Portrait of an Old Lady

This waist-length frontal representation shows an old lady with crossed arms wearing a lace bonnet and a white cape over a red dress against a plain greenish background. Her hands seem to be unfinished. The white gouache is applied so as to give the painting textural interest.

Portrait of an old Man

Bust of Rabbi with luxuriant white beard wearing a plain black coat and tall black cap. The background is dark-gray. The hair and beard are exquisite, obtained with very fine brushes and textured use of white paint. The psychological study of the face is also unusually high quality.

Portrait of Samuel Mayer Ehrenberg ( 1773 - 1853 ).

This painting is in dedication " in honor of Meyer Ehrenberg by his students" as stated on a scroll held by the sitter. The scroll is dated October 7, 1820 and is followed by a list of names in two columns: (M.Ehrenberg, P.Ehrenberg, B. Ehrenberg, M.Imanuel M.Balke, B.Meier, L.Franck, M. Cohen, W.Fraenkel, M. Chohns, P.Goldschmidt, J.Lippoa, A. Nathan, M.Kramer, J.Fraenkel, M.Goldschmidt.) Ehrenberg was the founder of the first modern Jewish Day School in Germany, at Wolfenbuettel. Ehrenberg was the great-grandfather of the Jewish Theologian Franz Rosenzweig.

Portrait of Mathilde Wiener Monasch (?) d.1864.

Mrs. Monasch is shown as a young woman wearing a gray translucent shawl and a lace bonnet with ornate flaps coming down over the ears. Some of her black hair is showing. She is shown in a 3/4 view; the eyes are lustrous, the corners of the mouth are raised in a half smile. On backing of original frame: "Zum Andencken von Ihren Schwiegersohn, J. Wollstein d. 20th February 1839" (In memory of your son-in-law J. Wollstein Feb 20th, 1839).

Portrait of Max Boehm ( 1871-1944 ).

The model is seated, facing the viewer and looking straight at him. He is wearing a business suit and holding a cigar. The pose is relaxed abd the color tonalities warm, with the yellow background dominant. Heavy impasto is used for face and hands. Neg. 37599 Signed upper right, also dated

Portrait of Heinrich Stahl (1868-1942 ).

H.Stahl was the last president of the Jewish Community in Berlin. He is seated in a chair with wooden arm supports. He seems a small man, an impression emphasized by a large expanse of plain, tan background. The facial expression is tense, with deeply furrowed brows.

Abraham Ettlinger, Portrait. ( 1726-1811 )

This portrait is chronologically first in a series of members of the Ettlinger-Bielefeld family, Acc. 78.50 and 78.53

Portrait of Elkan Reutlinger (1767-1818).

This is a half-length view of a dandyish, youthfull man, depcited against a distant landscape. The composition is well coordianted.

Portrait of Wolf Zacharias Wertheimer

It is a bust-length, with three-quarter view. The portrait is of the highest technical quality aswell as a good chatacter study.

Visionary Portrait.

The expressionist head of a young man emerges from the dark shadows. His face is a long oval, with full lips and strongly flared nostrils, framed by black hair and small black beard.

Portrait of Bernhard Wolffenstein (1803-1848)

The sitter was Dr.Ernst Hamburgers (of the L.B.I.Executive Commitee) great grandfather, a master dyer in Berlin by profession. He is shown almost frontally, smiling, dressed up in a suit and fancy shirt.

Terezin: Portrait of Jirina Kanova. (Prague 1938-Auschwitz 1944).

The child is shown in threequarter view, looking into the distance. Her dark head is silhoutted against the background and accented by a whitecolored blouse. Signed L. Buresova, Terezin 15.IX.1943

Hautamuistomerkki elämän ja kuoleman tulkitsijana : Heikki Häiväojan, Kain Tapperin ja Matti Peltokankaan tekemät hautamuistomerkit 1952-2002

Grave sculpture as interpreter of life and death. Grave sculptures done by Heikki Häiväoja, Kain Tapper and Matti Peltokangas 1952-2002. The thoughts of Philippe Ariès and Erwin Panofsky on western funeral art constitute the starting point of this study. These scholars speak about the 20th century as a period of decline regarding western funeral art. The reason for this situation lies, according to them, in the fact that death has been rejected and become a private affair in modern society. Especially Panofsky sees an important reason for the decay of funeral art also in the separation of death from religion. In this study, I approach the view of Ariès and Panofsky from the angle of Finnish funeral art. The subject of the study is grave sculptures of three Finnish sculptors: Heikki Häiväoja, Kain Tapper and Matti Peltokangas, from 1952 to 2002. (The analysis of the grave sculptures has been performed with the Iconology of Erwin Panofsky. The analysis has been deepened by the ideas of a graveyard as a semiotic text according to Werner Enninger and Christa Schwens. In order to confirm their argumentation, they analyse the graveyard text with the model of communicative functions of Roman Jakobson and verify that the graveyard is a cultural text according to Juri Lotman.) Results of the study In the grave sculptures of the sculptors, different worldviews appear alongside Christian thoughts indicating a new stage in the tradition of funeral art. In the grave sculptures characterised as Christian, the view of life after death is included. In these memorials the direction of life is prospective, pointing to the life beyond. Death is a border, beyond which one is unable to see. Nevertheless the border is open or marked by the cross. On this open border, death is absence of pain, glory and new unity. In memorials with different worldviews, the life beyond is a possibility which is not excluded. Memorials interpret life retrospectively; life is a precious memory which wakens grief and longing. Many memorials have metaphysical and mystic features. In spite of democratization the order and valuation of social classes appear in some memorials. The old order also materializes in the war memorials relating the same destiny of the deceased. Different burial places, nevertheless, do not indicate social inequality but are rather signs of diversity. The sculptors' abstract means of modern funeral art deepen the handling of the subject matter of death and reveal the mystery of it. Grave sculptures are a part of Finnish and sacral modern art, and there is an interaction between funeral art and modern art. Modern art acquires a new dimension, when grave sculptures become a part of its field. Grave sculptures offer an alternative to anonymous burying. The memorial is a sign of the end of life; it gives death significance and publicity and creates a relation to the past of the society. In this way, grave sculptures are a part of the chain of memory of the western funeral art, which extends throughout Antiquity until ancient Egypt. (In this study I have spoken of funeral art as a chain of memory using the thoughts of Danièle Hervieu-Léger.) There are no signs of decay in the grave sculptures, on the contrary the tradition of funeral art continues in them as a search for the meaning of life and death and as an intuitive interpretation of death. As such, grave sculptures are part of the Finnish discussion of death.

Portrait of Jacob Levinstein

Shown at the age of 37, sitting on a sofa in informal clothes and holding a cigar. Very fine characterization and workmanship. Signed C.W. and dated lower right.