Wedding Sofa

The term "Biedermeier" refers to the relatively peaceful period in German-speaking countries between 1815 and 1848. It is also applied to the style of artistic production at this time. Never before in the history of Western art was a period so influenced by the tastes of the bourgeoisie rather that those of royalty, the church, or the military. With an emphasis on family, order, and tradition, Biedermeier ideology reflects the embodiment of eternal human values. Jews, who were recently granted new civil liberties, must have felt a special alliance to a society that was beginning to accept them and to espouse principles similar to their family-oriented faith.
The ritual function served by the wedding sofa was probably the veiling of the bride by her groom prior to their nuptial vows, a custom which dates to at least the Middle Ages. The carefully carved detail of male and female clasped hands in the upper central cartouche symbolizes the union and the initiation of family life. This splendid example of Biedermeier furniture is perhaps the only extant Jewish wedding couch.
Probably commissioned for the Mattenbuden Synagogue in Danzig, the sofa is inscribed with the Hebrew date for "1838" coinciding with the building of a new structure for the congregation; the donor's name is recorded in synagogue documents. Its curious original upholstery stuffing of kelp and seashells is evidence that the couch was manufactured near the sea, possibly in Danzig proper.
Most furniture of this period emphasized comfort and simplicity, generally showing a preference for plain surfaces and indigenous wood. Nevertheless, lavishly decorated works such as this example are documented. The sofa's rather ornate embellishment--its gilt Hebrew donor inscription, the carved and applied gilt ornaments, and the faux carved drapery swags--are well suited to its ceremonial intent. The sofa's form as well as its decorative elements of palmettes and leaves strongly suggest English Regency prototypes of the previous decade common in North German Biedermeier. The frontal emphasis typical of Biedermeier furniture contrasts with the Regency's more sculptural and three-dimensional design. The exuberant decoration on this sofa is typical of the post-1830 Biedermeier style generally known as "Second Rococo." From that date until the end of the era, this furniture increasingly incorporated curvilinear forms.