Austro-Hungarian tea set including tray, coffee pot, tea pot, cream/milk jug and sugar bowl.
Total weight: 3692 grams. Stamped silver .835.
Overall Very fine condition.
Gilded medal given by Lodge no. 71 of the Freemasons in North London, in appreciation of the president of the lodge, Freda Buckner.
A star of David is engraved on the obverse, with a masonic handshake inside, and “North London Ladies Lodge No 71” engraved around it. Engraved on the reverse side of the medal: “Presented to Sister Freda Buckner for services rendered as President during the years 1936-1938.”
The medal was made by L. Simpson & Co. manufacturers of masonic accessories in London.
10 cm, placed in the original box.
Very fine condition.
Ceremonial officer’s sword, made by WKC. Gilt hilt and guard, steel blade. The base of the blade bears emblems of the Syrian army, navy and air force.
The family attests that the sword was given to an Israeli officer at the end of the Six-Day War by a captive Syrian officer.
Total length: 93 cm.
Placed in a magnificent scabbard.
Very fine condition.
Ballpoint pen by Cartier, limited edition, numbered 4251.
14 cm, in the original case with the original documents.
Very fine condition.
Fountain pen by Cartier, limited edition, numbered 8537.
14 cm, in the original case.
Very fine condition.
Chin necklace for Yemenite brides on their wedding days. Inlaid with stones.
Diameter 44 cm, length 15 cm. Very fine condition.
Various periods and places.
* Pair of goblets.
* 10 tablespoons.
* 1 fork
* 2 teaspoons
Total weight: 510 gr.
Overall fine condition. Minimal dents and tarnishing.
* Shir HaShirim, with pictures by Yitzchak and Nechamah Chazin, published by the Israel Coins and Medals Corporation. Copy no. 15 of 999.
Leather binding with gold coin at center. New condition.
* Wayfarer’s prayer, artistic publication. Miller, Jerusalem. Leather binding with gold coin at center. New condition.
* Passover Haggadah: Shirah Chadashah . Artistic haggadah with a unique design including a hammered silver coin. Specially shaped artistic haggadah, with color illustrations from ancient haggadahs and an English translation. The binding and the leaves are in the shape of half a matzah, and the index is in the form of a matzah. Leather binding with silver coin at center. New condition.
* Case for a megillat Esther, with decorated silver plates. Height: 35 cm; each side is approximately 9 cm.
Religious Ceremonies and Customs by Picart and Bernard. First French edition. Paris, 1741.
Monumental work by Picard in the French language, Cérémonies et Coutumes Religieuses de Tous les Peuples du Monde , with engravings by Bernard Picart. Complete set! 7 parts. First edition. 239 stunning engravings on entire leaves of thick paper, some spread across two pages. Additionally, there are dozens of title pages with engravings in red and black ink.
Masterpiece by Bernard Picart that earned the moniker “The book that changed the face of Europe.” As the book’s title indicates, these books sought to bind within them the customs and ceremonies of all the recognized religions of the world. In practice, their work laid the foundations of the study of religions and greatly influenced the representation of religions in the West.
This work, or “Picart, ” as it is known to many, broke all the conventional consensuses in the field. It represented all the religions, even pagan ones, equally and non-judgmentally. It sought to advance religious tolerance by showing the undesirable results of fanaticism, for example, with especially graphic pictures of executions and tortures. In contrast, the work praised religions, such as Islam, that were tolerant of others.
Picart dedicated much space in this work to Jews and even opened his work with them, during a time in which antisemitism in Europe was extremely widespread. This work presents Jewish customs in a sympathetic way, and includes a famous engraving of “Purim” in an Amsterdam synagogue that covers two pages, and other works about the customs of Jews, Sukkot, Pesach, ritual circumcision, a wedding, burial rites and more.
It is probable that Picart was very familiar with the Jewish community in Amsterdam; he even prepared an engraving for the book Tikkun Sofrim .
Despite the books being banned by the Church, they were published in four languages (French, English, Dutch and German) and sold approximately 4000 copies. The books have gained renewed interest in recent years among scholars of religion.
Very Fine Condition.
Engraving depicting the Jewish people bringing down the walls of Jericho upon their entrance to the Land of Israel, taken from Historique et Critique de la Bible , the biblical dictionary by Auguste Clemente. The engraving is by Lebas.
Caption on the engraving:
Ordre de la Marche de l’Armee d’Israel Autour de Jericho: Renversement de cette Ville, le Jour de la Septieme Marche. Josue. VI.
44×30 cm.
Fine condition, aging stains and fold marks. The engraving itself is in very fine condition.
* Engraving, Joppe , c. 1686
* Engraving, Tiberias , c. 1685
* Engraving, De Stadt Rama ten Western Van Jeruzalem, Tusschen Lydda en Joppe c. 1712
* Engraving, Schects van den Berg Carmel
* Engraving, Puinhoopen en Overblyfselen Van Tiberias , Amsterdam, c. 1700
* Lithograph, Vue de Jafa , Engelman, 1788
* Lithograph, Jenin , Roberts, c. 1840
* Lithograph, Sevestia , Roberts, 1844
* Lithograph, Hebron and Machpelah , Simpson
* Lithograph, Ancient Buildings in St Jean D’Acre , 1838
* Lithograph , Wall of St Jean D’Acre, Next the Sea , 1838
* Lithograph, Bazaar at Jaffa , 1837
* Lithograph, Syrie Moderne Jeffe
* Lithograph, Roberts, Port of Tyre
* Lithograph, Roberts, Jaffa , 1843
* Lithograph, Roberts, Ruins of the Church of St. John , 1844
* Lithograph, Der Jordan
* Lithograph, Aussicht vom Berge Carmel
* Lithograph, Der Sinai
* Lithograph, Berg und Kloster Sinai
* Lithograph, Lydda
* Lithograph, Jaffa-Joppa c. 1780
Various sizes and conditions.
* Engraving, The City of Jerusalem . Thomas Salmon, 1744.
* Color lithograph, Jerusalem innere ansicht beym jetzt verschütteten Teiche von Bethesda 1840.
* Bethlehem, lytho.
* Jerusalem, lytho.
* Lithograph, The Fountain of Job . Roberts, 1855
* Engraving, Veue de la Ville de Rama Situee a l’Occident de Jerusalem, Entree Lydda et Joppe . Calmet, Augustin, 1728.
* The Holy Land – The Mount of Olives and Jerusalem from the Northeast 1840.
Various sizes and conditions.
Three Dolls – painting (signed) by Jenny Lustiger (b. 1929).
Jenny Lustiger was born in Brussels, Belgium, in 1929. She ascended to Israel in 1971 and currently lives in Jerusalem. Her pictures have been exhibited at several exhibitions in Israel and abroad.
Oil on canvas affixed to a wooden frame. 60×73 cm.
Very fine condition.
Mother and Son – signed and dated (1973) painting by Jenny Lustiger (b. 1929).
Jenny Lustiger was born in Brussels, Belgium, in 1929. She ascended to Israel in 1971 and currently lives in Jerusalem. Her pictures have been exhibited at several exhibitions in Israel and abroad.
Oil on canvas affixed to a wooden frame. 54×81 cm.
Very fine condition.
Artiest – signed and dated (1973) painting by Jenny Lustiger (b. 1929).
Jenny Lustiger was born in Brussels, Belgium, in 1929. She ascended to Israel in 1971 and currently lives in Jerusalem. Her pictures have been exhibited at several exhibitions in Israel and abroad.
Oil on canvas affixed to a wooden frame. 90×70 cm.
Very fine condition.
Rectangular tobacco box, made of minimalist straight lines in a grooved pattern. A very beautiful hand-made illustrated enamel plaque of the facade of the Central Synagogue of Berlin is on the lid of the tobacco box. Stamped Silver. Gold-plated facade. Silver stamped 900 ML. Gilt facade.
The miniature painting painted in superb Grand detail: a museum piece. unique.
The Neue Synagoge was constructed from 1859-1866; it was one of the most beautiful buildings in Berlin at the end of the 19th century. The building was planned by architect Eduard Knoblauch and Friedrich August Stüler. The synagogue was inaugurated in 1866 in the presence of German Chancellor Otto von Bismarck. The cost of the construction was 705,000 thalers, an inconceivable sum. The New Synagogue was one of the few to survive Kristallnacht (the night of November 9th-10th, 1938), when a Nazi police officer there declared that the synagogue is a protected historic site, and he drew his gun, declaring that he is defending the law requiring its protection. After the fall of the Berlin Wall, the process of restoration began, continuing from 1988-1993, at the end of which the facade of the building and its dome were restored, but the original sanctuary was not restored.
Tobacco box: 4×7 cm. Enamel plaque: 4×4 cm. Included with this lot: Engraving and picture of the magnificent synagogue.
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.
“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 work. Caption at the circumference of the top: “In commemoration of the liberation of Jerusalem 24 Kislev 1917 (the 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 the Tower of David. 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, (1916). 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.
Shabbat candle holder in the form of the copper serpent made by Moshe Rabbeinu that cured every sick person who gazed at it.
The serpent is made of bronze combined with silver and copper in impressive Damascus work of Arabesque decorations integrated with the inscription “Shabbat Kodesh.” The serpent’s tongue can be screwed out, and a tallow candle inserted into it.
Height: 23 cm. Fine condition.
“… that the Anglo-Palestine bank prepared a safe [through Sha’arei Torah] according to the large European format, and they are fully satisfied with the quality of the work …” ( Iggerot HaRav Kook ).
Thick iron charity box which was attached to an external wall facing the street for the purpose of collecting donations. With locking mechanisms. Without the key. The front of the box bears a slot for the insertion of coins and a metal plate bearing the inscription “Sha’arei Torah Workshop, Jaffa.” Jaffa, early 20th century.
Sha’arei Torah was a public institution in the period of the First Aliyah, established by the Old Yishuv in the Neve Shalom neighborhood of Jaffa in 1890. It was active until the War of Independence, and was closed and abandoned due to the War. In one of his letters, Rabbi Kook writes about the workshop: “Those who have a tendency towards workmanship should apprentice some hours each day at the workshop, founded near us here at the Sha’arei Torah institution. It was just recently founded, about two years ago. Now it is at such a level that the Anglo-Palestine bank prepared a safe through it according to the large European format, and they are fully satisfied with the quality of the work” (Iggerot HaRav Avraham Yitzchak Kook, Letter 146, 17 Sivan, 1908).
26x26x26 cm.
Fine condition. Minimal rust stains.
Synagogue lamp made of metal. Land of Israel?
Memorial lamp for hanging in a synagogue, made of three parts connected via four decorative rods, in the folk Islamic art style. The top and bottom parts are conical, decorated with engravings and reliefs integrated with holes for illumination. Dedication in the center part: “Gift from the grieving parents, R’ Yehudah Leib and his wife Mrs. Sasha Enderman, as an eternal memory for the soul of their son, the youth Moshe Isser a”h, and the soul of the maiden Channah, a”h.” The dedication is also inscribed using artistic cutout work, such that the burning candle illuminates the dedication with an eternal flame.
Maximum width: 28 cm. Maximum diameter: 28 cm. Pair of chains for hanging.
Fine condition. Minimal dents and paint peelings. One of the locking rods is blemished.
Parochet for a holy ark. Made of two types of fabric sewn together. Apparently from Eastern Europe, 1908.
There is gold velvet in the center of the curtain, and at its center, a Torah crown and an embroidered star of David with a [Hebrew] dedication: “Donated by R’ Moshe b”r Eliezer Kulakowski, and his wife Golda, 1908.” The upper part of the parochet is doubled, as something of an additional parochet, smaller, and with tassels at its sides.
Approximately 130×200 cm. Loops for hanging.
Fine condition.
* “Mah Tovu” placard, written in 1882 by Nathan son of Aharon Moshe Leib. 33×46 cm. Amsterdam?
* “Mah Tovu” placard, written by Eliezer ben Yitzchak Mezitch (?). 46×33 cm.
* “Mizrach” placard, large and decorated, with the Decalogue inside a crown and other motifs. 62×48 cm.
Overall fine condition.
