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New Year’s greeting card. Printed in Germany for the American Jewish community. 1906. Cardboard, printed and cut.

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The Western Wall — Jehudo Epstein (1870-1946), Polish

signed Jehudo Epstein and dated 1927 (lower right)

executed in 1927

charcoal and chalk on tinted board

87 by 110 cm

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Maxfield Parrish (American, 1870-1966, b. Philadelphia, PA, USA, d. Plainfield, NH, USA) - Hot Springs: Yavapai Co. Arizona, 1902, Paintings: Oil, Pencil on Paper

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Folk paintings by Tamara Gordova, 1980s

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Silver Torah Crown from Algeria or Tunisia, 1898/99 (date of inscription)

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Silver Torah shield from Rhodes, then in the Ottoman Empire, now Greece, 1859/60.

This Torah shield was dedicated to the Kahal Gadol Synagogue of Rhodes by Michael Hayyim David Soriano. The shield was probably once a mirror-back. Since superstition dictated that mirrors be turned to face the wall when not in use, Ottoman mirror-backs were often lavishly decorated.

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Mizrah form Morocco, c. 1900. ink on cut-out paper; metallic foil

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Torah finials made in Jerusalem, Ottoman Empire (now Israel), late 19th-early 20th century. Silver: chased and cast.

These finials belong to a very specific group of Judaica items from Jerusalem, made by "Mughrabi" and other smiths in Jerusalem c. 1900, catering particularly to the tourist trade. Some examples have found their way to communities in North Africa, probably brough back by Jewish pilgrims.

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I can behave normally around books

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William Morris (1834-1896） Tree of Life

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Ketubah from Isfahan, Persia (now Iran), 1854, watercolour, gouache, and ink on paper

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Torah Scroll from Ioánnina, Ottoman Empire (now Greece), mid-late 19th century

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THE LORD OF THE RINGS || THE TWO TOWERS for @elvain

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Signet ring, Europe (?) or United States (?), late 19th-20th century, gold: cast and incised

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Talking about the beauty myth strikes a nerve which, for most of us, is on some level very raw. We will need to have compassion for ourselves and other women for our strong feelings about “beauty,” and be very gentle with those feelings. If the beauty myth is religion, it is because women still lack rituals that include us; if it is economy, it is because we’re still compensated unfairly; if it is sexuality, it is because female sexuality is still a dark continent; if it is warfare, it is because women are denied ways to see ourselves as heroines, daredevils, stoics, and rebels; if it is women’s culture, it is because men’s culture still resists us. When we recognize that the myth is powerful because it has claimed so much of the best of female consciousness, we can turn from it to look more clearly at all it has tried to stand in for.

— Naomi Wolf (1990) The Beauty Myth

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Tefillin bag from Meknes (?), Morocco, c. 1898, silk velvet embroidered with metallic and silk thread; wool

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On Keeping A Notebook - Joan Didion