VTG I MCM I Oppenheim Israel I Art Deco Candle Holders

VGUC Oppenheim candle holders. Some wax/wear. History: The Jerusalem Post, 11/28/2007 (paraphrasing): Most 1950s artists working in metal had their sights aimed at the tourist market or to export to Jewish communities overseas. Ascalon, OPPENHEIM, Dayagi and a few others were very talented, but in my opinion Ascalon was the father of modern Judaica art-deco.It was Ascalon who introduced the chemically-induced verdigris (green patina) that later became a hallmark of Israeli artistic metalwork items found in many a Diaspora Jewish home in the form of candlesticks, trays, bookends, brass and copper decorative wall plates, ashtrays or letter holders. Bringing Zion Home: Israel in American Jewish Culture, 1948-1967, Emily Alice Katz: A distinctive arsenal of forms, materials, and iconography distinguished Israeli objets from both traditional Jewish religious articles and American-made household durables alike. Prominent Israeli design firms such as Pal-Bell, Dayagi Brothers, OPPENHEIM, and Tamar labored to adapt the forms of postwar European design to objects that forthrightly announced their Israeli genesis. For example, designer Maurice Ascalon of Pal-Bell, in order to underscore the ancient provenance of many of the company’s mass-produced, modern forms, introduced an antique patina finish to his bronze and brass repertoire. This green patina became a standard feature of Israeli metalwork in the 1950s and distinguished such objects as Israeli in the global marketplace.