Auction 48 - Rare and Important Items
Displaying 1 - 12 of 116
Auction 48 - Rare and Important Items
December 2, 2015
Opening: $3,000
Sold for: $13,750
Including buyer's premium
A small Torah Scroll, in its original case, with finials. [Iraq, early 20th century]. A dedication dated 1932.
Parchment; wooden case; blue velvet fabric; various silver ornaments; beads; silver finials.
· Torah scroll. Soft, light-brown parchment. Fine Sephardic script.
Height of parchment: approx. 28 cm. 51 lines per column. Good condition. One membrane partly detached.
· Fabric-covered wooden case. On the inside: two silver plaques. An engraving of two Hebrew verses appears on one plaque: "Vezot HaTorah asher sam Moshe lifney Bnei Israel" and "VeTorah tziva lanu Moshe"; on the second plaque appears a dedication: "tik ze veSefer Torah shebo asa'o harav Shmuel Hashem yishmerehu, shenat 5692" [this case and Torah Scroll were made by Rabbi Shmuel in the year 1932].
On the exterior are three silver bands: two with floral ornamentations and one with a Hebrew dedication: "This case and Torah were made by Rabbi Yehezkel and Rabbi Shmuel, in the year 1932". Between the bands and on the upper part of the case are silver plaques with hammered floral ornamentations. Upper band is crown-like, adorned with red beads. The case is topped with a silver ornamentation in the shape of a flower bud with descending bells. On both sides are two original finials in Iraqi style, decorated with engraved vegetal patterns and metal chains. Two silver clasps.
Height: 62 cm. Velvet fabric is damaged and in poor condition, with tears next to the clasps. Several beads are missing. Height of finials: 24 cm.
Parchment; wooden case; blue velvet fabric; various silver ornaments; beads; silver finials.
· Torah scroll. Soft, light-brown parchment. Fine Sephardic script.
Height of parchment: approx. 28 cm. 51 lines per column. Good condition. One membrane partly detached.
· Fabric-covered wooden case. On the inside: two silver plaques. An engraving of two Hebrew verses appears on one plaque: "Vezot HaTorah asher sam Moshe lifney Bnei Israel" and "VeTorah tziva lanu Moshe"; on the second plaque appears a dedication: "tik ze veSefer Torah shebo asa'o harav Shmuel Hashem yishmerehu, shenat 5692" [this case and Torah Scroll were made by Rabbi Shmuel in the year 1932].
On the exterior are three silver bands: two with floral ornamentations and one with a Hebrew dedication: "This case and Torah were made by Rabbi Yehezkel and Rabbi Shmuel, in the year 1932". Between the bands and on the upper part of the case are silver plaques with hammered floral ornamentations. Upper band is crown-like, adorned with red beads. The case is topped with a silver ornamentation in the shape of a flower bud with descending bells. On both sides are two original finials in Iraqi style, decorated with engraved vegetal patterns and metal chains. Two silver clasps.
Height: 62 cm. Velvet fabric is damaged and in poor condition, with tears next to the clasps. Several beads are missing. Height of finials: 24 cm.
Category
Rare and Important Items
Catalogue
Auction 48 - Rare and Important Items
December 2, 2015
Opening: $15,000
Unsold
Esther Scroll, scribal handwriting (ink) on parchment, illustrated with hand-colored engravings. Amsterdam, circa 1720.
Four parchment membranes, 16 columns, 26 lines per column. Square Ashkenazic script. Wooden roller (upper part missing).
This scroll, produced in the first decades of the eighteenth century, belongs to a group of several engraved Esther Scrolls produced in Europe around the turn of the 17th-18th century.
The engravings depict detailed narrative scenes from the Book of Esther along the lower borders of the columns, and portraits of the characters of the story above the text. Stylized pillars separate the columns, each with a different decoration. Below their bases (in cartouches) appear various views: gardens, houses, sail boats, a rider on a horse, and more. The pillars are topped with flowers, fruit, stars, angels, and more. The opening panel contains the benedictions recited before the reading of the scroll, surrounded by a series of engravings: Queen Esther, wedding of Esther and Ahasuerus (on top); Bigthan and Teresh, the hanging of Haman and his sons (center); Mordechai sitting at the town’s gate refusing to bow to Haman, Haman leading Mordechai on the horse, Esther and Mordechai writing the Purim letter (lower part).
The panel after the final column contains “Harav et Riveinu” blessings and the hymn “Asher Heni” (“Shoshanat Ya’akov”). On the lower border are portraits of the Scroll’s heroes, each holding a shield inscribed: “Arur Haman asher bikesh leavdi”, “Baruch Mordechai HaYehudi”, “Arura Zeresh eshet mafchidi”, “Berucha Esther Ba’adi”, and “Hervona zechura letov”.
Height of parchment: 21 cm. Length of scroll: 182 cm. Overall good condition. Some tears at the beginning of first membrane. Some tears. Stains. The end of the wooden roller is missing.
For further information, see: “The Stieglitz Collection, Masterpieces of Jewish Art”, Chaya Benjamin (The Israel Museum, 1987), p. 188.
Exhibition: New York, Hebrew Union College, Jewish Institute of Religion, The Collector’s Room: Selections from the Michael and Judy Steinhardt Collection, 1993, no. 64, p. 25.
Four parchment membranes, 16 columns, 26 lines per column. Square Ashkenazic script. Wooden roller (upper part missing).
This scroll, produced in the first decades of the eighteenth century, belongs to a group of several engraved Esther Scrolls produced in Europe around the turn of the 17th-18th century.
The engravings depict detailed narrative scenes from the Book of Esther along the lower borders of the columns, and portraits of the characters of the story above the text. Stylized pillars separate the columns, each with a different decoration. Below their bases (in cartouches) appear various views: gardens, houses, sail boats, a rider on a horse, and more. The pillars are topped with flowers, fruit, stars, angels, and more. The opening panel contains the benedictions recited before the reading of the scroll, surrounded by a series of engravings: Queen Esther, wedding of Esther and Ahasuerus (on top); Bigthan and Teresh, the hanging of Haman and his sons (center); Mordechai sitting at the town’s gate refusing to bow to Haman, Haman leading Mordechai on the horse, Esther and Mordechai writing the Purim letter (lower part).
The panel after the final column contains “Harav et Riveinu” blessings and the hymn “Asher Heni” (“Shoshanat Ya’akov”). On the lower border are portraits of the Scroll’s heroes, each holding a shield inscribed: “Arur Haman asher bikesh leavdi”, “Baruch Mordechai HaYehudi”, “Arura Zeresh eshet mafchidi”, “Berucha Esther Ba’adi”, and “Hervona zechura letov”.
Height of parchment: 21 cm. Length of scroll: 182 cm. Overall good condition. Some tears at the beginning of first membrane. Some tears. Stains. The end of the wooden roller is missing.
For further information, see: “The Stieglitz Collection, Masterpieces of Jewish Art”, Chaya Benjamin (The Israel Museum, 1987), p. 188.
Exhibition: New York, Hebrew Union College, Jewish Institute of Religion, The Collector’s Room: Selections from the Michael and Judy Steinhardt Collection, 1993, no. 64, p. 25.
Category
Rare and Important Items
Catalogue
Auction 48 - Rare and Important Items
December 2, 2015
Opening: $2,000
Sold for: $13,750
Including buyer's premium
Illustrated Esther Scroll on parchment. [Italy, 18th century]. Purchased in China in 1794 (see further).
Thin parchment, black and brown ink. Miniature format. Rolled on Atzei Chaim, with a fabric mantle.
The borders of the scroll are decorated with floral motifs. At the beginning of the scroll is an illustrated cartouche with a family emblem at its center: an illustration of a tree with a squirrel leaning on its right side - symbol of the printers Dr. R' Refael Yitzchak Chaim D'Italia, who reinstated the Hebrew printing press in Mantua in 1724, and of his son the printer Dr. Eliezer Shlomo D'Italia, (see: Avraham Ya'ari, Diglei haMadpisim haIvriyyim, Jerusalem 1944, Illustrations 121 and 150, and pages 163-164 and 171).
Following the cartouche is an ornamented square frame encompassing the blessings recited before reading the scroll. The frame is flanked by two flower vases.
At the end of the scroll, the floral decorations are replaced with decorations in the form of grapevines. This section includes the HaRav et Riveinu blessing (recited after the reading of the scroll) followed by the piyuyt "Arur Haman… Baruch Mordechai…" and another piyyut by Rabbi Avraham Ibn Ezra.
Between the end of the scroll and the section with the blessing and the piyyut is an illustration of a hand holding a goblet of wine. The border of the goblet is a micrography, using the words (in Aramaic): “Rava says that a man must drink on Purim until he cannot distinguish between Baruch Mordechai and Arur Haman” (Babylonian Talmud, Tractate Megillah, leaf 7b).
Enclosed in a letter in English, from March 18, 1849 by S.M. Drach [Solomon Moses Drach, an English Jewish scholar. See enclosed material], that attests that this scroll was purchased in China in 1794 by Sir J. Barrow [Sir John Barrow, who was attached on the first British embassy to China from 1792–94]. In the letter is a detailed description of the scroll and an (erroneous) attempt to decipher the year in which it was written.
The scroll is rolled on two Atzei Chaim and covered with a fabric mantle which is very uncommon. A mantle is mentioned in the enclosed letter. Possibly the mantle offered here is a remnant of the original mantle, reconstructed a later time.
Height of parchment: 4.5 cm. Height of the Atzei Chaim:15 cm. Good condition. Few stains, wear and a tiny tears at margins. Coarse tears and damages to fabric mantle.
Thin parchment, black and brown ink. Miniature format. Rolled on Atzei Chaim, with a fabric mantle.
The borders of the scroll are decorated with floral motifs. At the beginning of the scroll is an illustrated cartouche with a family emblem at its center: an illustration of a tree with a squirrel leaning on its right side - symbol of the printers Dr. R' Refael Yitzchak Chaim D'Italia, who reinstated the Hebrew printing press in Mantua in 1724, and of his son the printer Dr. Eliezer Shlomo D'Italia, (see: Avraham Ya'ari, Diglei haMadpisim haIvriyyim, Jerusalem 1944, Illustrations 121 and 150, and pages 163-164 and 171).
Following the cartouche is an ornamented square frame encompassing the blessings recited before reading the scroll. The frame is flanked by two flower vases.
At the end of the scroll, the floral decorations are replaced with decorations in the form of grapevines. This section includes the HaRav et Riveinu blessing (recited after the reading of the scroll) followed by the piyuyt "Arur Haman… Baruch Mordechai…" and another piyyut by Rabbi Avraham Ibn Ezra.
Between the end of the scroll and the section with the blessing and the piyyut is an illustration of a hand holding a goblet of wine. The border of the goblet is a micrography, using the words (in Aramaic): “Rava says that a man must drink on Purim until he cannot distinguish between Baruch Mordechai and Arur Haman” (Babylonian Talmud, Tractate Megillah, leaf 7b).
Enclosed in a letter in English, from March 18, 1849 by S.M. Drach [Solomon Moses Drach, an English Jewish scholar. See enclosed material], that attests that this scroll was purchased in China in 1794 by Sir J. Barrow [Sir John Barrow, who was attached on the first British embassy to China from 1792–94]. In the letter is a detailed description of the scroll and an (erroneous) attempt to decipher the year in which it was written.
The scroll is rolled on two Atzei Chaim and covered with a fabric mantle which is very uncommon. A mantle is mentioned in the enclosed letter. Possibly the mantle offered here is a remnant of the original mantle, reconstructed a later time.
Height of parchment: 4.5 cm. Height of the Atzei Chaim:15 cm. Good condition. Few stains, wear and a tiny tears at margins. Coarse tears and damages to fabric mantle.
Category
Rare and Important Items
Catalogue
Auction 48 - Rare and Important Items
December 2, 2015
Opening: $2,000
Sold for: $7,500
Including buyer's premium
Ketubah recording the marriage of the groom Avraham son of Yosef Colon with the bride Nechama daughter of Moshe Puah. Fossano, Italy, Tevet 1710.
On the right margins of the ketubah are the witnesses' signatures: "Yonah son of Gavriel…", "Avraham… Natan of the Baruch family". On the left side is the groom's signature.
The text of the ketubah is framed by colorful illustrations: at the top, inside a cartouche supported by three angels, is a family emblem - an elephant carrying a tower on his back [this symbol appears in the coat of arms of the printer Giorgio di Cavalli, who printed Hebrew books in Venice from 1565 to 1568]. On the right and left margins are leaves integrated with winged hearts pierced with arrows, crowns and plants with leaves and fruit, with bases of winged angels. On the bottom is a cartouche (empty) supported by a pair of angels and a large flower facing downward.
The Fossano community is one of the three communities – Asti, Fossano and Moncalvo ("Afam") - founded by expatriates who settled in the Piemonte district of Italy after being expelled from France in the 14th century. These communities preserved the ancient traditional prayer version of France which was relinquished after the Jewish expulsion. This version, called "the Afam tradition", was never printed and survived only in ancient manuscripts.
36.5X47.5 cm. Fair-good condition. Stains. Creases and folding marks. Open tears (about 1 cm. on right margin and 3.5 cm. on left margin). Tears reinforced with tape.
Ketubot from Fossano are not listed in the Ketubot catalog and website of the NLI
On the right margins of the ketubah are the witnesses' signatures: "Yonah son of Gavriel…", "Avraham… Natan of the Baruch family". On the left side is the groom's signature.
The text of the ketubah is framed by colorful illustrations: at the top, inside a cartouche supported by three angels, is a family emblem - an elephant carrying a tower on his back [this symbol appears in the coat of arms of the printer Giorgio di Cavalli, who printed Hebrew books in Venice from 1565 to 1568]. On the right and left margins are leaves integrated with winged hearts pierced with arrows, crowns and plants with leaves and fruit, with bases of winged angels. On the bottom is a cartouche (empty) supported by a pair of angels and a large flower facing downward.
The Fossano community is one of the three communities – Asti, Fossano and Moncalvo ("Afam") - founded by expatriates who settled in the Piemonte district of Italy after being expelled from France in the 14th century. These communities preserved the ancient traditional prayer version of France which was relinquished after the Jewish expulsion. This version, called "the Afam tradition", was never printed and survived only in ancient manuscripts.
36.5X47.5 cm. Fair-good condition. Stains. Creases and folding marks. Open tears (about 1 cm. on right margin and 3.5 cm. on left margin). Tears reinforced with tape.
Ketubot from Fossano are not listed in the Ketubot catalog and website of the NLI
Category
Rare and Important Items
Catalogue
Auction 48 - Rare and Important Items
December 2, 2015
Opening: $3,000
Unsold
Ketubah recording the marriage of the groom Shimon son of R' Yosef Nataf with the bride Sultana daughter of R' Eliyahu Nataf. Tunis, 1835.
Parchment, gouache, ink.
Characteristic frame with floral ornamentation. The text of the ketubah is written in square script. On the margins are additions regarding the dowry in cursive writing. Calligraphic witnesses' signatures [undeciphered].
35X50 cm. Fair condition. Stains, creases and folding marks, tears and damages in several places (restorations with glued pieces of parchment on back of ketubah).
This ketubah appears in the book HaKetubah B'Iturim, by David Davidowitz, Bat Yam 1979, p. 78 (picture on opposite page).
Parchment, gouache, ink.
Characteristic frame with floral ornamentation. The text of the ketubah is written in square script. On the margins are additions regarding the dowry in cursive writing. Calligraphic witnesses' signatures [undeciphered].
35X50 cm. Fair condition. Stains, creases and folding marks, tears and damages in several places (restorations with glued pieces of parchment on back of ketubah).
This ketubah appears in the book HaKetubah B'Iturim, by David Davidowitz, Bat Yam 1979, p. 78 (picture on opposite page).
Category
Rare and Important Items
Catalogue
Auction 48 - Rare and Important Items
December 2, 2015
Opening: $3,500
Unsold
Parchment ketubah, recording the marriage of the groom Aharon son of Dinar Ochana with the bride Rachel, daughter of Ya'akov Apriyat. Mogador, Morocco, the month of "Sivan crowned with the crown of the Torah", 1921.
Illustrated and decorated by the artist and poet Rabbi David (Nissim) Elkaim. Signed in the bottom left corner: "David Elkaïm Mogador".
The content of the ketubah is written inside an elaborate architectural frame, with two massive pillars and adornments in gold and silver colors, surrounded by drawings of wooden posts with green tendrils and fabric ribbons, and various verses.
At the beginning of the ketubah is a golden crown above a pair of clasped hands – belonging to the groom and bride (with a wedding ring on her finger). In the center of the pillars is a medallion with a drawing of a flag with blue stripes beside a Star of David.
At the bottom of the frame is a monogram integrating the initials of the bride and the groom: R (Rachel) and A (Aharon).
In the ketubah itself, the groom undertakes not "to marry another woman unless it complies with the new regulation, and not to take her out of this country to another place unless she agrees…".
The ketubah is written in square script followed by the details of the dowry in semi-cursive script. Signatures of the groom and the witnesses: “Ye’uda Ibn Abu”, “Mordechai Ochayon”. With authorization of the ketubah signed by the Mogador Beit Din rabbis: “Masud Knafo”, “David Knafo Ibn R’ Yachin [Yosef Knafo]”, “Moshe Ibn Simchon”.
Rabbi David Elkaim (1851-1941) – Chacham, poet, sculptor, artist, journalist and Jewish scholar was one of the three authors of the Shir Yedidut anthology, which constitutes the basis of the bakashot sung by Moroccan Jews [for more information, see: Yosef Shitrit, “R’ David Elkaim, Meshorer Ivri BeMarocco” (Hebrew: R’ David Elkaim, Hebrew Poet in Morocco), Apyrion no. 1, Spring 1983, pp. 96-102; Shalom Sabar, “Ketubah Mehuderet…” (Hebrew: Elaborate Ketubah of the Mogador Community, Morocco, 1898, by the Artist R’ David Elkaim, the leading ketubah artist in Mogador), Brit 25, 2006, pp. 18-21]. See also next item.
Enclosed is an article about this ketubah by Prof. Shalom Sabar.
Approximately 61X50 cm. Fair-good condition. Stains. Creases. Tears, primarily to margins. Several holes.
Illustrated and decorated by the artist and poet Rabbi David (Nissim) Elkaim. Signed in the bottom left corner: "David Elkaïm Mogador".
The content of the ketubah is written inside an elaborate architectural frame, with two massive pillars and adornments in gold and silver colors, surrounded by drawings of wooden posts with green tendrils and fabric ribbons, and various verses.
At the beginning of the ketubah is a golden crown above a pair of clasped hands – belonging to the groom and bride (with a wedding ring on her finger). In the center of the pillars is a medallion with a drawing of a flag with blue stripes beside a Star of David.
At the bottom of the frame is a monogram integrating the initials of the bride and the groom: R (Rachel) and A (Aharon).
In the ketubah itself, the groom undertakes not "to marry another woman unless it complies with the new regulation, and not to take her out of this country to another place unless she agrees…".
The ketubah is written in square script followed by the details of the dowry in semi-cursive script. Signatures of the groom and the witnesses: “Ye’uda Ibn Abu”, “Mordechai Ochayon”. With authorization of the ketubah signed by the Mogador Beit Din rabbis: “Masud Knafo”, “David Knafo Ibn R’ Yachin [Yosef Knafo]”, “Moshe Ibn Simchon”.
Rabbi David Elkaim (1851-1941) – Chacham, poet, sculptor, artist, journalist and Jewish scholar was one of the three authors of the Shir Yedidut anthology, which constitutes the basis of the bakashot sung by Moroccan Jews [for more information, see: Yosef Shitrit, “R’ David Elkaim, Meshorer Ivri BeMarocco” (Hebrew: R’ David Elkaim, Hebrew Poet in Morocco), Apyrion no. 1, Spring 1983, pp. 96-102; Shalom Sabar, “Ketubah Mehuderet…” (Hebrew: Elaborate Ketubah of the Mogador Community, Morocco, 1898, by the Artist R’ David Elkaim, the leading ketubah artist in Mogador), Brit 25, 2006, pp. 18-21]. See also next item.
Enclosed is an article about this ketubah by Prof. Shalom Sabar.
Approximately 61X50 cm. Fair-good condition. Stains. Creases. Tears, primarily to margins. Several holes.
Category
Rare and Important Items
Catalogue
Auction 48 - Rare and Important Items
December 2, 2015
Opening: $2,000
Sold for: $3,750
Including buyer's premium
Parchment ketubah, recording the marriage of the groom Ya'akov son of Yosef Morsiano with the bride Simcha daughter of Nissim Nachmias Ashkenazi (son of Aharon). Safi, Morocco, Elul 1913.
Illustrated and ornamented by the artist and poet Rabbi David (Nissim) Elkaim. Signed in the bottom left corner: "D. Elkaim". For more information, see previous item.
Parting with Moroccan tradition, the wedding took place on Thursday and not on Wednesday. The bride is the daughter of the praiseworthy Nissim Nachmias Ashkenazi son of Aharon, who is "a descendent of the great holy… Rabbi Ya'akov Nachmias Ashkenazi… called by all 'Moulay almay’".
The text of the ketubah is framed by a wide arch supported by four marble Corinthian columns with massive rectangular bases, adorned in gold and silver colors. At the top of the arch is an elaborate crown inscribed Keter Torah. Above the arch are two fabric ribbons inscribed "B'Simana Tava…" encompassed by a rectangular frame with verses from Megillat Ruth.
In the ketubah, the groom promises the bride never to marry another woman during her lifetime without her consent and not to take her to another country without her consent.
Signatures of the witnesses appear on the ketubah margins: “Shalom Asabag” and “Shimon Zrihan” [Rabbi Shimon Zrihan – a Torah authority in Safi].
Next to the signatures, a Tosefet Ketuba (appendix) appears in cursive writing: “After the groom was joyful with his bride on the joyous day of his wedding and she found favor in his eyes… he wanted to add to her…”. With the signatures of the groom and witnesses.
47X61 cm. Good condition. Folding marks. A few stains on the margins. Tears, primarily to margins and folding lines, some with reinforcing paper strips.
Illustrated and ornamented by the artist and poet Rabbi David (Nissim) Elkaim. Signed in the bottom left corner: "D. Elkaim". For more information, see previous item.
Parting with Moroccan tradition, the wedding took place on Thursday and not on Wednesday. The bride is the daughter of the praiseworthy Nissim Nachmias Ashkenazi son of Aharon, who is "a descendent of the great holy… Rabbi Ya'akov Nachmias Ashkenazi… called by all 'Moulay almay’".
The text of the ketubah is framed by a wide arch supported by four marble Corinthian columns with massive rectangular bases, adorned in gold and silver colors. At the top of the arch is an elaborate crown inscribed Keter Torah. Above the arch are two fabric ribbons inscribed "B'Simana Tava…" encompassed by a rectangular frame with verses from Megillat Ruth.
In the ketubah, the groom promises the bride never to marry another woman during her lifetime without her consent and not to take her to another country without her consent.
Signatures of the witnesses appear on the ketubah margins: “Shalom Asabag” and “Shimon Zrihan” [Rabbi Shimon Zrihan – a Torah authority in Safi].
Next to the signatures, a Tosefet Ketuba (appendix) appears in cursive writing: “After the groom was joyful with his bride on the joyous day of his wedding and she found favor in his eyes… he wanted to add to her…”. With the signatures of the groom and witnesses.
47X61 cm. Good condition. Folding marks. A few stains on the margins. Tears, primarily to margins and folding lines, some with reinforcing paper strips.
Category
Rare and Important Items
Catalogue
Auction 48 - Rare and Important Items
December 2, 2015
Opening: $2,000
Unsold
Ketubah recording the marriage of Elya Meir son of Moshe Yosef Bachar with the bride Lulu daughter of Moshe Avraham Chacham Ovadia HaLevi. Calcutta, India, 17th of Elul 1921.
Thick paper, gouache, ink.
Ketubah of the Baghdadi community in Calcutta. Framed by drawings of leaves and flowers (lotus flowers), peacocks and parrots, in vivid colors. At the top are two tigers holding a medallion with the Hebrew initials בהנו"א [B'Shem Hashem Na'aseh V'Natzliach]. At the upper part of the Ketubah are two architectural frames enclosing the opening: "B'Shem Rachman Yitbarach Shemo…". Two silver fish, swimming one towards another, are drawn on the strip dividing the blessings and the text of the ketubah. Apparently the fish symbolize fertility and protection from ayin hara.
The text of the ketubah is written in a separate column in the center of the bottom part with the witnesses' signatures.
38X55 cm. Good condition. Few stains. Tear at the upper part. Restored tear at the bottom.
For information about ketubot of the Baghdadi community in India see: Shalom Sabar, "HaKetubah HaMetzuyeret" in the book "Yehudei Hodu", the Israel Museum, 1995.
Thick paper, gouache, ink.
Ketubah of the Baghdadi community in Calcutta. Framed by drawings of leaves and flowers (lotus flowers), peacocks and parrots, in vivid colors. At the top are two tigers holding a medallion with the Hebrew initials בהנו"א [B'Shem Hashem Na'aseh V'Natzliach]. At the upper part of the Ketubah are two architectural frames enclosing the opening: "B'Shem Rachman Yitbarach Shemo…". Two silver fish, swimming one towards another, are drawn on the strip dividing the blessings and the text of the ketubah. Apparently the fish symbolize fertility and protection from ayin hara.
The text of the ketubah is written in a separate column in the center of the bottom part with the witnesses' signatures.
38X55 cm. Good condition. Few stains. Tear at the upper part. Restored tear at the bottom.
For information about ketubot of the Baghdadi community in India see: Shalom Sabar, "HaKetubah HaMetzuyeret" in the book "Yehudei Hodu", the Israel Museum, 1995.
Category
Rare and Important Items
Catalogue
Auction 48 - Rare and Important Items
December 2, 2015
Opening: $3,000
Sold for: $8,125
Including buyer's premium
Large illustrated leaf, holy sites in Eretz Israel. [Second half of 19th century].
Paper, gouache and ink.
Illustrations of the holy sites and graves of tsaddikim in Eretz Israel, arranged in horizontal columns and divided into "holy cities" – Jerusalem, Hebron, Safed and Tiberias; Nablus and Meron.
In the center of the leaf is the Temple Mount with Beit HaMikdash next to Midrash Shlomo [this was the name of the place in earlier times] and the Western Wall. Surrounding them is an arch, with the inscription: "Yehi ratzon…that the Beit HaMikdash shall be built speedily in our days…". On the top and at the sides are the holy sites of Jerusalem and its surroundings: the tombs of the kings of the House of David, Hulda the Prophetess, Hagai the Prophet, the 70 Sanhedrin, the tomb of Zecharya and Yad Avshalom, Rachel's tomb, etc. At the bottom of the leaf are tombs of tsaddikim and sites of the cities of Hebron, Safed, Tiberias and Nablus. In the center of this section is a large illustration of the tomb of Rabbi Shimon bar Yochai in Meron.
The illustrations are influenced by Ottoman architecture, depicting building with domed roofs, atop of which are crescent moons. The illustrations of the holy sites are drawn in a schematic style, resembling the style of illustrations seen in maps and landscapes of Jerusalem in the 19th century. A similar illustration can be found in the collection of the Israel Museum (see: Omanuth ve-Umanuth be-Eretz Israel, the Israel Museum, Jerusalem 1979, pp. 98-100).
46X65 cm. Fair condition. Stains. Folding marks and wear. Tears, some restored.
Paper, gouache and ink.
Illustrations of the holy sites and graves of tsaddikim in Eretz Israel, arranged in horizontal columns and divided into "holy cities" – Jerusalem, Hebron, Safed and Tiberias; Nablus and Meron.
In the center of the leaf is the Temple Mount with Beit HaMikdash next to Midrash Shlomo [this was the name of the place in earlier times] and the Western Wall. Surrounding them is an arch, with the inscription: "Yehi ratzon…that the Beit HaMikdash shall be built speedily in our days…". On the top and at the sides are the holy sites of Jerusalem and its surroundings: the tombs of the kings of the House of David, Hulda the Prophetess, Hagai the Prophet, the 70 Sanhedrin, the tomb of Zecharya and Yad Avshalom, Rachel's tomb, etc. At the bottom of the leaf are tombs of tsaddikim and sites of the cities of Hebron, Safed, Tiberias and Nablus. In the center of this section is a large illustration of the tomb of Rabbi Shimon bar Yochai in Meron.
The illustrations are influenced by Ottoman architecture, depicting building with domed roofs, atop of which are crescent moons. The illustrations of the holy sites are drawn in a schematic style, resembling the style of illustrations seen in maps and landscapes of Jerusalem in the 19th century. A similar illustration can be found in the collection of the Israel Museum (see: Omanuth ve-Umanuth be-Eretz Israel, the Israel Museum, Jerusalem 1979, pp. 98-100).
46X65 cm. Fair condition. Stains. Folding marks and wear. Tears, some restored.
Category
Rare and Important Items
Catalogue
Lot 10 "Mizrah" with the Inscription "Darom" – Painted on Glass by Yisachar Dov Halevi – Safed, 1882
Auction 48 - Rare and Important Items
December 2, 2015
Opening: $7,000
Sold for: $21,250
Including buyer's premium
"Darom". Painting on glass, indicating the direction of prayer. Safed, 1882.
In the center appears an ornamented circle, adorned with a crown and the word "Darom" [south] (indicating the direction of prayer towards Jerusalem), on a light blue background. On both sides appear two lions and the inscription "Vegibor Ka'ari" [brave as a lion] (Pirkei Avot, 5). Below the inscription "Darom" appears an illustration of the Mount of Olives depicting the graves in the Valley of Kidron (grave of Zecharia, Absalom and the Prophets) and an illustration of the Western Wall (inscribed in Hebrew: "Western Wall"), topped with Cypresses and a bush, on its right "Midrash Shlomo" and on its left Dome of the Rock [according to Yehossef Schwarz]. Below the drawing appears the Hebrew verse "Vehitpalelu elecha…" (Book of Kings A, 8:48). On the lower border, within a decorated frame, the artist signed his name: "Created by the artist Yisachar Dov Halevi, Safed, 1882" (Hebrew). Symmetrical decorations on both sides – branches in a coppery shade, two flower pots, with flowers, and two birds.
There are several known paintings painted by hand on glass, created in Eretz Israel in the late 19th century and in the first decades of the 20th century. Most of them were created by Moshe ben Yitzchak Mizrahi (Shah), or attributed to him over the years (for example: the drawing of the Binding of Isaac on glass, from the collection of Yitzchak Einhorn). One painting is attributed to the artist Yossef Geiger from Safed (scenes from the Esther scroll, painted on glass, Feuchtwanger Collection, no. 438; Israel Museum collection).
Now, that this unique piece is presented, with the signature of the artist, Yisachar Dov Halevi, it is possible to re-examine the attribution of the anonymous works to Mizrahi and Geiger. As to the identity of the artist who painted the "Binding of Isaac" on glass, there is a resemblance between the 'Binding of Isaac" and this "Darom": in the shades of blue and green, the floral motifs drawn in the frame, the depictions of the Western Wall and the Mount of Olives, and mainly the shapes of birds and flowers. The typography of that work is very similar to that appearing in the “Darom”. From every aspect it seems that the “Binding of Isaac” was created by Yisachar Dov Halevi and not by Moshe Mizrahi.
Shoshana Halevi and Aryeh Morgenstern mentioned a Hasid Habad of Safed by the name of R’ Shema’aya son of rabbi Yisachar Ber Halevi, and it is possible that Yisachar Dov Halevi, who signed this “Darom”, is the son of Rabbi Shema’aya who named his son after his father. In addition, the signature of Yisachar Dov Halevi (as witness) appears on an agreement to purchase a printing press in Safed in ca.1876.
Glass plate – approx. 40X40 cm. Back plate made of wooden boards – approx. 44X44 cm., frame – 50.5X51.5 cm. Unexamined out of frame. Fair condition. Break to glass at the upper left corner. Old dampstaining. Cracks and flaking to paint. Enclosed is a professional condition report.
Literature:
1. Omanut Ve-Umanut Be’Eretz Israel Ba-Mea Ha-Tesha Esreh [Arts and Crafts in Eretz Israel in the 19th century (Hebrew)], (The Israel Museum, Jerusalem, 1979), pp.118-140, pictures no. 72, 96,105,115.
2. Jewish Tradition in Art, the Feuchtwanger Collection of Judaica. Dr. Yesha’ayahu Shachar (The Israel Museum, Jerusalem, 1971), item 438.
3. Jerusalem – Spirit and Matter, Nitza Behruzi (Eretz Israel Museum, Tel-Aviv, 1993), p. 74.
4. “The Binding of Isaac in the works of Moshe Shah Mizrahi, one of the pioneers of folk art in Eretz Israel”, by Shalom Sabar. In: “Minha leMenahem: Jubilee Book in Honor of Rabbi Menahem haCohen” (Hakibbutz Hameuchad, 2007), pp. 465-487.
In the center appears an ornamented circle, adorned with a crown and the word "Darom" [south] (indicating the direction of prayer towards Jerusalem), on a light blue background. On both sides appear two lions and the inscription "Vegibor Ka'ari" [brave as a lion] (Pirkei Avot, 5). Below the inscription "Darom" appears an illustration of the Mount of Olives depicting the graves in the Valley of Kidron (grave of Zecharia, Absalom and the Prophets) and an illustration of the Western Wall (inscribed in Hebrew: "Western Wall"), topped with Cypresses and a bush, on its right "Midrash Shlomo" and on its left Dome of the Rock [according to Yehossef Schwarz]. Below the drawing appears the Hebrew verse "Vehitpalelu elecha…" (Book of Kings A, 8:48). On the lower border, within a decorated frame, the artist signed his name: "Created by the artist Yisachar Dov Halevi, Safed, 1882" (Hebrew). Symmetrical decorations on both sides – branches in a coppery shade, two flower pots, with flowers, and two birds.
There are several known paintings painted by hand on glass, created in Eretz Israel in the late 19th century and in the first decades of the 20th century. Most of them were created by Moshe ben Yitzchak Mizrahi (Shah), or attributed to him over the years (for example: the drawing of the Binding of Isaac on glass, from the collection of Yitzchak Einhorn). One painting is attributed to the artist Yossef Geiger from Safed (scenes from the Esther scroll, painted on glass, Feuchtwanger Collection, no. 438; Israel Museum collection).
Now, that this unique piece is presented, with the signature of the artist, Yisachar Dov Halevi, it is possible to re-examine the attribution of the anonymous works to Mizrahi and Geiger. As to the identity of the artist who painted the "Binding of Isaac" on glass, there is a resemblance between the 'Binding of Isaac" and this "Darom": in the shades of blue and green, the floral motifs drawn in the frame, the depictions of the Western Wall and the Mount of Olives, and mainly the shapes of birds and flowers. The typography of that work is very similar to that appearing in the “Darom”. From every aspect it seems that the “Binding of Isaac” was created by Yisachar Dov Halevi and not by Moshe Mizrahi.
Shoshana Halevi and Aryeh Morgenstern mentioned a Hasid Habad of Safed by the name of R’ Shema’aya son of rabbi Yisachar Ber Halevi, and it is possible that Yisachar Dov Halevi, who signed this “Darom”, is the son of Rabbi Shema’aya who named his son after his father. In addition, the signature of Yisachar Dov Halevi (as witness) appears on an agreement to purchase a printing press in Safed in ca.1876.
Glass plate – approx. 40X40 cm. Back plate made of wooden boards – approx. 44X44 cm., frame – 50.5X51.5 cm. Unexamined out of frame. Fair condition. Break to glass at the upper left corner. Old dampstaining. Cracks and flaking to paint. Enclosed is a professional condition report.
Literature:
1. Omanut Ve-Umanut Be’Eretz Israel Ba-Mea Ha-Tesha Esreh [Arts and Crafts in Eretz Israel in the 19th century (Hebrew)], (The Israel Museum, Jerusalem, 1979), pp.118-140, pictures no. 72, 96,105,115.
2. Jewish Tradition in Art, the Feuchtwanger Collection of Judaica. Dr. Yesha’ayahu Shachar (The Israel Museum, Jerusalem, 1971), item 438.
3. Jerusalem – Spirit and Matter, Nitza Behruzi (Eretz Israel Museum, Tel-Aviv, 1993), p. 74.
4. “The Binding of Isaac in the works of Moshe Shah Mizrahi, one of the pioneers of folk art in Eretz Israel”, by Shalom Sabar. In: “Minha leMenahem: Jubilee Book in Honor of Rabbi Menahem haCohen” (Hakibbutz Hameuchad, 2007), pp. 465-487.
Category
Rare and Important Items
Catalogue
Auction 48 - Rare and Important Items
December 2, 2015
Opening: $1,000
Sold for: $4,000
Including buyer's premium
Sidrei Taharot – Anthology of the Talmud and Midrashim, with commentaries on Seder Taharot. Part 1 – Tractate Kelim, by Rebbe Gershon Chanoch Henich Leiner of Radzyn. Józefów, 1873. First edition.
Attractive copy with very wide margins. At the end of the book is a leaf with a Hebrew printed map of Eretz Israel, its borders and the division of land among the tribes [hand-colored].
The author, Rebbe Chanoch Henich of Radzyn [author of the Techelet], initiated the idea of arranging a “Gemara” on the Mishnayot of Seder Taharot. He gathered sections of the Babylonian and Yerushalmi Talmud and of midrashei Halacha connected to topics in Tractate Taharot and arranged them according to the order of the tractates. The work is structured like the Babylonian Talmud: the Mishnah followed by a compilation of the Gemara flanked by two commentaries [the long commentary and the short commentary, arranged by the Rebbe], Mesoret HaShas and Ein Mishpat Ner Mitzvah. This work stirred a great polemic and some rabbis opposed a work so similar to the Talmud, fearing that with time it will erroneously be considered part of the Talmud. On the other hand, the work merited approbations of many of the leading Torah scholars of his times. Due to the opposition, the title “Sefer Sidrei Taharot” was printed at the top of each page of Part 2 and at the bottom of the pages is a notice that the work is “compiled from the words of the Tana’im and the Amora’im”.
[10], 544 pages + [1] plate. 43 cm. Good condition, stains. Open tear to upper corner of title page. Ownership inscriptions. Ancient leather binding, without spine.
Stefansky Chassidut no. 434.
Attractive copy with very wide margins. At the end of the book is a leaf with a Hebrew printed map of Eretz Israel, its borders and the division of land among the tribes [hand-colored].
The author, Rebbe Chanoch Henich of Radzyn [author of the Techelet], initiated the idea of arranging a “Gemara” on the Mishnayot of Seder Taharot. He gathered sections of the Babylonian and Yerushalmi Talmud and of midrashei Halacha connected to topics in Tractate Taharot and arranged them according to the order of the tractates. The work is structured like the Babylonian Talmud: the Mishnah followed by a compilation of the Gemara flanked by two commentaries [the long commentary and the short commentary, arranged by the Rebbe], Mesoret HaShas and Ein Mishpat Ner Mitzvah. This work stirred a great polemic and some rabbis opposed a work so similar to the Talmud, fearing that with time it will erroneously be considered part of the Talmud. On the other hand, the work merited approbations of many of the leading Torah scholars of his times. Due to the opposition, the title “Sefer Sidrei Taharot” was printed at the top of each page of Part 2 and at the bottom of the pages is a notice that the work is “compiled from the words of the Tana’im and the Amora’im”.
[10], 544 pages + [1] plate. 43 cm. Good condition, stains. Open tear to upper corner of title page. Ownership inscriptions. Ancient leather binding, without spine.
Stefansky Chassidut no. 434.
Category
Rare and Important Items
Catalogue
Auction 48 - Rare and Important Items
December 2, 2015
Opening: $10,000
Unsold
Printed leaf, “Tzurat HaBayit D'Yechezkel by the Gaon… Eliyahu of Vilna" – Illustration of the plan of the third Beit HaMikdash, according to the Vilna Gaon. [Grodno, 1820].
Large leaf. Originally, the leaf was a folded plate enclosed with the edition of the Nevi'im-Ketuvim printed in Grodno in 1820 (in the printing press of Menachem Mann son of Baruch [Romm] and Simcha Zimmel son of Menachem Nachum). This leaf is rare and not found in most copies. Bibliographically listed according to the copy of the British Library (see: Bibliography of the Hebrew Book, record no. 0309647; Vinograd, Otzar Sifrei HaGra, no. 24).
Printed on the upper left corner is the name of the publisher: "These were all made by my hands Dov Ber son of Yosef Yuzpa of Vilna", who adds that he printed it to satisfy the wish of "My late exceptional son Aharon Moshe", who wanted to publish the plan of the Beit HaMikdash according to the Gra.
Leaf, printed on one side, 36X43 cm. Fair condition. Stains and wear, folding marks and tears.
Large leaf. Originally, the leaf was a folded plate enclosed with the edition of the Nevi'im-Ketuvim printed in Grodno in 1820 (in the printing press of Menachem Mann son of Baruch [Romm] and Simcha Zimmel son of Menachem Nachum). This leaf is rare and not found in most copies. Bibliographically listed according to the copy of the British Library (see: Bibliography of the Hebrew Book, record no. 0309647; Vinograd, Otzar Sifrei HaGra, no. 24).
Printed on the upper left corner is the name of the publisher: "These were all made by my hands Dov Ber son of Yosef Yuzpa of Vilna", who adds that he printed it to satisfy the wish of "My late exceptional son Aharon Moshe", who wanted to publish the plan of the Beit HaMikdash according to the Gra.
Leaf, printed on one side, 36X43 cm. Fair condition. Stains and wear, folding marks and tears.
Category
Rare and Important Items
Catalogue