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The Wailing Wall, Jerusalem
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About the item

An awe-inspiring rendering of one of the most iconic architectural sites of the Holy Land, Bauernfeind's painting of the Wailing Wall belongs to a series of large-scale oils of the same subject that form the artistic centrepiece of his oeuvre. The artist has drawn upon his fastidious talent as a realist painter, and his first hand observations of Middle Eastern culture, in order to present an image that is historically and archaeologically accurate in execution, and appropriately reverential in tone. It represents the apogee of his understanding of eastern culture.\n\nThe Western Wall (Ha-kotel ha-maa-ravi in Hebrew), also known as the Wailing Wall, in the Old City of Jerusalem, is the only remains of the Second Temple of Jerusalem (also known as the Temple of Solomon), which was destroyed by the Romans in AD 70. The wall dates from the second century BC, although its upper sections were added at a later date, and it extends much deeper into the ground, a result of the rubble that has accumulated over the centuries. The rows of stone were terraced, with each row being set back a few inches from the row below it in order to withstand the soil pressure of the filling behind it. As a result, the Wall slants slightly eastwards. Today the Wall forms part of a larger wall that surrounds the Muslim Dome of the Rock and al-Aqsa Mosque.\n\nJewish devotion at the site of the Wailing Wall dates from the early Byzantine period, and reaffirms the rabbinic belief that 'the Divine presence never departs from the Western wall'. The term 'Wailing Wall' was coined by European travellers to the site who witnessed the mournful vigils of pious Jews before the relic of the sacred temple.\n\nBauernfeind was deeply affected by the depth and diversity of religious expression that he encountered during his various journeys throughout North Africa and the Middle East, and a significant part of his Orientalist oeuvre depicts scenes of worship and prayer. The present work addresses the solemnity of prayer as well as the timelessness of the Wailing Wall, and its continuity with the past. Indeed, the 2000 year old wall which takes up the majority of the canvas is itself a testament to the endurance of religion. Bauernfeind gives the Wall, rather than the worshippers, prominence in his composition. The Wall is bathed in a luminescent, almost supernatural light, adding to the feeling of holiness of the site, and also allowing Bauernfeind to demonstrate his virtuoso ability to paint the changes in texture and subtleties of light across its surface.\n\nThe Wall becomes the pictorial embodiment of the continuity of Judaism from past to present, and by including it so prominently in the composition, Bauernfeind seems to be making a commentary on the central role religion played in Middle Eastern culture. The wall's rough-hewn stone, with tufts of moss and grass growing through the cracks, and its monumentality as a whole prove that it has endured the passage of time.\n\nBauernfeind was born in Sulz in Austria. After his first visit to Jaffa and Jerusalem in 1880-81 he travelled widely in the Middle East, particularly to the Holy Land and Damascus, eventually settling in Jerusalem where he died in 1904.\nSigned G. Bauernfeind l.l.; inscribed Jerusalem l.r.
GB
GB
GB

medium

Oil on canvas laid down on panel

creator

Gustav Bauernfeind

condition

This condition report has been provided by Hamish Dewar, Hamish Dewar Ltd. Fine Art Conservation, 14 Masons Yard, Duke Street, St James's, London SW1Y 6BU. Gustav Bauernfeind The Wailing Wall, Jerusalem Structural Condition The artist's canvas has been laid down onto a wooden panel, which itself has a canvas backing. This may not be the most sympathetic method of structural conservation but is certainly ensuring a stable support. The removal of the canvas from the panel, followed by lining onto a secondary canvas, could be considered but as the present structural condition is stable this may well be felt unnecessary. Paint Surface The paint surface has an even varnish layer. Inspection under ultra-violet light shows a number of retouchings in the sky, mostly concentrated on the left side. There is a horizontal line of retouching (only visible under ultra-violet light) across the canvas approximately half way up the composition which probably corresponds to a horizontal stretcher bar line which has been partially retouched. Summary The painting is therefore in reasonably good and stable condition but does have a number of retouchings in the sky. "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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

dimensions

129.5 by 100.5cm., 51 by 39½in.

provenance

The Warner Resort Company, San Francisco Sale: Christie's, London, 20 March 1992, lot 22 Purchased at the above sale by the present owner

signedDate

Signed G. Bauernfeind l.l.; inscribed Jerusalem l.r.

consignmentDesignation

Property from a British Private Collection


*Note: The price is not recalculated to the current value. It refers to the actual final price at the time the item was sold.

*Note: The price is not recalculated to the current value. It refers to the actual final price at the time the item was sold.


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