Friedrich Adler: Ways and Byways, written by Batsheva Goldman Ida

Forging Ahead: Wolpert and Gumbel, Israeli Silversmiths for the Modern Age, written by Sharon Weiser-Ferguson

Common Roots. Design Map of Central Europe, written by Agnieszka Jacobson and Galit Gaon

Restricted Access
Get Access to Full Text
Rent on DeepDyve

Have an Access Token?

Enter your access token to activate and access content online.

Please login and go to your personal user account to enter your access token.


Have Institutional Access?

Access content through your institution. Any other coaching guidance?



A Journal of Jewish Art and Visual Culture




See: Barry Bergdoll and Leah Dickerman, Bauhaus 1919–1933: Workshops for Modernity (New York: The Museum of Modern Art, 2009); Detlef Mertins, Modernity Unbound: Other Histories of Architectural Modernity (London: AA Publications, 2011); see also Alan Colquhoun, “Criticism and Self-Criticism in German Modernism,” in the AA Files no. 28, (Autumn 1994): 26–33; Colquhoun, Essays in Architectural Criticism: Modern Architecture and Historical Change, (Cambridge, MA: The MIT Press, 1985), 46–47; Hilde Heynen, Architecture and Modernity: A Critique, (Cambridge, MA: The MIT Press, 1999), 43; Anthony Vidler, Histories of the Immediate Past: Inventing Architectural Modernism (Cambridge, MA: MIT Press, 2008).


Colin Rowe, The Architecture of Good Intentions: Toward a Possible Retrospect (London: Academy Editions, 1994); Mitchell Schwarzer, German Architectural Theory and the Search for Modern Identity (Cambridge: Cambridge University Press, 1995); Harry Francis Mallgrave and Eleftherios Ikonomou, ed. and trans., Empathy, Form, and Space: Problems in German Aesthetics, 1873–1893 (Santa Monica: Getty Center for the History of Art and the Humanities, 1994).


John V. Maciuika, Before the Bauhaus: Architecture, Politics and the German State, 1890–1919 (Cambridge: Cambridge University Press, 2005), 23; Francesco Dal Co, Figures of Architecture and Thought: German Architecture Culture 1880–1920 (New York: Rizzoli, 1990), 171–260. See also: Frederic J. Schwartz, The Werkbund: Design Theory and Mass Culture before the First World War (New Haven: Yale University Press, 1996).


Cited in: Sharon Weiser-Ferguson, Forging Ahead: Wolpert and Gumbel, Israeli Silversmiths for the Modern Age (Jerusalem: Israel Museum, 2012), 175.


  • Friedrich Adler, Etrog box, Heilbronn, 1913–14. Manufactured by Peter Bruckmann & Sons, Heilbronn. Silver, repoussé; ivory, 11.7×16.8×14 cm. Hebrew inscription: “And ye shall take you on the first day the fruit of goodly trees” (Leviticus 23:40). Courtesy Spertus Institute, Chicago.
    View in gallery
  • Ludwig Y. Wolpert, Torah crown, 1932, silver, collection of Gilad Gat, Israel. © Chava Wolpert Richard. © Photo: The Israel Museum, Jerusalem by Elie Posner.
    View in gallery
  • David H. Gumbel, three-branched candlestick, ca. 1930, silver and ivory, private collection, Germany. © Malka Cohavi. © Photo: Thomas Goldschmidt, Badisches Landesmuseum.
    View in gallery
  • Maciej Gasienica Giewont, untitled. 2009. Wood-turned bowl. Poland. (Photo Maciej Gasienica Giewont).
    View in gallery


Content Metrics

Content Metrics

All Time Past Year Past 30 Days
Abstract Views 5 5 2
Full Text Views 3 3 3
PDF Downloads 0 0 0
EPUB Downloads 0 0 0