Scene depicting the binding of Isaac, embroidered by an artist in colorful threads on a piece of fabric.
Framed: 17×18 cm.
Fine condition. Stained.
Israel in poems , by Alexander ben Israel, Shirat Yisrael by Alexander Bar Yehuda dedicated to the Israeli President Yitzchak Ben Zvi, translated by S. Kanzler.
Impressive, handmade wooden binding, in Hebrew and English, decorated and colorful.
29, 31 pp. 20 cm.
Fine-very fine condition, scratched binding.
Impressive Ethiopian painting in bold colors, painted on a large parchment sheet.
Maximum length – approximately 110 cm; maximum width – approximately 87 cm.
Fine-very fine condition. Aging stains.
49×60 cm.
Signed Tz. Raphaeli in the lower right corner.
Very fine condition, framed.
Especially large leather sheet with an illustrated story. Its source is apparently Ethiopian tradition.
Size: Approximately 85.5×95 cm.
Fine-very fine condition. Several original perforations, corresponding to the large dimensions of the parchment sheet.
Aging stains.
* Beautiful portrait of Rabbi Solomon Hirschell, first chief rabbi of Great Britain. Signed by the artist in print. Simon Fils Press. Strasbourg (France), [early 19th century].
Caption under the picture: ‘Picture of the Adm”o, the great sage, the tremendous rabbinic leader Rabbi Shlomo, son of the Adm”o, the great gaon, Rabbi Tzvi ztz”l, av beit din of the Ashkenazic community in London and the country of England, S. Hirschell.”
This picture is not the one included in the machzors printed in London during the same period.
Leaf size: 22×25 cm. Including the frame, 44×47 cm. Placed in passe-partout and a large frame; fine condition.
* Etching of Rabbi Hirschell, 1811, 4.2×10.4 cm.
* Additional etching from 1808, with Hebrew inscription, 24.3×16.5 cm.
Rabbi Solomon Hirschell [1762-1842] served as rabbi of Franzlau in his youth, and was appointed in 1802 as rabbi of Great Britain. Rabbi Hirschell was one of the leading fighters against Reform in Britain.
Set of handmade carved artifacts made of Dead Sea Stone.
An ashtray, vase and shot glass with the inscription “Jerusalem” (Hebrew) on each with the Westren Wall and the Walls of Jerusalem.
Very fine condition.
An album containing 40 reproductions (in practice only 39) printed in Tel Aviv in 1961.
Foreword by the publisher and a list of the pictures.
Each reproduction is affixed to a 25X34 cm. blue cardboard.
Placed in an original case.
Fine condition.
Bilder aus dem altjüdischen Familien-Leben [ Pictures from Jewish Family Life ] by Moritz Oppenheimer, Frankfurt, 1882.
Elegant album including 20 reproductions of paintings of the Jewish family in Germany in 19th-century-Germany in their homes, in the synagogue and in the Jewish quarter. The first 15 pages contain an introduction with a description and an explanation of every picture, in German. The paintings are sized 19×22 cm, and are on card boards sized 38×28 cm.
Moritz Daniel Oppenheimer [1800-1882] was also nicknamed “The First Jewish Painter.” In his youth, he painted the Rothschild family home in Frankfurt, and then began to paint images of Jewish family life. Fine condition, painted back binding, lacking spine, minimal dismantled leaves, aging stains. (The reproductions themselves are in very fine condition.)
“They will beat their swords into plowshares and their spears into pruning shears; nation will not lift sword against nation and warfare will no longer be studied” (Yeshayahu 2:4 )
Vase made of artillery shell casing collected from a WWI battlefield. Product of Bezalel Academy of Art, Jerusalem, 1918. The vase was made in commemoration of the liberation of Jerusalem, and is decorated with pictures of holy sites.
The vase is made of brass and copper, in beautiful and especially impressive Damascus-work inlay and engraving. Caption at the circumference of the top: “In commemoration of the liberation of Jerusalem 24 Kislev 1917 (this caption indicates the capture of Jerusalem by the British and its liberation from the Turks). The vase bears two pictures: A picture of the Temple Mount, and a picture of Rachel’s Tomb. Figures of animals and grape clusters appear at the bottom of the vase, together with “Bezalel Jerusalem.” Private dedication on the bottom of the vase: “Souvenir from the Rose family, Jerusalem.”
Trench Art is the production of souvenirs and objects from remains of munitions collected from the battlefield. It is a phenomenon that spread in Europe and the Middle East at the end of WWI. In 1918, Boris Shatz, founder of Bezalel in Jerusalem, initiated production of Zionist souvenirs from munitions casings in order to overcome the economic crisis in the Jewish Yishuv as a result of the war. After Jerusalem was captured from the Ottoman regime by the British, Bezalel began to collect brass artillery shells. They used techniques from the worlds of smithing and Judaica, primarily Damascus work: Decorative technique in which a soft metal (copper or silver) is integrated into a hard metal (brass or bronze). Shatz aspired to create a Hebrew visual art to serve the Hebrew nation, with a Hebrew-EretzYisraeli style – a ‘national art’ whose goal would be to inspire and strengthen in the purchasers a Zionist affinity for the Land of Israel. These souvenirs were designated to be sold primarily to European Jews who were wealthy and had a Zionist affinity. We will point out anecdotally that using these munitions aroused British suspicion that Bezalel was stockpiling weapons, and they broke into the institution in 1922, wreaking havoc on the place. As a result, Ze’ev Raban designed new doors, which stand to this day at the entrance to the art school. (Refer also to Bezalel, Jerusalem – selection from the Alan Slifka Collection at the Israel Museum, by Chaya Benjamin. Jerusalem, 2008.)
Height: 28 cm. Diameter 8 cm. At the back of the vase, details of the German? factory that produced the shell, and the year it was made, (1914). Very fine condition. 100% Genuine.
Wooden case with an illustration and notation “Sir Moses Montefiore synagogue and mausoleum Ramsgate”.
Size of case 24x8x5.5 cm. Size of illustration 10×6 cm.
Moderate fine condition, scratches and cracks, some blemishes in the illustration itself.
65×77 cm. Signed on the lower right.
Fine condition, framed.
Refer to the Hebrew text for a brief biography of Yossi Stern
35×25 cm. Aquarelle on thick paper.
Moderate condition, the right side is worn and slightly torn.
Refer to the Hebrew text for a brief biography of Yossi Stern
22×25 cm. ink on paper.
Fine-very fine condition, some damage to the margins.
[2] lithographs, printed on cardboard, 40X29 cm.
Overall very fine condition, minimal stains on the bottom of the lithograph of the young Jew,
55X45 cm. Unknown artist, not signed.
Moderate-fine condition.
Shabbat knife. The handle is made of stamped silver 825 with the inscription ‘Shabbat’ [Hebrew].
The blade is made of stainless steel.
Color drawing, signed. Original frame, also signed.
25×38 cm. Including the frame, 40×55 cm.
Very fine condition.
Vase, impressive in its beauty, made of brass integrated with silver and copper in impressive Damascus-work.
The vase is handmade with opulent handiwork of Arabesque decorations integrating the Hebrew phrase “הזמן קצר והמלאכה מרובה” [“The day is short and the work is plentiful”].
Height: 14 cm. Maximum diameter: Approximately 18 cm. Fine condition.
Editions Combat pour la Paix , copyright S.P.A.D.E.M. Paris. Plate-signed.
[1] cardboard. 37×55 cm. On thick cardboard.
Moderate condition. Slightly bent, minimal stains.
Color drawing, signed. Original frame, also signed.
18×38 cm. Including the frame, 40×55 cm.
Very fine condition. Small hole in the painting.
35 cm length, 22 cm height.
Moderate condition, detached shamash vessel.
Ketubah, printed on parchment. Ashkenazic community in Amsterdam. Amsterdam, Yisrael Levinson Press. [C. 1860.]
A ketubah form is printed on the parchment, with a picture of the kruvim on the top of the leaf, a star of David at center and the letters ק.א.א. [for קהילת אמסטרדם אשכנזים].
Two pillars at the sides of the ketubah. In the form, there are spaces to write the names of the bridegroom, the bride and the date. The ketubah contract was written in 1867, with the addition of the names of the bridegroom, the bride and the witnesses’ signatures.
[1] leaf, 30×20 cm.
Charcoal on paper.
Size: Drawing: 16×21 cm. Matching frame. Frame size: 32×37 cm.
Very fine condition.
