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Torah Binder Lamp

Lamp

Lamp

Lamp Portraits Travel Items Amulets Jewelry

Torah Binder

A Torah binder keeps the Torah closed when it is not in use. Different traditions of its form and decoration have arisen in various communities. For example, in Germanic lands the swaddling cloth for the circumcision ceremony of a male child was later decorated with words and images to wish him well. In Italy women embroidered floral patterns and sometimes inscriptions on a length of cloth expressing hopes and thanks for important events. 

Lamp

Lamps play an important role in Jewish ritual: they are lit to usher in the Sabbath and holidays and to memorialize the deceased. An eternal light (ner tamid) hangs above the Torah ark in every synagogue, symbolizing God’s eternal presence.

During the Middle Ages, Jews living in Ashkenaz (Germanic lands) used star-shaped hanging lamps, identical to secular ones, for kindling the Sabbath lights. This type of lamp came to be known as a Judenstern (Jewish star). Long after these hanging lamps were no longer used for general domestic purposes, Ashkenazi Jews continued to light them on the Sabbath and during festivals. For one year after a person’s death, it was customary for Jews of North Africa to light a memorial lamp that was inscribed with the deceased’s name on the Sabbath and for festivals at home. The lamp was then dedicated to the synagogue.

Lamp

Lamps play an important role in Jewish ritual: they are lit to usher in the Sabbath and holidays and to memorialize the deceased. An eternal light (ner tamid) hangs above the Torah ark in every synagogue, symbolizing God’s eternal presence.

During the Middle Ages, Jews living in Ashkenaz (Germanic lands) used star-shaped hanging lamps, identical to secular ones, for kindling the Sabbath lights. This type of lamp came to be known as a Judenstern (Jewish star). Long after these hanging lamps were no longer used for general domestic purposes, Ashkenazi Jews continued to light them on the Sabbath and during festivals. For one year after a person’s death, it was customary for Jews of North Africa to light a memorial lamp that was inscribed with the deceased’s name on the Sabbath and for festivals at home. The lamp was then dedicated to the synagogue.

Lamp

Lamps play an important role in Jewish ritual: they are lit to usher in the Sabbath and holidays and to memorialize the deceased. An eternal light (ner tamid) hangs above the Torah ark in every synagogue, symbolizing God’s eternal presence.

During the Middle Ages, Jews living in Ashkenaz (Germanic lands) used star-shaped hanging lamps, identical to secular ones, for kindling the Sabbath lights. This type of lamp came to be known as a Judenstern (Jewish star). Long after these hanging lamps were no longer used for general domestic purposes, Ashkenazi Jews continued to light them on the Sabbath and during festivals. For one year after a person’s death, it was customary for Jews of North Africa to light a memorial lamp that was inscribed with the deceased’s name on the Sabbath and for festivals at home. The lamp was then dedicated to the synagogue.

Lamp

Lamps play an important role in Jewish ritual: they are lit to usher in the Sabbath and holidays and to memorialize the deceased. An eternal light (ner tamid) hangs above the Torah ark in every synagogue, symbolizing God’s eternal presence.

During the Middle Ages, Jews living in Ashkenaz (Germanic lands) used star-shaped hanging lamps, identical to secular ones, for kindling the Sabbath lights. This type of lamp came to be known as a Judenstern (Jewish star). Long after these hanging lamps were no longer used for general domestic purposes, Ashkenazi Jews continued to light them on the Sabbath and during festivals. For one year after a person’s death, it was customary for Jews of North Africa to light a memorial lamp that was inscribed with the deceased’s name on the Sabbath and for festivals at home. The lamp was then dedicated to the synagogue.

Portraits

Miniature portraits were important ways of remembering loved ones and were produced in a variety of media. Profile silhouettes made of cut-out paper were all the rage from colonial times until the advent of photography in the mid-nineteenth century. Other portraits here are painted on ivory, a technique that became popular in the early eighteenth century. These precious pieces were often worn like jewelry.

Travel Items

Printed picture postcards are a fairly new phenomenon, first appearing in Europe around 1870. Jewish New Year greetings of the early twentieth century often used commercial cards marketed for other purposes. 

Amulets

Jewish amulets, known since antiquity, were thought to offer protection from evil forces and catastrophes, as well as from the travails of childbirth and disease. The written word—the names of God and of angels and incantations against demons—has the greatest power, but materials, colors, and representations are also believed to ward off danger.

Jewelry

Since antiquity jewelry has played a social role beyond mere adornment. Gold and gems convey economic status, whether in the ancient Mideast or today.

Work

Torah binder

Date

1750 (date of inscription)

Artist

Unknown

Place Made

Germany

Medium

Linen embroidered with silk thread

Credit Line

Gift of Dr. Harry G. Friedman, F 4612

This beautifully embroidered Torah binder is filled with charming animals and birds, but is missing its first section, which would have listed the name of the boy on whose behalf it was dedicated. The date of his birth and the name of his father, Alexander Segal, however, are inscribed in Hebrew on the surviving sections. The baby was born on the day after the harvest holiday of Shavuot in the year [5]510 [=June 12, 1750], under the sign of Gemini. The zodiac symbol is also included.

Work

Wall sconce

Date

c. 1920

Artist

Sharar Cooperative
Bezalel School
Founded in Jerusalem, 1906

Place Made

Jerusalem

Medium

Repoussé and cast brass

Credit Line

Gift of Dr. Harry G. Friedman, F 3798

Work

Memorial lamp

Date

1929 (date of inscription)

Artist

Unknown

Place Made

Probably Tunisia

Medium

Repoussé, pierced, and cast silver and glass

Credit Line

Purchase: the Jewish Museum Volunteer Association Gift in memory of Elizabeth Cats and Anna Ternbach, 1999-108a-b

The lamp is inscribed in Hebrew in memory of Shimon Parinti.

Work

Sabbath and festival lamp

Date

Eighteenth century

Artist

Unknown

Place Made

Germany

Medium

Cast brass

Credit Line

Gift of the Danzig Jewish Community, D 94

Work

Eternal Light

Date

1978

Artist

Ludwig Yehuda Wolpert
American, born in Germany, 1900, died in 1981

Place Made

New York

Medium

Pierced silver and fiberglass

Credit Line

Gift of Herbert and Shirley Jacobs, in memory of Naomi Routtenberg, JM 30-78

This lamp is inscribed in Hebrew with the phrase “a fiery law unto them,” a biblical quotation from Deuteronomy 33:2.

Work

Portrait miniature of a member of the Brandeis family

Date

1830

Artist

Emmanuel Thomas Peter, Austrian, born in 1799, died in 1873

Medium

Paint on ivory

Credit Line

Gift of Elizabeth Stambler on behalf of the Estate of Irma Brandeis, 1990-127

Work

Portrait miniature of a member of the Brandeis family

Date

1830

Artist

Emmanuel Thomas Peter, Austrian, born in 1799, died in 1873

Medium

Paint on ivory

Credit Line

Gift of Elizabeth Stambler on behalf of the Estate of Irma Brandeis, 1990-125

Work

Portrait miniature of a member of the Brandeis family

Date

Early nineteenth century

Artist

Unknown

Medium

Paint on ivory

Credit Line

Gift of Elizabeth Stambler on behalf of the Estate of Irma Brandeis, 1990-126

Work

Portrait of Pesquette Levi Padoa

Date

Nineteenth century

Artist

Unknown

Medium

Paint on ivory

Credit Line

Bequest of Paola Soria Sereni, 1994-605

Work

Portrait of Sally Salomon Andrews (1779–1854)

Date

1846

Artist

Frederick R. Spencer
American, 1806–1875

Place Made

New York

Medium

Oil on canvas

Credit Line

Gift of Howard Dreyfous, JM 70-75

Sally Salomon Andrews was the daughter of Haym Salomon, a patriot and spy for the American army during the Revolutionary War. Salomon was also a successful merchant who fought for the political rights of Jews. The portrait was given to the Jewish Museum by Howard Dreyfous, the great-great-grandson of Andrews.

Work

New Year’s greeting

Date

c. 1915

Artist

Printer: Williamsburg Art Co., New York, dates of founding unknown

Place Made

Germany

Medium

Ink on paper

Credit Line

NC 258

Work

New Year’s greeting

Date

c. 1915

Artist

Printer: Williamsburg Art Co., New York, dates of founding unknown

Place Made

Germany

Medium

Ink on paper

Credit Line

NC 256

Work

Cane

Date

c. 1850

Artist

Unknown

Place Made

Obrzycko, Poland

Medium

Wood and engraved silver

Credit Line

Gift of Sol M. Stroock, grandson of S. M. Struck, S 857

This cane was presented to Shlomo Michael Struck, rabbi of the town of Obrzycko, Poland.

Work

Hanukkah lamp

Date

Probably eighteenth century with later additions

Artist

Unknown, stamped with maker’s initials J I

Place Made

Probably Germany

Medium

Traced silver and iron

Credit Line

Gift of Mr. and Mrs. William Layton, JM 108-73

Based on its compact form and lid closure, this lamp was meant to be portable, probably used when Hanukkah fell while its owner was traveling. The container, aside from the insert for oil wicks, is likely an eighteenth-century tobacco box. Starting in at least the nineteenth century, the lamp was kindled on Hanukkah by the donor’s family, who came from Freudenthal, Germany.

Work

New Year’s greeting showing Tel Aviv and Jaffa

Date

c. 1915

Artist

Unknown

Place Made

Germany

Medium

Ink on paper

Credit Line

NC 257

Work

Childbirth amulet

Date

Late eighteenth–nineteenth century?

Artist

Unknown

Place Made

Italy?

Medium

Carved coral, silver filigree, and glass

Credit Line

Bequest of Paola Soria Sereni, 1994-5

Work

Childbirth amulet

Date

Nineteenth century

Artist

Unknown, stamped with the maker's initials VR or IR

Medium

Silver filigree and granulation and ink on parchment

Credit Line

Gift of Dr. Harry G. Friedman, F 3102

Work

Amuletic necklace

Date

Late nineteenth or early twentieth century

Artist

Unknown

Place Made

Sanaa, Yemen

Medium

Granulated, parcel-gilt, engraved, and punched silver, silver filigree and appliqué, and glass

Credit Line

Purchase: Gift of Dr. Harry G. Friedman, by exchange, 1994-76

This kind of necklace made by Jewish silversmiths,was known as a ma'anageh (choker) and was worn, twisted in the middle, on festive occasions by Jewish girls and women from San'a.  An unusual aspect of this necklace is the biblical inscriptions engraved on the back of the two triangular end panels. These amuletic texts may have been added later, possibly in Israel.

Work

Amuletic dagger

Date

Late nineteenth or early twentieth century

Artist

Unknown

Place Made

Morocco

Medium

Blade: iron; handle: wood

Credit Line

Purchase: Judaica Acquisitions Fund, 1993-198

This dagger was used in Moroccan Jewish rituals to keep demons away following the birth of a male child. During the day the dagger was placed beneath the mother's mattress. In the evening the father waved the sword around the room while the assembled guests recited prayers.

Work

Marriage ring

Date

2023

Artist

Rachel Feinstein
American, born in 1971

IPPOLITA (fabricator)
Founded in New York, 1999

Medium

Gilt silver

Credit Line

Commission: Judaica Acquisitions Committee Fund, Contemporary Judaica Acquisitions Committees Fund, and Contemporary Deaccession Fund, 2023-110

This work draws on an iconic form of Jewish ceremonial art: a ring engraved with the phrase mazal tov (good luck), expressing best wishes, and used in wedding ceremonies. A few early examples of these rings date to the Middle Ages and resemble the ancient Jewish Temple in Jerusalem, houses, castles, or synagogues. Like the huppah, the canopy under which a marriage ceremony takes place, the architectural element of these objects may symbolize the marital home of the new couple.


In her art Rachel Feinstein looks critically at historical figures and motifs and foregrounds the experiences of women. Here she interprets the symbolic mazal tov form as a four-fingered ring surmounted by a turreted castle of exaggerated size. Its multipart base resembles brass knuckles, a weapon used in hand-to-hand combat. Adding to these dark undertones, the artist also draws inspiration from decorative arts traditions of the past, reimagining a Disney-fied, romantic version of medieval Europe.