Isidor Kaufmann

The family of Paul Grüninger, St. Gallen, Switzerland
Mrs. Ruth Roduner-Grüninger, Switzerland
Thence by descent

Vienna, Die XXV Jahresausstellung des Wiener Kunstlerhauses, March 24-Mai 9, 1897, cat. no. 211, titled “Aus einem alten Tempel”
Munich, Internationale Kunstausstellung Vll, 1897, cat. no. 854, titled “Aus einem alten Tempel”
Venice, Esposizione Internationale d’Artedella Citta de Venezia, 1907, cat. no. 15, titled ”Vecchio tempio”

Hermann Menkes, ed., Isidor Kaufmann Portfolio, Vienna, 1925, no. 11 and titled Pforte der Rabbinen
G. Tobias Natter, Isidor Kaufmann 1853-1921, Jewish Museum, Vienna, 1995, p. 323, photograph of the synagogue in Holleschau showing the bima and benches depicted in this painting

The below condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com, an independent restorer who is not an employee of Sotheby's. This painting is in beautiful condition. It has probably been displayed behind glass for much of its life, but the paint layer seems to be slightly dirty nonetheless. The panel is flat and in original state. There are no retouches or damages, except for very slight scuffs along the right edge due to frame abrasion. The frame is period.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. 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 DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

In 1894, Isidor Kaufmann undertook his first momentous journey to Western Hungary in search of Jewish life in the small shtetls, away from cosmopolitan Vienna. The following year he travelled to Holleschau in Moravia where he “was deeply impressed by its 16th century synagogue. From that moment on, none of the hardships of travelling would keep him from discovering what he referred to as his ‘Promised Land’ in a letter to a friend.” (G. Tobias Natter, Isidor Kaufmann 1853-1921, Jewish Museum, Vienna, 1995, p. 25). In a letter dated 20 July 1895, Kaufmann described his experience of sitting in the Beit Midrash in Holleschau: “The benches, tables, the books of the shelves… - everything, but everything, is as it was, only worn and used. What wealth of emotions is invoked when I sit there for a quiet hour, trying to think myself into the past of this room…” (Natter, p. 266).

He would return to Holleschau on many occasions, as evidenced by a number of letters from there sent to his wife and friends. In 1895-6 he painted two versions of the Beit Midrash in Holleschau  (Natter, pp. 266 and 268, letters pp. 305-308, 322). In the summer of 1907, he travelled almost daily between Biestritz-am-Kostein and Holleschau, intending to paint a large canvas there (Natter, p. 355).  

A NOTE ABOUT PROVENANCE

Paul Grüninger (1891-1972), the grandfather of the present owner of this painting, was a Swiss police commander in St. Gallen who saved some 3600 Jewish refugees from Austria following the Anschluss by backdating their visas. Dismissed from his position, he was also fined and had his pension revoked. Despite the difficulties, he never regretted his action on behalf of the Jews. In 1954 he explained his motives: “It was basically a question of saving human lives threatened with death. How could I then seriously consider bureaucratic schemes and calculations.” (https://en.wikipedia.org/wiki/Paul_Gr%C3%BCninger). In 1971 he was awarded the honor of Righteous Among the Nations by Yad Vashem. Belatedly, in 1999, Grüninger was officially rehabilitated in St. Gallen.