Israel. For estimated delivery time please contact us.
Moritz Daniel Oppenheim (German, 1800-1882), Portrait of Professor Martin Eduard von Simson with his Wife, 1849, oil on canvas, signed and dated lower left, dedicated to Proessor Martin Eduard von Simson dated, with several possible exhibition numbers verso, canvas: 11"h x 8.5"w, overall (with frame): 16.5"h x 14.5"w. Provenance: From the private collection of Rosemary and Norman Eckersley. An accomplished businessman and pioneer of banking, Eckersley's professional achievements included: CEO and President of The Chartered Bank of London; Deputy Chairman, Union Bank; Founder, Chairman and CEO of The Pacific Bank. < R>Note: Von Simson was a German jurist and distinguished liberal politician of the Kingdom of Prussia and German Empire, who served as President of the Frankfurt Parliament as well as the first President of the German Parliament and of the Imperial Court. He was ennobled by Frederick III in 1888. Born in Königsberg, East Prussia, in a Jewish family, the Von Simson family converted to Protestantism in 1823. < R> Mr. Eckersley was awarded Commander of the British Empire by Queen Elizabeth for his work promoting business between the U.K. and U.S., and for establishing reciprocal relationships between the main California and Scottish Universities. He later founded The Pacific Bank, the largest independent bank, at the time, in the U.S., based in San Francisco and sold to City National Bank, Beverly Hills. Confirmation of Mr. Eckersley's integrity and respect by the British Government was shown by placing sole responsibility for the exhibition of the original Magna Carta where he was escorted by fighter planes in view of the historical and irreplaceable value of the document.
After Moritz Daniel Oppenheim 1800-1882 (German) Two orthodox scholars studing the Gmara oil on canvas h:39 w: 30 cm. signed lower right Other Notes: Location: Israel. For estimated delivery time please contact us.
Portrait of a Lady. Oil on canvas, laid down onto particle board. Signed and dated lower right “MOppenheim 1870.” Instances of small absences of paint, scratched and frayed at corners. 24 x 20 inches (60.9 x 50.8 cm). 1870 The Oppenheim signature is etched into the painting.
Moritz Daniel Oppenheim (German, 1800-1882), Portrait of Professor Martin Eduard von Simson with his Wife, 1849, oil on canvas, signed and dated lower left, dedicated to Proessor Martin Eduard von Simson dated, with several possible exhibition numbers verso, canvas: 11"h x 8.5"w, overall (with frame): 16.5"h x 14.5"w. Provenance: From the private collection of Rosemary and Norman Eckersley. An accomplished businessman and pioneer of banking, Eckersley's professional achievements included: CEO and President of The Chartered Bank of London; Deputy Chairman, Union Bank; Founder, Chairman and CEO of The Pacific Bank. < R>Note: Von Simson was a German jurist and distinguished liberal politician of the Kingdom of Prussia and German Empire, who served as President of the Frankfurt Parliament as well as the first President of the German Parliament and of the Imperial Court. He was ennobled by Frederick III in 1888. Born in Königsberg, East Prussia, in a Jewish family, the Von Simson family converted to Protestantism in 1823. < R> Mr. Eckersley was awarded Commander of the British Empire by Queen Elizabeth for his work promoting business between the U.K. and U.S., and for establishing reciprocal relationships between the main California and Scottish Universities. He later founded The Pacific Bank, the largest independent bank, at the time, in the U.S., based in San Francisco and sold to City National Bank, Beverly Hills. Confirmation of Mr. Eckersley's integrity and respect by the British Government was shown by placing sole responsibility for the exhibition of the original Magna Carta where he was escorted by fighter planes in view of the historical and irreplaceable value of the document.
Bilder aus dem Altjudischen Familienleben, Photographieen nach Originalgemalden von Prof. M. Oppenheim. Published by Heinrich Keller, Frankfurt A.M. 1882. "Pictures from traditional Jewish family life." 20 reproductions of works by Moritz Daniel Oppenheim depicting Jewish family life in Germany and its customs (Shabbat, Passover, Sukkot, circumcision, bar mitzvah, wedding and more). Border and decorations in red on each reproduction. German captions, signed in the plate "Oppeneim 1869." Includes introductory pages by Leopold Stein. The reproductions measure: 22x17.5 cm. They are pasted to cardboard plates: 38x27 cm. Deluxe red binding with gilt decorations. Gilt edges. Detached front and back bindings. Blemished binding. Missing spine. Stains. Varying conditions, moderate-fine.
After Moritz Daniel Oppenheim 1800-1882 (German) Two orthodox scholars studing the Gmara oil on canvas h:39 w: 30 cm. signed lower right Other Notes: Location: Israel. For estimated delivery time please contact us.
19th Cent. German oil on canvas presumably the portrait of 'Lionel Nathan de Rotschild' - attributed to - provenance : was bought at Christie's in the late '1990 OPPENHEIM MORITZ DANIEL (1800 - 1882) Duits olieverfschilderij op doek met een portret van een jonge man waarschijnlijk Lionel Nathan de Rotschild voorstellend - 76 5 x 63 7 toegeschreven aan provenance : aangekocht bij Christie's in de late jaren '90
Gemälde Moritz Daniel Oppenheim 1800 Hanau - 1882 Frankfurt ''Bootsfahrt über den stürmischen See'' u. li. sign. u. dat. MD Oppenheim 1853 Öl/Lwd. (doubl.), 35 x 50,5 cm Werkverzeichnis: S. 369, No.IV 14 Provenienz: Würzburger Kunsthandel; Privatsammlung Taunus Lit.: AKL
N. Brenner, who added color to Daniel Moritz’s design. Daniel Moritz Oppenheim was the first Jewish artist who got a name as a Jewish artist in Germany. In his youth he sat at the Rothschild family home in Frankfurt and drew their portraits. From 1865 he began to paint pictures from Jewish family life. Size 30x40cm, very good condition.
Freitag Abend. Oil on canvas. Signed MOppenheim fecit 1867 lower left. In fine condition, with pale aging and presence of craquelure. Minor frame burn 4mm from lowest margin (visible only upon close inspection). Restretched (nominal marks visible on reverse). Framed in c. 1950s American wooden frame, with ink stamp S.D. Jacobs Co, N.Y.C. 26.75 x 21.75 inches / 68 x 55 cm. • This beautiful painting is one of the most beloved of Oppenheims series entitled Bilder aus dem Altjüdischen Familien-Leben (Pictures of Traditional Jewish Family Life), hailed as a watershed in its perception of Jews in the 19th century. For almost the first time in European history, Jewish life was presented as an intimate ceremonial, in which the participants were represented as well-dressed, dignified and pious model members of well-to-do bourgeois society. In the 1850s, German-Jewish artist Moritz Oppenheim commenced work on a series of Jewish genre scenes in color, representing hallmarks from the religious calendar year that feature ceremonies and traditions of Jewish life, in the home, the synagogue and the community. Soon after, Frankfurt publisher Heinrich Keller commissioned Oppenheim to recreate these paintings in tones of grey, or grisaille, to facilitate efficient photomechanical reproduction, for the technology of the time was inadequate to reproduce color paintings. Ultimately, Oppenheims Jewish life-cycle were depicted in twenty scenes, published in full in a deluxe edition in 1882. In addition to reasons of functionality as most efficient for reproduction, the grisaille method is also selected by artists in order to create a visual effect resembling sculptural relief. This aesthetic preference allowed for a normally dynamic painted scene to be altered to an appearance of timelessness. Oppenheims grisaille paintings remained in the possession of the publisher Keller until the beginning of the 20th century. Most were subsequently acquired by the Cramer family of Frankfurt, who emigrated to London in the 1930s, taking the paintings with them. In the early 1950s the pictures were sold, later coming into possession of the Jewish Museum New York, a gift of the late Oscar & Regina Gruss. Many of Oppenheims paintings and drawings that remained in Germany were lost during World War II. THE ARTIST. Considered as the greatest Jewish artist of his time, Moritz Daniel Oppenheim was born to Orthodox Jewish parents in 1800 in the industrial town of Hanau, not far from Frankfurt. He was eleven years old when the Frankfurt Ghetto was abolished in response to Napoleons 1806 Confederation of the Rhine and the 1810 Constitution of the Grand Duchy in Frankfurt. Oppenheim studied at the Munich Academy of Arts and furthered his education in Paris. He then moved to Italy where he lived in Rome, often travelling to Naples where he interacted with Baron Carl Mayer von Rothschild to whom he sold several paintings. Oppenheims Grand Tour of Europe continued via Bologna, Venice and Munich, returning to Frankfurt in 1825. He was commissioned to paint portraits of politically notable Germans including Karl Ludwig Börne (1827), Heinrich Heine (1831), the five Rothschild brothers (1836) and Gabriel Riesser (1840). Oppenheim developed a close friendship with Gabriel Riesser, who had been presented by the Jewish community of Baden with Oppenheims painting The Return of the Jewish Volunteer (1833) in appreciation of the formers efforts in seeking civil rights for the Jews of Germany. The painting depicts a Jewish soldier following the Wars of Liberation, returning to his family, who are clearly depicted as observant of a traditional Jewish lifestyle. The painting represented the belief Oppenheim shared with many in the German-Jewish community of the time: One can be both German and Jewish without contradiction. Similarly, albeit perhaps less politically charged than in an image of a volunteer soldier, Freitag Abend portrays Jews observing the customs of their faith, comfortably intertwined with a particular German sense of Gemütlichkeit. Oppenheim remained true to his faith and unlike many other German Jews active in the arts, did not convert to Christianity, indeed it appears that he was a member of Rabbi Samson Raphael Hirschs Israelitische Religions-Gesellschaft. The Historical Context. Like the French Calvinist engraver Bernard Picart (1673-1733) a century earlier, Oppenheim created a new stage for presenting observant Jewish life and custom as an ethnographic study. In his 1723 work Cérémonies et Coutumes Religieuses de tous les Peuples du Monde, Picart depicts the religious ceremonies and customs of the Jews of Amsterdam. Interestingly, Picarts twenty engravings relate to Oppenheims twenty grisaille paintings of the Bilder series, including many synagogue scenes. However more than half of Oppenheims images are set within the home, ensconced amidst family. This difference is indicative of the life of each respective artist: Where Picart was acting as a recorder of traditional Jewish culture, Oppenheim was living it. The seemingly anachronistic setting of the old Frankfurt ghetto, cast with characters dressed in 18th century costume, was chosen by Oppenheim for his Bilder series to appeal to the conservative values of the 19th century German-Jewish bourgeoisie. The Jewish Ghetto, pre-Emancipation, was presented as an intimate, almost utopian religious arena, well at ease with itself, and quite comfortable without the presence of the secular authorities and their varied limitations on Jewish life. Oppenheims decision to depict the Altjüdischen in his series was in response to the proponents of the Haskalah, or Enlightenment movement, who sought to reprogram Jewish society to better acclimate to modern society by abandoning seemingly archaic religious traditions. There is irony in the presence of religious ceremonies and custom as central to images produced for a clientele of varied religious demographics. Where Oppenheim was a member of the neo-Orthodox community that directly opposed the Reform (who abolished most all Jewish religious observances - including the Sabbath), our paintings subjects serenely celebrate together, a tableaux of intimate Sabbath warmth. The Scene. The present painting, Freitag Abend (Friday Night Blessings), is perhaps the most emotionally evocative of all of Oppenheims Bilder. The scene of religious and domestic harmony conjures up many nostalgic motifs while symbolic of the faith and values both of the family represented and indeed the artist himself. In a survey of the idealized 18th-century setting and dramatis personae, we begin at center, with the father, just returned from the synagogue and Friday evening prayers. He is greeted by his children, the two daughters leaning forward to receive their paternal blessing. The eldest son at the left appears to be holding a posy of flowers, the younger son at center, dressed in his tzitzith, looking up at his father and the middle son at right distracted by the exotic visitor at the rooms perimeter. The mother in her shterntykhl head-covering sits with baby at a table set for the festive Sabbath meal: Wine and silver goblet ready for the Kiddush ritual, the challah-loaves peeking out from under a silk covering. The customary appetizer for Sabbath dinner, a plattered fish, can be seen and in the background, apples roast on a stove-top, a German winter delicacy. Other ritual items around the comfortable room include a prominent Judenstern, or Sabbath hanging-lamp, while atop the bureau sits a spice tower and braided candle for the Havdolo ceremony and a charity box. A tallith bag hangs nearby, a framed Mizrach sign is affixed to the back wall and a water ewer and basin for hand-washing appears at far left (a notable detail omitted from the Keller reproduction). At the far right side of the painting, observing his host family, is a young Polish guest, adorned in his distinct regional style of dress influenced by the Polish gentry or szlachta. The character of the Polish visitor can often be seen in other paintings by Oppenheim. Despite social and cultural tension between emancipated German Jews and East European Aschkenazim, in this painting the young man is welcomed as an honored guest. Oppenheim sought to demonstrate the mutual respect between two regional Jewish traditions and the commonality achieved via the rituals of the Sabbath. This painting, alongside the entire Oppenheim series of Bilder aus dem Altjüdischen Familienleben, heralds traditional Jewish values as timeless and enduring, enabling a community to persist and thrive despite the vicissitudes of contemporay life. Due to the popular appeal of the Bilder Moritz Oppenheim has achieved status as the foremost Jewish artist of the past two centuries. Provenance: The late Sara and the late Julian House, Phoenix, Arizona. Thence by family descent to the present owners. Exhibited: The Jewish Museum, New York, 1993-95. Das Jüdische Museum, Frankfurt, 1999-2000. References: Jewish Museum Frankfurt Catalogue, Moritz Daniel Oppenheim: Jewish Identity in 19th Century Art (1999) p. 289 (illus). Israel Museum Catalogue, Moritz Oppenheim: The First Jewish Painter (1983). An academic essay relating to this painting, along with more expansive notes to the present catalogue-entry, are both available upon request. German, (1799-1882).
Follower of Moritz Daniel Oppenheim 1800-1882 (German) Family seated around the table, c.1890 oil on canvas h:31 w: 25 cm. signed indistinctly lower left
Moritz Daniel Oppenheim. Package of 6 Lithographs about Jewish life in the 19th century, Beginning Of The 20th Century. Different situations. Average size 20/30 cm.
Moritz Daniel Oppenheim 1800-1882 (German) David and Batseba, 1856 oil on board mounted on panel h:29 w: 32 cm. signed and dated lower left Provenance: Private collection. Literature: Berankova, Ljuba, Riedel, Erik, Weber, Annette: Werkverzeichnis. In: Heuberger, Georg, Merk, Anton: Moritz Daniel Oppenheim. Die Entdeckung des judischen Selbstbewusstseins in der Kunst. Judisches Museum Frankfurt am Main, Frankfurt am Main, 1999, p. 350, number I.36 and I.37 (illustrated). Other Notes: Accompanied by a certificate of authenticity issued by Judaica consultancy services, signed by Drs. Moshe J. Brown, dated August 7, 2013, numbered 070813.MB/JCS.
OPPENHEIM, MORITZ DANIEL (Hanau 1800 - 1882 Frankfurt) Maria mit Kind und Johannesknaben. Feder in Braun, schwarzer Stift. 21,9 x 23,2 cm. Als Tondo gerahmt. OPPENHEIM, MORITZ DANIEL (Hanau 1800 - 1882 Frankfurt) Madonna and Child with John Brown pen and black crayon. 21.9 x 23.2 cm. Framed as a tondo.
Moritz Daniel Oppenheim 1800-1882 (German) A merciful king oil on board h:32 w: 41 cm. signed lower right Provenance: Sale: Christie's London, 19th century European art, including orientalist art.
MORITZ DANIEL OPPENHEIM (AFTER) 1800 / 1882 (German) L'examination, 1866 Aquarelle sur vellum 23 x 18 cm (9 x 7 in.). Signé et daté en bas à gauche Cette oeuvre a été entreprise d'après celle de Oppenheim sous le même...
Moritz Daniel Oppenheim (After) 1800-1882 (German) The Examination, 1866 watercolor on vellum h:23 w:18 cm. signed and dated lower left Other Notes: This work was undertaken after the painting by Oppenheim by the same title in the Jewish Museum in New York. This painting is illustrated in G. Henberger and A. Merk, Moritz Daniel Oppenheim, 1999, p.374, pl. VI.12. Cf.p. 248, pl.VI. 13
PROPERTY OF A PRIVATE COLLECTOR 1800 - 1882 THE BETROTHAL signed and dated M.Oppenheim f. 1862 (lower right) oil on canvas 20 1/2 by 25 5/8 in. 52.7 by 65.1 cm.
ASSIETTE de MARIAGE hébraïque, en porcelaine bavaroise, le fond peint d'une scène de mariage inspiré de l'oeuvre de Moritz Daniel OPPENHEIM (1800-1882)
MORITZ DANIEL OPPENHEIM (HANAU 1801-1882 FRANCFORT-SUR-LE-MAIN) Portrait d'Alphonse de Rotschild signé et daté 'M. Oppenheim 1830' (sous le siège vers la droite) huile sur toile, non rentoilée 79 x 66,2 cm. (31 1/8 x 26 in.) Peint en 1830.
MORITZ DANIEL OPPENHEIM (HANAU 1801-1882 FRANCFORT) Le Prince du Maroc et les trois coffrets mine de plomb, rehaussé de blanc, partiellement incisé 128 x 106 mm.; on joint la gravure correspondante de T.S. Engelhart
Attributed to Moritz Daniel Oppenheim (1800-1882), oil on canvas, an Orientalist study of a bearded man in turban defending a woman, monogrammed O.M. lower left and dated 1846, framed.
After Moritz Daniel Oppenheim (German, 1800-1882) Lot of Two Works: Seder (The Passover Meal) and Ushering in the Sabbath Unsigned. Oil on canvas, 18 x 15 in., framed. Condition: Retouch, surface grime. N.B. The original works are both in the collection of The Jewish Museum, New York.
Judaica: Moritz Daniel OPPENHEIM (1801-1882) Portrait d'homme en buste Huile sur toile marouflée sur panneau. Signée en bas et à gauche et datée (18)61 ou 81. (Restaurations). 70 x 62 cm.
OPPENHEIM Moritz Daniel (1801 - 1882) Portrait d'homme en buste Huile sur toile marouflée sur panneau, signée en bas et à gauche et datée (18)61 ou 81, avec d'importantes restaurations en particulier...
THE BAR-MITZVAH DISCOURSE measurements 8 1/4 by 9 3/8 in. alternate measurements 21 by 24 cm. oil on panel Condition Note: In excellent condition. Varnish is a bit darkened. Under uv: Minor touches in-painting along lower edge and tiny bit at the top left edge. One other tiny spot top right We are pleased to provide you with a general report of the condition of the property described in our catalogue. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSION CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE CATALOGUE. Painted in 1869 LITERATURE Georg Heuberger and Anton Merk, Moritz Daniel Oppenheim, Frankfurt on Main, 2000, no. VI. 16, p. 285, illustrated NOTE Moritz Daniel Oppenheim is one of the most notable Jewish painters of the 19th century. His works reflect the emancipation of the Jewish bourgeoisie in Germany and its quest for identity and tradition. Born in Hanau in 1800, Oppenheim studied at the Munich Academy of Fine Art and traveled to Paris and Rome, where he worked with Overbeck and the Nazarenes. Returning to Germany in 1825, Oppenheim painted biblical scenes, genre subjects and society portraits. His portraits of Emperor Joseph II and Jewish notables including the Rothschilds established his reputation as the foremost Jewish artist of the 19th century. Between 1865 and 1875 Oppenheim devoted himself to depictions of traditional Jewish family life drawing upon memories of people and places from his childhood. These idealized images were intended to give German Jews a glimpse of their past in an attempt to preserve tradition in a rapidly changing world. The present painting is most likely a study for an oil of the same subject, now lost, as is the case of almost one third of Oppenheim's oeuvre. A related oil en grisaille is in the Jewish Museum, New York. Although the Jewish Museum version is rendered in much greater detail than our painting, this spontaneous and direct study captures all the essential elements of a beloved subject: Returning from the synagogue where he has been called to the Torah for the first time, the Bar Mitzvah boy delivers an address on a biblical or ethical theme, surrounded by his attentive family and close friends. All 11 figures which appear in the grisaille version are included here, and the artist renders their features with great expressivness. The family's status is reflected in the decoration of the room and in the mother's resplendent white dress and cap, a single red shoe peeking from beneath her robe. The subtle colors of the composition cast a warm glow over the entire scene.
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