Gained in Translation: Jews, Germany, California circa 1849 Exhibition Labels (2011)

This much-celebrated (and widely reproduced) paint-

ing includes many intertextual references to German

and Jewish literary, visual and material cultures, which

in this exhibition are illustrated through the books,

manuscripts and objects drawn from the combined

Magnes and Bancroft collections.

The shape of Mendelssohn’s profile may have been

inspired by the silhouette included in Lavater’s

Physiognomische Fragmente (1775–1778). The chess

board at the center is likely a visual quotation of

Lessing’s drama, Nathan der Weise (1779), in which the

main character, who is engaged in a game of chess,

was modeled after Mendelssohn. The chess board is

also a “visual pun”: red (on Lavater’s side) has been

put in checkmate by white, in reference to the intellec-

tual superiority attributed to the asso ciation between

Mendelssohn and Lessing over Lavater’s stance. The

open book held by Lavater bears the title, “Bonnet,” in

reference to Lavater’s German translation of Charles

Bonnet’s La palingénésie philosophique (1769), which

the theologian used to obtain from Mendelssohn a

reply concerning the “essence of Christianity.”

The brass lamp hanging from the ceiling combines a

chandelier (on the top section) with a ritual oil lamp

for the Sabbath and festivals (on the lower section).

The door frame above the woman entering the room

Moritz Daniel Oppenheim (German, 1800–1882)

Lavater and Lessing Visit Moses Mendelssohn

Germany, 1856, Oil on canvas

Gift of Vernon Stroud, Eva Linker, Gerda Mathan, Ilse Feiger and Irwin Straus in memory of Frederick and Edith Straus

75.18, ThE MaGnES COLLECTIOn OF JEwISh arT and LIFE, ThE BanCrOFT LIBrary

is inscribed with the hebrew blessing: barukh atah

be-voekha u-varukh atah be-tzetekha, or “Blessed

shalt thou be when thou comest in, and blessed shalt

thou be when thou goest out,” (Deuteronomy 28:6).

This biblical quotation likely refers to the friendship

between Mendelssohn and Lessing, as well as (in a

rather ironic turn) to the transience of the conflict-

ual relation ship between Mendelssohn and Lavater

(whose hat and walking stick appear on the lower

right of the painting). On the back wall at the left of

the scene hangs a framed mizrach (the hebrew word

for “East” is faintly legible), a wall-hanging indicating

the direction being faced during prayer according to

the Jewish ritual.

The wall hanging, along with the Sabbath lamp hanging

from the ceiling, the hebrew inscription on the door

frame, the head-covering anachronistically placed

over Mendelssohn’s head (no contemporary icono-

graphic source depicts Mendelssohn wearing any

form of head-covering), and possibly the tall untitled

volumes, remini scent of Talmudic tractates, on the

shelves in the background, can be seen as attempts

on the part of the painter to interpret Mendelssohn’s

attachment to Judaism through the lenses of the

canons of Jewish observance that dominated the

mid-19th century, when the painting was made.

Moritz Daniel Oppenheim (German, 1800–1882)

Servant with Tray. Study for Lavater and Lessing Visit Moses Mendelssohn, 1856

Germany, n.d. (ca. 1856)

Pencil on paper

Gift of the magnes museum Women’s Guild

75.156, tHe maGneS COlleCtiOn Of JeWiSH aRt and life, tHe banCROft libRaRy

geRmAny - tALL cAse

Hanging Synagogue or Domestic Chandelier with eight removable branches

Germany, 17th–18th centuries

pewter

Siegfried S. Strauss collection, Judah L. Magnes Museum purchase

67.1.5.5 a-i, THe MaGneS coLLecTion oF JeWiSH arT and LiFe,

THe BancroFT LiBrary

Hanging Sabbath and Festivals Lamp with six oil wells, drip pan, and decorated suspension bar

Germany, 18th century

Brass


67.1.5.6, THe MaGneS coLLecTion oF JeWiSH arT and LiFe, THe BancroFT

LiBrary

Hanging Sabbath and Festivals Lamp with six oil wells, drip pan and suspension bar

[Germany, 18th century]

cast, repoussé and chased brass

Gift of dr. and Mrs. paul Moses

68.23 a–c, THe MaGneS coLLecTion oF JeWiSH arT and LiFe,


Hanging Sabbath and Festivals Lamp with eight oil wells, decorative medallions and knobs


Bronze

rozin collection, Judah L. Magnes Museum purchase through the

Goor Fund

78.78.32 a–B, THe MaGneS coLLecTion oF JeWiSH arT and LiFe,


Hanging Sabbath and Festivals Lamp with six oil wells and double-eagle shaped shaft

central europe, 19th century

Brass

Judah L. Magnes Museum purchase

93.55 a-B, THe MaGneS coLLecTion oF JeWiSH arT and LiFe,


Hanukkah Lamp with engraved Hebrew inscription (letters heh, lamed, mem) and decorations


cast, cut and engraved pewter


67.1.4.29 a-B, THe MaGneS coLLecTion oF JeWiSH arT and LiFe,


Hanukkah Lamp with engraved Hebrew inscription (letters chet, nun) and circular ring around hanging perforation


pewter

Gift of the estate of charlotte Stein pick

91.12.4 a–B, THe MaGneS coLLecTion oF JeWiSH arT and LiFe,


Hanukkah Lamp decorated with shield containing a seven-branched candelabrum, a crown, rampant lions and floral motifs, with removable servitor and man-shaped figurine

Germany, mid-18th century

Silver

Gift of Gerda rau

79.1 a–B, THe MaGneS coLLecTion oF JeWiSH arT and LiFe, THe BancroFT

LiBrary

Hanukkah Lamp decorated with shield engraved with Hebrew inscription (Talmudic poem, hanerot halalu, “These lights”), a crown, and rampant lions, with removable servitor held by a man-shaped figurine


Brass

Gift of cantor and Mrs. reuben r. rinder

64.0.1 a–c, THe MaGneS coLLecTion oF JeWiSH arT and LiFe,


geRmAny - tALL cAse

Hanukkah Lamp shaped as four chairs, with relief Hebrew inscription (chanukah) and geometric designs


cast and chased lead or soft pewter


67.1.4.42 a-d, THe MaGneS coLLecTion oF JeWiSH arT and LiFe,


1. Gotthold Ephraim Lessing (1729–1781) Laokoon: Oder über die Grenzen der Malerei und Poesie

(laocoon: or on the limits of painting and poetry)

german

Stuttgart, g.J. göschen; imprint: Berlin, C.F. voss, 1766, first edition

N64 .l38 1766, the BANCroFt liBrAry

lessing’s widely influential work on the theory of art described poetry as the art of time and sequential narra tive, in contrast to painting, the art of space and static representation. this work, which was extensively discussed in the correspondence between lessing and Mendelssohn, represents the aesthetic foundation of oppenheim’s 1856 painting, in which different historical narrative planes are staged within a single compositional structure.

2. Gotthold Ephraim Lessing (1729–1781) Nathan der Weise, Ein dramatisches Gedicht, in fünf

Aufzügen (Nathan the wise. A dramatic poem in Five Acts)

german

Berlin, C. F. voss, 1779

pt2399 1779, the BANCroFt liBrAry

Set in Jerusalem during the third Crusade, lessing’s drama about the virtues of intellectual exchange and religious tolerance staged a Jewish merchant, Nathan, in a meeting with the enlightened sultan, Saladin, in which the game of chess is prominently featured. the character of Nathan was modeled after Mendelssohn. in turn, the game of chess is at the center of oppenheim’s 1856 painting, as a visual reference to lessing’s work and to his friendship and intellectual association with Mendelssohn.

3. Charles Bonnet (1720–1793)Herrn C. Bonnets, verschiedener Akademieen Mitglieds, Philosophische Palingenesie, oder, Gedanken über den vergangenen und künftigen Zustand lebender Wesen: als ein Anhang zu den letztern Schriften des Verfassers, und welcher insonderheit das Wesentliche seiner Untersuchungen über das Christenthum enthält, aus dem Französischen übersetzt, und mit Anmerkungen herausgegeben von Johann Caspar Lavater (philosophical palingenesis, or thoughts about the past and future state of living beings by Mr. C. Bonnet, member of various academies: including the latest writings of the author, containing as a special feature his research on the essence of Christianity, translated from French, edited and annotated by Johann Caspar lavater)

german

Zurich, Bey orell, gessner, Füssli und Compagnie, 1769–1770, vol. 1

B1943.p352 g4 1769, the BANCroFt liBrAry

the publication of the translation of Swiss naturalist and philosopher C. Bonnet’s La palingénésie philosophique (1769) by lavater was the pretext that prompted him to approach Mendelssohn. the book is directly quoted in oppenheim’s 1856 painting, where it is depicted open on the table in Mendelssohn’s living room. on one of the two visible open pages the word “Bonnet” is faintly legible.

4. Johann Caspar Lavater (1741–1801)Physiognomische Fragmente zur Beförderung der Menschenkenntniß und Menschenliebe, verkürzt herausgegeben von Johann Michael Armbruster . . . mit vielen Kupfern (physiognomic Fragments for the promotion of the knowledge and love of Mankind, Abridged edition by Johann Michael Armbruster . . . with many engravings)

german

winterthur, heinrich Steiners und Compagnie, 1783–1787, vol. 2, 136

BF843 .l274 1783, the BANCroFt liBrAry

originally published 1775–1778, lavater’s studies on physiognomy included a silhouette of Mendelssohn’s profile (seen from the left side) which may have been the source for his portrait in oppenheim’s 1856 painting.

5. Moses Mendelssohn (1729–1786) igrot me-he-chakham ha-kolel ha-mefursam ba-‘olam

rabi mosheh de‘sa . . . mi-berlin (Letters of the World-Famous Sage, Moses [from] dessau . . . from Berlin)

hebrew

vienna, Anton Schmid, 1794

gift of rabbi Jacob voorsanger

B2693.A4 i37 1794, the BANCroFt liBrAry

posthumous edition of Mendelssohn’s hebrew correspondence. the title credits the author as mosheh de‘sa, or “Moses [from] dessau,” indicating Mendelssohn’s birthplace.

6. Moses Mendelssohn (1729–1786) Phädon, oder, Über die Unsterblichkeit der Seele

(phaedon, or on the immortality of the Soul)

german

reuttlingen, Johann georg Flieschauer, 1784

B2691.p42 e5 1784, the BANCroFt liBrAry

originally published in 1767, this philosophical work inspired by plato brought Mendelssohn to the attention of germany’s intellectual elites.

7. Johann Caspar Lavater (1741–1801) and Moses Mendelssohn (1729–1786)

Antwort an den Herrn Moses Mendelssohn zu Berlin, von Johann Caspar Lavater. Nebst einer nach erinnerung von Moses Mendelssohn (response to Mr. Moses Mendelssohn in Berlin, by Johann Caspar lavater. Followed by a memoir by Moses Mendelssohn)

german

Berlin and Stettin, Friedrich Nicolai, 1770

B.2693 l3, the BANCroFt liBrAry

in 1770 the controversy between lavater and Mendelssohn went public. lavater’s “response,” accompanied by a “memo” written by Mendelssohn, was published by Friedrich Nicolai (1733–1811). Nicolai, a writer and publisher, was a longtime associate of both Mendelssohn and lessing. A former occupant of the home at Spandauerstraße 68, Berlin, where Mendelssohn lived and worked, and where the meetings with lavater had taken place as portrayed in oppenheim’s 1856 painting, Nicolai published many of Mendelssohn’s works, including his german translation of the hebrew Bible (1780–83).

8. Friedrich Heinrich Jacobi (1743–1819) Ueber die Lehre des Spinoza in Briefen an den Herrn

Moses Mendelssohn (Concerning the doctrine of Spinoza in letters to Mr. Moses Mendelssohn)

german

Breslau, g. löwe, 1789. 440 p.; 19 cm.

BANCroFt liBrAry B3998 J33 1789.

Friedrich Jacobi’s work, originally published in 1785, attacked both Mendelssohn and lessing, accusing the latter of “Spinozism,” or pantheism and thus, implicitly, of atheism. its second edition was introduced by two vignettes engraved by ernst Carl gottlieb thelott (1760–1834). the first portrayed the philosopher Baruch Spinoza (1632–1677). the second was a “double portrait” of Mendelssohn and lessing after pierre Joseph langer (1759–1824), in turn similar to a watercolor attributed to Johannes pfenninger (1765–1825), kept at the Österreichisches Nationalbibliotek, vienna. the way Mendelssohn is depicted in these sources is reminiscent of the anti-Semitic iconography developed in europe since the early-modern period. in his ‘kunstkabinett,’ a collection of annotated prints and drawings related to his research on physiognomy, lavater thus commented on pfenninger’s drawing: “deeper, more delicate, cleverer, and more elegant, the Jew—manlier, sturdier, more cheerful, and more foursquare, livelier, lessing” (1793).

anonymous

Über die Haupgrundsätze der schönen Künste un Wissenschaften (On the main Principles of the

fine arts and Sciences)

Germany [1781–82]

engraving

Gift of William P. Wreden

75.2, tHe maGneS COlleCtiOn Of JeWiSH aRt and life, tHe banCROft libRaRy

engraved portrait of and allegorical tribute to moses

mendelssohn, titled after his essay, On the Main Principles of the Fine Arts and Sciences, originally

published in 1757 as Betrachtungen über die Quellen un die Verbindungen der schönen Künste und Wissenschaften and reissued as Über die Haupgrundsätze der schönen Künste un Wissenschaften

in the second volume of his Philosophische Schriften

(berlin, C. f. Voss, 1771: 95–152). the portrait is

surrounded by German excerpts from mendelssohn’s

essay, allegorical images of the arts (laurel, art tools

and musical instruments, referring to poetry, painting,

sculpture and music), images of open books that

include the bible in Hebrew (with mirrored Hebrew

script, caused by a printing error) and German,

mendelssohn’s Philosophical Writings and Phädon

(1767), and banderoles with latin quotations from

various authors, including Seneca.

anonymous

Moses Mendelssohn Holding a Book

n.d.

Steel engraving

Siegfried S. Strauss Collection, Judah l. magnes museum

purchase

67.1.10.22, tHe maGneS COlleCtiOn Of JeWiSH aRt and life, tHe banCROft

libRaRy

Portraits of mendelssohn became somewhat

common since the last quarter of the 18th century.

Commenting on a similar one, a profile miniature

by daniel Chodowiecki (before 1787, Österreiches

nationalbibliotek, Vienna) in his ‘kunstkabinett,’ a

collection of annotated prints and drawings related

to his research on physiognomy, lavater wrote:

“Refinement, cunning, intellect, taste and need

for clarity; but no greatness of soul, no genius,

no courage, no grandeur” (1787).

anonymous moses mendelssohn holding a Book

n.d.

Steel engraving


67.1.10.22, THe MaGneS coLLecTion oF JeWiSH arT and LiFe,


portraits of Mendelssohn became somewhat common since the last quarter of the 18th century. commenting on a similar one, a profile miniature by daniel chodowiecki (before 1787, Österreiches nationalbibliotek, Vienna) in his ‘kunstkabinett,’ a collection of annotated prints and drawings related to his research on physiognomy, Lavater wrote: “refinement, cunning, intellect, taste and need for clarity; but no greatness of soul, no genius, no courage, no grandeur” (1787).

WImpeLs

Koppel ben Moses Heller Segal (German, 18th–19th centuries)

Wimpel (Binder for Torah Scrolls made from a Circumcision Cloth)

Munich, Germany, 1814

Silk embroidery on linen

Gift of Mr. and Mrs. Theodore Lilienthal

80.83, THe MaGneS coLLecTion oF JeWiSH arT and LiFe, THe BancroFT

LiBrary

Wimpel commissioned by the Lilienthal family of Munich, Germany, in honor of their son, Menachem Mendel (later rabbi Max) Lilienthal (1814–1882), to an artisan named koppel Heller. The embroidered Hebrew inscription recites: “Menachem, called Mendl, son of the kohen yehudah Leyb [from] Schnaittach, born under a good sign on the fifth day [of the week], the [1]3th of [the Hebrew month of] marcheshvan [5]575 according [to the] Minor era [i.e., Thursday, october 27, 1814]; may the Lord allow him to grow to Torah [i.e., reach Bar Mitzvah age] and to the wedding canopy and to good deeds; amen, selah. Made by koppel ben Moses Heller, Segal, of the congregation of Bretzfeld, residing in Munich.” The words of the inscription are illustrated with images of plants and animals—including a scorpion, symbolizing the newborn’s Zodiac sign, and a lion, above the father’s name, Leyb (or “Leon”)—crowns (symbols of the Hebrew Bible), and scenes from the Jewish life cycle (birth, childood, Bar mitzvah and marriage). This is the only wimpel in the Magnes collection that includes the maker’s name.


Germany, 1742

Silk embroidery on linen

Gift of charles Michael

2000.38.3, THe MaGneS coLLecTion oF JeWiSH arT and LiFe, THe

BancroFT LiBrary

Wimpel for a child named david, born in 1742, made by an anonymous embroiderer. The Hebrew inscription recites: “david, son of Joseph known as yozeleh (may he live for many long days), born under a good sign on the morning of the fourth day [of the week, the] 24th [day of the] first [month of] adar, [5]502 according [to the] Minor era [i.e., Wednesday, February 28, 1742]; may he grow to the Torah [i.e., reach Bar Mitzvah age], to the wedding canopy, and good deeds, amen selah.” The embroidered decorations include various flowers, a bird (shaping the Hebrew letter lamed of the word, yozeleh), fish (symbolizing the Zodiac sign of pisces, under which the child was born), a crown (positioned between the Hebrew words, keter torah, or “Torah’s crown”). The Hebrew letters lamed and qof are also embellished throughout.


Germany, 1901

Tempera, gold metallic paint and graphite on linen, silk grosgrain

Gift of charles Michael

2007.3.2, THe MaGneS coLLecTion oF JeWiSH arT and LiFe,


Wimpel for a child named eleazar, born in 1901, painted and embroidered by an anonymous maker. The Hebrew inscription recites: “eleazar son of Jacob (may he live for many long days, amen), born under a good sign on the second day [of the week, the] 20th [day of the month of] av [5]661 according [to the] Minor era [i.e., Monday, august 5, 1901]; may he grow in Torah, to the wedding canopy, and to good deeds, amen, selah.” The painted decorations include motifs inside most of the letters of the Hebrew inscription, leaves, a crown, and an open Torah scroll (inside which are the words, torat mosheh emet, or “the Torah of Moses is the truth”). a mistake in the Hebrew date (a letter mem) was only partially erased, and the graphite marks are left visible.

‘mendelssohn, moses’ and ‘Oppenheim, moritz Daniel’ in the Jewish encyclopedia

cyrus adler and isidore Singer, eds.

the Jewish encyclopedia; a descriptive record of the history, religion, literature, and customs of the Jewish people from the earliest times to the present day

new york-London, Funk & Wagnalls company, 1901–06, volumes

8–9

dS102.8 .J4, Uc BerkeLey UniVerSiTy LiBrary

anonymous

Lilienthal Family Portrait

Germany, ca. 1816

Oil on canvas

Gift of theodore and Wendy lililenthal

2006.10, tHe maGneS COlleCtiOn Of JeWiSH aRt and life, tHe banCROft

libRaRy

Portrait of the lilienthal family in munich, Germany,

ca. 1816. from left to right: max (menachem) lilienthal

(1814–1882), leyb Seligmann (lilienthal) (1777–1850),

dina lichtenstein (1795–1824), and Samuel lilienthal

(1815–1891).

Five Reproductions of Early Lilienthal Family Portraits

[San Francisco], n.d.

Matted paper facsimiles

LiLienTHaL FaMiLy paperS and pHoToGrapHS, 1840–1961, Banc MSS

2010/614, THe MaGneS coLLecTion oF JeWiSH arT and LiFe, THe

BancroFT LiBrary

From left to right: Jacob Lichtenstein (1740–1825); edel Jafe Seligman (died 1790); a reproduction of the Lilienthal Family portrait (Magnes collection, 2006.10), featuring Leyb Seligman, dina Lichtenstein, Max and Samuel Lilienthal; Leyb Seligman (1735–1805); Gletel Lichtenstein (1747–1842).

Sophie Lilienthal the Lilienthal Family Record

english

San Francisco, “privately printed” by the H. S. crocker co., in an

edition of 50 copies, 1930

cT275.L437 L4 1930, THe BancroFT LiBrary

The Lilienthal Brothers and Cousins

[San Francisco], n.d.

Sepia-toned photographs

LiLienTHaL FaMiLy paperS and pHoToGrapHS, 1840–1961, Banc MSS

2010/614, THe MaGneS coLLecTion oF JeWiSH arT and LiFe, THe

BancroFT LiBrary

From left to right: ernest reuben Lilienthal (1850–1922); James Lilienthal (1844–1895); John Leo Lilienthal (1854–1893); philip nettre Lilienthal (1849–1908); albert Lilienthal (1859–1910); Theodore M. Lilienthal (1847–1891); Jesse W. Lilienthal (1855–1919).

LILIenthAL

1. Samuel Lilienthal (1815–1891)

n.d.

photograph

erNeSt lilieNthAl photogrAph ColleCtioN, 1880–1921, BANC piC 2011.011,

the MAgNeS ColleCtioN oF JewiSh Art ANd liFe, the BANCroFt

liBrAry

2. Rev. Dr. M[ax] Lilienthal (1814–1882)

San Francisco, thomas houseworth, 1876

Cabinet Card photograph

hAAS ANd lilieNthAl FAMily photogrAphS, CA. 1890–1950, BANC

piC 2011.008, the MAgNeS ColleCtioN oF JewiSh Art ANd liFe,

the BANCroFt liBrAry

3. Samuel Lilienthal Memorial Book

1891

BANC MSS 2010/605, MAgNeS ColleCtioN oF JewiSh Art ANd liFe,


the Memorial Book for dr. Samuel lilienthal (1815–1891), a leading homeopath who moved from New york to San Francisco in 1880, contains photographs and newspaper clippings with eulogies from the Jewish and non-Jewish press and homeopathic journals in America, germany, and england, including this supplement and clipping from The Medical Argus of kansas City, Missouri. dr. lilienthal was father to ernest reuben lilienthal, founder of Crown distilleries, and grandfather to Samuel lilienthal, whose 1909 wedding to Alice haas united the haas and lilienthal families. Samuel and Alice made their home in the famed haas-lilienthal house at 2007 Franklin Street in San Francisco.

Defaced Portrait of Rabbi Max Lilienthal

new Orleans, may 28, 1861

lithograph

lilientHal family PaPeRS and PHOtOGRaPHS, 1840–1961, banC mSS 2010/614

(litHOGRaPHiC RePROduCtiOn Of WJHC 1996.001, dRaWinG On StOne by

S. SCHuSteR, PRinted by naGel and WeinGaRtneR, neW yORk, Gift Of dOROtHy

SCHnieR; ORiGinal On lOan tO tHe natiOnal muSeum Of ameRiCan JeWiSH

HiStORy, PHiladelPHia), tHe maGneS COlleCtiOn Of JeWiSH aRt and life,

tHe banCROft libRaRy

in the middle of the 19th century, lithographic portraits

of Rabbi max (menachem) lilienthal (1814–1882) were

printed, sold and displayed in homes across the united

States. Jacob a. Cohen of new Orleans wrote a letter

on a copy of the portrait and mailed it to lilienthal. in

his statement, signed and dated may 28, 1861, Cohen

attacked lilienthal’s abolitionist ideals, arguing that

he had “discarded the lord and taken up the sword

in defense of a negro government.” a Captain in the

army of the Confederate States of america in the

10th louisiana Regiment, mr. Cohen was later killed

in the Civil War (Second battle of bull Run, or

manassas, 1862).

1–7Haas Family Vacation to Bavaria, Germany

reckendorf and Bamberg, Bavaria (germany), circa 1911

Silver gelatin photographs

riChArd N. ANd rhodA hAAS goldMAN pAperS, 1863–1996, BANC MSS 2010/687,

the MAgNeS ColleCtioN oF JewiSh Art ANd liFe, the BANCroFt liBrAry

1. Bamberg, Family Picnic in the Hain City Park

2. Reckendorf, Synagogue Exteriors

3. Reckendorf, Synagogue Interiors

4. Reckendorf, Jewish Cemetery

5. Reckendorf, “The Well”

6. Reckendorf, Schoolhouse

7. Reckendorf, Haas Family Home

8. William Haas on Horseback

California, circa 1900

photograph

edwArd ANd CAthryN BrANSteN FAMily pAperS ANd photogrAphS,

1880–1980, BANC MSS 2010/615, the MAgNeS ColleCtioN oF JewiSh Art

ANd liFe, the BANCroFt liBrAry

9. Letter from Jacob Haas to William Haas

reckendorf, Bavaria (germany), July 1, 1869

english

hAAS FAMily pAperS, 1863–1869, BANC MSS 2010/512, the MAgNeS

ColleCtioN oF JewiSh Art ANd liFe, the BANCroFt liBrAry

10. German Emigration Certificate for Wolf (William) Haas (Born in Reckendorf, Bavaria, 1849)

ebern, Bavaria (germany), March 23, 1864

german



11. Travel Pass for Wolf (William) Haas (Born in Reckendorf, Bavaria, 1849)

ebern, Bavaria (germany), March 23, 1864

german



12. Zur Erinnerung an die Sterbetage meiner seligen Eltern Koppel u. Fanny Haas . . . (to Commemorate the day of the death of My Blessed parents, koppel and Fanny haas . . .)

Memorial calendar and mizrach

[1897]

german and hebrew



Memorial Calendar for koppel haas (1800–1867) and Fanny haas (1810–1875), including handwritten dates of the anniversaries of their deaths for the years 1897–1921. this item was also meant to be used as a mizrach (the hebrew word for “east” appears in a medallion at the center, between two “angels”), a wall hanging marking the direction to be faced during prayer.

13. Scenes From a Visit to the Haas Family’s Ancestral Home, from the Haas Family Photo Album (1880–1920)

reckendorf, Bavaria (germany), circa 1911

photographs

edwArd ANd CAthryN BrANSteN FAMily pAperS ANd photogrAphS,

1880–1980, BANC MSS 2010/615, the MAgNeS ColleCtioN oF JewiSh Art


Augusto Ferran (Spanish, 1813–1879)

View of Harbor at San Francisco, California

1850

Oil on Canvas

RObeRt b. HOneyman, JR. COlleCtiOn Of eaRly CalifORnian and WeSteRn

ameRiCan PiCtORial mateRial, banC PiC 1963.002:1356--fR, tHe banCROft libRaRy

Augusto Ferran (Spanish, 1813–1879)

View of Bay from Hills Above San Francisco, California

1850

Oil on Canvas

RObeRt b. HOneyman, JR. COlleCtiOn Of eaRly CalifORnian and WeSteRn

ameRiCan PiCtORial mateRial, banC PiC 1963.002:1357--fR, tHe banCROft

libRaRy

BUSINESS

Israel [ben] Joseph Benjamin, II (1818–1864) Drei jahre in Amerika, 1859–1862. Von. I.J. Benjamin II . . .

German and Hebrew

Hannover, Selbstverlag des verfassers, 1862, 2 vols.

F864. B46, THe BancroFT LiBrary

Three-part travelogue bound in two volumes, published in German by rumanian-born 19th-century Jewish travel writer, i. J. Benjamin, ii (whose nom de plume evoked the famed 12th-century Jewish travel writer, Benjamin of Tudela), after his three-year visit to the United States, and specifically to california and the american West (1859–1861). in the first part of the work, Reise in den östlichen Staaten der Union und San Francisco, Benjamin described Jewish life in northern california. He focused on the Jewish communities in the Gold country, Sacramento and San Francisco, devoting chapters to San Francisco’s two main congregations, Sherith israel and emanu-el.

Letter from Julius Eckman to Solomon Nunes Carvalho

San Francisco, March 15, 1855

JULiUS eckMan LeTTer, 1855, Banc MSS 2010/513, THe MaGneS coLLecTion

oF JeWiSH arT and LiFe, THe BancroFT LiBrary

Julius eckman (1805–1874), a graduate of the University and the rabbinical college of Berlin, was the first rabbi of congregation emanu-el in San Francisco (1854–55) and the publisher of the Jewish journal, The Weekly Gleaner (1857–1863). in 1855, he wrote to Solomon nunes carvalho (1815–1897), the official photographer of explorer John c. Fremont’s “fifth expedition” to the american West in 1853–1854, discussing the living conditions and the religious customs of the Jews in the city. in his letter, he mentions the celebration of a Jewish wedding feast in a San Francisco beer house.

1. John Elkund, Wholesale and Retail Oyster Dealer, Invoice

San Francisco, April 29, 1891

Adolph Sutro pAperS, 1858–1993, BANC MSS 2010/613, the MAgNeS


the date of purchase on the invoice from John elkund (April 29, 1891), which details a list of foods that evade traditional Jewish dietary laws (kashrut), coincided with Adolph Sutro’s 61st birthday.

2. Friedman and Wolff, Matzo Makers, Invoice for the purchase of Passover foods

San Francisco, February 2, 1892



3. Haas, Baruch & Co Invoice for the purchase of groceries

december 15, 1894

riChArd N. ANd rhodA hAAS goldMAN pAperS, 1863–1996, BANC

MSS 2010/687, the MAgNeS ColleCtioN oF JewiSh Art ANd liFe,


4. Hellman, Haas & Co. Letter

october 22, 1880




5. Levi Strauss & Co. Cloth Wrapper

San Francisco, 1873

CourteSy levi StrAuSS & Co. ArChiveS

levi Strauss had an extensive dry goods inventory in his headquarters (and warehouse) in San Francisco. this is a wrapper from a bolt of cloth called California prints.

6. Hellman, Haas & Co. Invoice for the purchase of groceries

San Francisco, october 7, 1887




7. Loupe & Haas Invoice for the purchase of groceries

San Francisco, July 23, 1869

MArkS ANd CoMpANy iNvoiCeS, 1857–1869, BANC MSS 2010/519, the MAgNeS


8. H. Browne, Fish dealer, Invoice

San Francisco, January 31, 1898



9. Levi Strauss & Co. Invoice for the purchase of clothing

San Francisco, February 25, 1858

CourteSy levi StrAuSS & Co. ArChiveS

levi Strauss arrived in San Francisco in 1853 to open a western division of the family wholesale dry goods business, though he named it after himself.

Stereographic Cards of Temple Emanu-El in San Francisco

San Francisco, circa 1865–1880

MAgNeS ColleCtioN oN CoNgregAtioN eMANu-el, 1850–2002, BANC MSS

2010/612, the MAgNeS ColleCtioN oF JewiSh Art ANd liFe, the BANCroFt

liBrAry

4. Alfred A. Hart, San Francisco from Nucleus Hotel

5. Watkins’ Pacific Coast, No. 1769, View from California and Powell Streets, S.F., circa 1870

6. Thomas Houseworth & Co., no. 521, Jewish Synagogue, Sutter St., San Francisco, circa 1865

7. Thomas Houseworth & Co., No. 162, From Pine and

Powell Streets—Towards Mission Bay, between 1866 and 1906

emanu-el, founded in San Francisco as an orthodox congregation following a meeting held on April 6, 1851, catered to the german (mostly Bavarian) Ashkenazi Jews who had arrived to the city following the gold rush. it joined the reform movement around 1860. its first synagogue was located on Broadway Street, between Mason and powell (1854–1864). A new building, on Sutter Street between powell and Stockton, was dedicated on March 23, 1866, costing approximately $200,000. the architecture, by william patton, blended a gothic plan with Moorish features found in contemporary german synagogues. Severely damaged in the 1906 earthquake and fire, the building was reopened on September 1, 1907. it remained in use until the dedication of the congregation’s current synagogue in 1926.

1. Orphanage, 600 Divisadero Street and Home of Aged, Silver Avenue and Mission Street, in San Francisco

engravings

Second Annual Report of the Pacific Hebrew Orphan Asylum and

Home Society For the Fiscal Year 1872–3, and List of Members of

the Society on November 30th, 1873

eurekA BeNevoleNt SoCiety reCordS, 1850–1977, BANC MSS 2010/606,

Box 3 vol 6, the MAgNeS ColleCtioN oF JewiSh Art ANd liFe, the

BANCroFt liBrAry

2. Hellman Building, Mount Zion Hospital

San Francisco, circa 1918

photograph

MouNt ZioN hoSpitAl ANd MediCAl CeNter reCordS, 1887–1994,

BANC MSS 2010/616, the MAgNeS ColleCtioN oF JewiSh Art ANd liFe,


3. Laying the Cornerstone of the Hellman Building, Mount Zion Hospital

San Francisco, 1912

photograph

MouNt ZioN hoSpitAl ANd MediCAl CeNter reCordS, 1887–1994,

BANC MSS 2010/616, the MAgNeS ColleCtioN oF JewiSh Art ANd liFe,


Members of the Jewish community of San Francisco founded the Mount Zion hospital Association in 1887 “for the purpose of aiding the indigent sick without regard to race or creed, to be supported by the Jewish community.” in 1896, after it had received $37,000 in donations, the Association opened its first hospital.

Early Records of the Eureka Benevolent Society, San FranciscoeurekA BeNevoleNt SoCiety reCordS, 1850–1977, BANC MSS 2010/606,

the MAgNeS ColleCtioN oF JewiSh Art ANd liFe, the BANCroFt liBrAry

8. Constitution und Neben-Gesetze der Eureka Wohlthätigkeits-Gesellschaft in San Francisco, Cal. Gegründet im October 1850 (Constitution and By-laws of the eureka Benevolent Society in San Francisco, Cal.established in october 1850)

german

San Francisco, press of leo Sloesser, 414 Clay Street, September

1870

9. Constitution and By-Laws of the Israelitischer Frauen-Verein (Hebrew Ladies’ Benevolent Association) of San Francisco, California. Organized Aug. 12, 1855

San Francisco, n.d.

10. Constitution and By-Laws of the Eureka Benevolent Society of San Francisco, Cal. Organized October, 1880

San Francisco, after 1873

11. Eureka Wohlthaetigkeits-Gesellschaft (Eureka Benevolent Society) Resolution for Henry Regensberger

german

San Francisco, october 18, 1865

12. Eureka Benevolent Society Receipt to Adolph Sutro

San Francisco, 1859



13. Eureka Benevolent Society Annual Ball Dance Card

San Francisco, 1855

the eureka wohlthätigkeits-gesellschaft, one of San Francisco’s earliest philanthropic organizations, was formed in 1850 to “afford aid and relief to indigent, sick, and infirm Jews; to bury the dead; and in general to relieve and aid co-religionists who might be in poverty or distress.” in 1907, the organization changed its name to the eureka Benevolent Society. As the city’s Jewish population grew in numbers and diversity, the Society was joined by other social service agencies to form the nucleus of the San Francisco Jewish Federation.

1. Two 18th-century Prayer Books for women bound together, with handwritten annotations about the Greenebaum, Gerstle, Sloss and Haas FamiliesgreeNeBAuM FAMily geNeAlogy ANd prAyer BookS, 1767–1769 ANd 1914,

BANC MSS 2010/524 voluMe 1, the MAgNeS ColleCtioN oF JewiSh Art


a. seder tefilot sefatai renanot . . . (order of prayers “Sefatai renanot”)

hebrew and Judeo-german

Fürth, yosef petschau and Mendel Beer, [5]529 (1768–1769)

b. seder tehilim. mesudar ve-nechlaq le-shiv‘ah chalaqim le-mispar yeme ha-shavu‘a . . . (order of the psalms. ordered and subdivided in five parts according to the number of the days of the week . . .)

hebrew and Judeo-german

Fürth, yosef [petschau] and Mendel Beer, [5]528 (1767–1768)

Members of the greenebaum family began moving from Bavaria to the united States in 1838, initially settling in philadelphia and Chicago. in 1850, brothers leon and herman found work in the dry goods industry in San Francisco. leon was killed in the great fire of 1851. herman relocated to Sacramento in 1851 and started a clothing business with his brother Jacob. they were joined by their brother, Moses, in 1853. Another brother, Abraham, also moved to Sacramento in the early 1850s and opened a tobacco business on J Street. the greenebaum sisters, Sarah and hannah, also came to Sacramento from philadelphia as the brides of louis Sloss and lewis gerstle. Bertha, daughter of herman and rosalie Cauffman greenebaum, married william haas in 1880.

2. Yehudah Leyb Ben-Zeev (1764–1811) talmud leshon ‘ivri. kolel yesodot diqduq ha-lashon

(Study of the hebrew language. including the Fundaments of grammar)

hebrew

vienna, Anton Schmid, 1805

pJ4556 .B4 1805, the greeNeBAuM ColleCtioN oF the SeMitiC liBrAry oF

the uNiverSity oF CAliForNiA. giFt oF AlFred greeNeBAuM. JANuAry,

1897

3. Portrait of Rabbi Jacob Voorsanger From The Chronicles of Emanu-El, being an account of

the rise and progress of the Congregation Emanu-el, which was founded in July, 1850, and will celebrate its fiftieth anniversary December 23 1900

San Francisco, 1900

F869.S3 e53, the BANCroFt liBrAry

Born in Amsterdam, rabbi Jacob voorsanger (1852–1908) immigrated to the united States in the early 1870s, and was a pulpit rabbi in washington, d.C., providence, rhode island and houston, texas. he was Assistant rabbi, then Senior rabbi at Congregation emanu-el in San Francisco between 1886 and 1908. A founding editor of the newspaper, The Emanu-El, and a founder of the emanu-el Sisterhood for personal Service, he was a professor of Semitic languages at the university of California (1894) and a chaplain and special lecturer at Stanford university.

4. Joachim Heinrich Campe (1746–1818)masa‘ qolumbus, o galut ha-aretz ha-chadashah ‘al yede qristof qolumbus . . . (Columbus’ Journey, or the discovery of the New land by Christopher Columbus, hebrew translation by Mordecai Aaron günzburg)

hebrew

warsaw, Sh. A. peshes, 1883

e123 .C2, voorSANger ColleCtioN oF the SeMitiC liBrAry oF the

uNiverSity oF CAliForNiA. giFt oF rev. JACoB voorSAger, d.d., 1906

5. Mosheh bar Nachman Gerondi sefer ha-emunah ve-ha-bitachon (the Book of Faith and

trust [Biblical Commentary])

hebrew

warsaw, d. l. Sklower, 1842

BM729.F3 g47 1842, the SloSS ColleCtioN oF the SeMitiC liBrAry oF the

uNiverSity oF CAliForNiA. giFt oF louiS SloSS. FeBruAry, 1897

6. Lewis Gerstle, Louis Sloss, and Gustave Niebaum in the San Francisco offices of the Alaska Commercial Company

Black and white photograph, n.d.

erNeSt lilieNthAl photogrAph ColleCtioN, CA. 1880–1921, BANC piC

2001.011, the MAgNeS ColleCtioN oF JewiSh Art ANd liFe, the BANCroFt

liBrAry

louis Sloss and lewis gerstle, both from Bavaria, arrived in Sacramento around 1850 and entered into the dry goods business together under the name of louis Sloss & Co. they married Sarah and hannah greenebaum, sisters from philadelphia whose brothers were also in business in Sacramento. in the wake of the floods that devastated Sacramento in 1862, they moved to San Francisco. Five years later, when the united States purchased Alaska from russia, Sloss and gerstle saw a potentially lucrative business opportunity. they formed the Alaska Commercial Company in the fall of 1868 and were immediately rewarded by the federal government with the exclusive right to take fur seals from the pribilof islands. the company would become a commercial powerhouse all along the pacific Coast over the next twenty years.

7. Letter from the Acting Secretary of the Board of Regents of the University of California to Levi Strauss & Company Concerning the Levi Strauss Scholarship Fund

June 28, 1904

reCordS oF the regeNtS oF the uNiverSity oF CAliForNiA, Cu-1,

uNiverSity ArChiveS, the BANCroFt liBrAry

8. University of California, “Levi Strauss Scholarship” Balance Sheet

June 30, 1904

reCordS oF the regeNtS oF the uNiverSity oF CAliForNiA, Cu-1,

uNiverSity ArChiveS, the BANCroFt liBrAry

9. Levi Strauss Advertising Flier

1899

Color print

Courtesy levi Strauss & Co. Archives

Born in Bavaria, levi Strauss (1829–1902) immigrated to New york with his mother and sisters around 1847 to join his brothers’ dry goods wholesale business. in the early 1850s he went to San Francisco to represent J. Strauss Brother & Co. on the west Coast. in 1853, he founded levi Strauss & Co. in 1873 his company revolutionized the clothing business by introducing the worlds’ first blue jeans. in 1854, less than a year after starting his business, he made a donation to a local protestant orphanage; in 1897 he provided funds to establish scholarships at the university of California. when he died in 1902, obituaries and books about San Francisco praised him as both an honorable businessman and a generous philanthropist.

Documents

Gained in Translation: Jews, Germany, California circa 1849 Exhibition Labels (2011)