Modern Judaica - Book images and text

This month (February 2023), a new book will be published that includes images and commentary from over 50 makers of Judaica -- and some of my work as well.

Titled, "Modern Judaica",  this book has been in the works for about three years. A book project like this is a major undertaking, but I think COVID definitely added a few levels of complexity along the way. The author, Jim Cohen, had a challenging task paring down this selection of makers and images for this remarkable book.

This post will share a few observations about my experience and what I think it takes to get your work in a book at this level. This post is going to be a little raw (because I am writing this post from my phone -- a new adventure in itself.)

The first thing any artist or maker needs to attract such excellent exposure is (and a repeated topic on this blog) --  you need great professional quality images. Regardless of how convenient and good your cell phone is, it isn't good enough for this purpose.  At this level,  you need professional-quality images, with a resolution appropriate for a full page in a book. (Each image is typically between 24 MB to 32 MB.)

In this example, a full page was dedicated to these Shabbat candlesticks right across from the Table of Contents. I couldn't be more surprised or pleased with this level of exposure, but . . . . If you don't have the top quality images large enough for a full page, there will never be a full-page photo of your work.

When Jim Cohen contacted me about being in this book, he made no guarantees about inclusion, but my photos were ready, and I was able to send images in with complete information within a day.

You never really know, but I take opportunities like this seriously. My goal is to be prepared in advance.

Later on, when Jim Cohen interviewed me for the book, my husband and I edited the transcript extensively and intensely for more than a week.  

No kidding! Everything was put aside. Every optional minute was put into improving the transcript.

I wasn't asked to do this,  in fact, I was sure that this was breaking a rule or some expectation I didn't know about, but if there was going to be text about my work I wanted it to be as good as it could be at that moment. And I worked on it immediately because I didn't want to be responsible for holding up the progress of the book.

I did not know what would be included until my copy of the book arrived.  Turns out there are eight pages about my work (nine pages if you include the photo opposite the Table of Contents). A huge honor and I am very grateful.   But it wasn't just luck and it didn't happen by accident.

That's what I want to tell you. Opportunities come and go -- so you must be prepared in advance which takes commitment, hard work, and thinking ahead.

Create your own opportunities by doing your best work. Break boundaries.  Move forward. Step ahead. 

If you would like to listen to a streaming ZOOM program with the author, me, and two other Judaica artists, here is a link to the Zoom program.

If you have any questions about my short presentation, leave your comment/question below or ask your questions in the comments here, or reach out to me on Facebook or Instagram.

Harriete

P.S. More about the book itself in another post.

 

Fabrication Photos Beginning to End

The objective of this post is to provide some insight into the entire fabrication process of my latest work.  In this post, a series of photos track my fabrication of the menorah that is featured on PBS as additional content for the JEWELRY program of Craft In America. I was very fortunate to finish this menorah two weeks before the six-person video crew arrived at my studio.

This is a brief post with only a few of the images. All of the questions are from Nona, my new studio assistant. If you want to look at some more detailed information with step-by-step fabrication shots, click here, to go to my website.

The photo below shows the preliminary layout of the frame. This shows the general dimensions and allows me to visualize the structure before I start working with the materials.  I usually don't draw out my ideas in advance. Instead, I usually let them percolate in my head and adapt as I choose materials for a new piece.  Taking photos helps me double-check if it looks "right."  Studio shots are also useful for social media, or occasionally, books or exhibition catalogs that publish studio shots. I've had this happen on many occasions.

Nona asks a few questions for this post:

Nona asks: "What are you thinking about when you sketch out the frame?"
  "Is it all about the measurements and physical support?"

Harriete's answer: At first I am only thinking about the overall proportions, checking the actual dimensions so that I cut and bend enough tins to fabricate the entire frame plus some extras for a back-up plan if needed.  At this stage, it is too early to worry about the physical support, but I knew that the materials selected for the back were going to be cut and folded from an old steel folding table, which would be really strong. 

Nona asks: "What is your process for picking tins?"

Harriete's answer:  For the front of the window frame, the metallic gold tins were picked from my extensive collection of recycled post-consumer tin cans. You may recognize some of the tins but I tried to use a variety of common tins in a similar color range and with recognizable images related to the kitchen. A tin for Grape-Nuts and some nutrition labels were perfect for this objective. I love using humble materials to make something beautiful. Trying different arrangements with the tin cans often helps to generate new ideas and allows me to experience how the tin can colors work together.  I wanted the tins to have a golden glow and be similar in color. 

Nona asks: How do you shape the tins for the frame?  

Harriete's answer:  When I receive tin cans, they are all opened and pounded flat for storage. After picking tins from my raw material inventory, I bend or roll the tins for the frame shapes,  I use a bending brake and other forming tools in my studio. I've been working with tins for 33 years....and have developed a lot of techniques and skills from years of experimenting.   

Nona asks: How do you problem solve if you don't have the colors or textures that you want?

Harriete answers:  Using a range of blues for this piece, I started to compose the turbulent San Francisco night sky.  Layers and layers of carefully cut tins allowed me to get the painterly effect I was looking for.

If I don't have the colors or textures that I want, I keep looking through my thousands of stored tins.  I may spend hours and hours and hours looking for the right color or pattern.  I am convinced that something is there in my studio ...I just need to find it. 

Nona asks: What do you use for cutting the tin?

Harriete answers:  I buy every pair of metal cutting shears that I can find, but most of my tins are cut with a jewelers' saw. (Watch the JEWELRY video to see me cut tins with a jeweler's saw.)

Nona asks: How do you attach the tins together?

Harriete answers:  The pieces in the sky are riveted together with small rivets made from sterling silver or 10k gold wire. If you look super closely at the next photo you may see the rivets in this close-up.  The metallic sparkle from the rivets is mirrored in the starry sky and gives the cityscape a night feel.

Nona asks: Did you use a reference image for the tower and the hill or for the sky?

Harriete answers:  For Sutro Tower and the hill (Twin Peaks), I found a small photo.  But also, every night in early 2021, my husband and I would go for a walk and we could see Sutro Tower and San Francisco. During Covid, the sky was amazingly clear without pollution. The sky in tins was totally from my imagination, other than looking at the sky, night after night....mostly, I tried to make it up from what I was seeing on our walks looking at San Francisco in the distance.  

Nona asks: At what point did you attach the menorah and what was the process of constructing the menorah like?

Harriete answers:  I started working on the brass Menorah components very early so I knew how deep I could make the frame and window sill. (There was a requirement from the exhibition sponsor that the artwork could not extend more than 3 inches from the wall.)  

Though I constructed the Menorah early in the whole fabrication process, it was not polished until the very end so that I didn't have to worry about it getting scratched. The construction of the window sill and the structure that holds the Menorah consumed the final two or three weeks.  There is a hidden structure that holds the Menorah in place, but the Menorah is not attached to the window sill.    

The whole piece took four intensive months to fabricate.

Just like Nona, you can ask your questions, and  I will add them to this blog post or a new post.

Harriete 

More details? Look at my website if you want more information and details.

Previous Posts in the "Craft In America" in my studio series.

A Gigantic Wish Come True...."Craft In America" Visits My Studio

Perspiration in Preparation & Planning for "Craft In America"

An Optivisor for a Crown - Two Vans Arrive with the "Craft In America" video team

"Craft In America" Day 1 - Fabrication in Video Time vs Real Craft

Soft Lighting, Sharp Focus, Reflective Questions

Craft In America - JEWELRY Episode - Streaming Now!

"They Whispered Names to Me - I am a channel"

"They Whispered Names to Me - I am a channel"

I waited until Chanukah to share this recent example of  my work titled, "They Whispered Names to Me - I am a channel."  This Menorah (or technically a Hannukiah) was fabricated during the first half of this year, 2021,  for an exhibition that will open in 2022.  It was finished shortly before the video crew from Craft In America came to my studio in June.

Then, as an amazing stroke of good fortune, the crew decided to record a video of me talking about this artwork -- even though it was not about JEWELRY.

A clip of the video is embedded into this post, but just in case it doesn't work, here is the link.

For this upcoming exhibition, each artist who was invited to participate was given a transcript and video interview of a woman rabbi. The overall premise was to recognize women in religious leadership, as part of an ongoing and sometimes controversial issue in Judaism and other religions all over the world. How can this still be true? 

It is unbelievable that women are still treated as second-class citizens in current cultures and religions to this day! This is why I decided to participate in the invitational.

The title for this piece consists of two quotes from my assigned woman rabbi, Rabbi Noa Kushner in San Francisco.  Listen to this short video from PBS  and see what you think.

I would love to respond to any questions that you may have -- so ask away. 

In future posts, I will be sharing images of the intermediate steps during the construction of this piece. This will document the sometimes tortuous and challenging journey it takes to fabricate an idea from inception to the final screw. 

Harriete

Images:      "They Whispered Names to Me - I am a channel"
Materials:  Recycled tin cans, brass, candle cups cast from a 19th century Menorah, brass screws, 10 k gold and sterling silver rivets.

The Shamash is fixed on the left side of the frame to prevent it from being lost or stolen.

Photo Credit for these images: Philip Cohen

Dimensions: 21.75” H x 23” W x 3.5” D

A new exhibition -- "Evil: A Matter of Intent"

The exhibition "Evil: A Matter of Intent" has opened at Hebrew Union College in New York City.  I couldn't be more proud to have my work in this thought provoking exhibition. The curator, Laura Kruger, selected two pieces from my new series, "10 MODERN PLAGUES." Blood - Water Pollution from the 10 MODERN PLAGUES

Evil: A Matter of Intent explores several questions.  Why does evil exist?  How is it manifested?  From whom or from what is it derived? According to the Hebrew bible and rabbinic teachings, all humans have some capability or predisposition to commit acts of evil, or what is known in Hebrew as yetzer hara. Philosophers argue that such inclinations are not inherently malicious, yet can easily become evil if not confronted.

In this exhibition, topics include the Ten Plagues, the Golem, the Shoah and the proliferation of acts of violence including genocides worldwide.*

 

On the practical side of delivering artwork to an exhibition, shipping is always a challenge.  In this series, 10 MODERN PLAGUES, each piece presents unique challenges for safe shipping.  The left photo is a preview of my packing solution.   A more thorough examination of the packing will be the subject of an upcoming post on ASK Harriete.  It may be worth the close inspection because the Hebrew Union College staff said this about my packing . . .  "We are all in awe of your ingenuity in packaging. I had my registrar photograph them in situ."

To all the readers of ASK Harriete, I hope that if you are planning to be in New York some time during the next seven months you will make a point of going to this powerful exhibition. 

Exhibition dates: September 1, 2015 - June 30, 2016

A big thank you to everyone who joined me in attending the opening of this exhibition. 

Opening  is October 21, from 5 - 7 pm.  

Blight - World Hunger  

(Above and Left) These photos show Blight-World Hunger which is also in the exhibition "Evil- A Matter of Intent." 

More information:
Location: Hebrew Union College Museum
One West Fourth Street (between Broadway and Mercer Street)
New York City

Subway: N/R/W to 8th Street (NYU); 6 to Astor Place; A/C/E/B/D.M to West 4th Street

Hours: Monday-Thursday, 9 am – 5 pm; Friday, 9 am – 3 pm

Admission: FREE. Government-issued photo ID required.


Group Tours and Information: 212-824-2298 or [email protected]
www.huc.edu/museum/ny

Artists in the show: 

Andi Arnovitz
Debra Band
Harriete Estel Berman
Leon Bibel
Andres Borocz
Beverly Brodsky
Lynda Caspe 
Larry Frankel
Tommy Gelb
Linda Gissen
Carol Hamoy
Nathan Hilu
Ruben Malayan
Richard McBee

*Description of the exhibition from the press release provided by Hebrew Union College. When I go to the show, I will be sure to write more extensively about the exhibition.

RELATED INFORMATION: 
Article about the curator Laura Kruger. "...she has stood alone among curators and Jewish museums, providing an often singular forum for emerging contemporary Jewish visual culture." Read more at the link below: Laura Kruger At The Hebrew Union College Museum

Recycle, Repurpose and the Meaning of Materials - a short presentation

During the first nights of Hanukkah, I'd like to share this lecture that I gave at The Magnes Collection about four Hanukkah menorahs in their collection.

The goal is to share insights that anyone can use when viewing artwork in an exhibition, or working from the perspective as an artist or maker developing their own work.

The concept of "The Meaning of Materials" is an important consideration that will be explored further in future posts.

 

Watch Recycled, Repurpose and the Meaning of Materials directly on YouTube. You are welcome to share or embed this lecture. 

Harriete Estel Berman

 

RELATED POSTS: 

Abracadabra - What Is Said Will Be - I Create as I Speak

Museum Storage of the Collection at The Magnes Museum

Tzedakah Boxes at The Magnes Collection

Museums Save Ordinary as Extraordinary

The Magnes Museum Collection Cradles Extraordinary Objects and Textiles

 

"Recycle, Repurpose and the Meaning of Materials" Lecture

You're invited to my lecture at The Magnes Collection. Three of their menorahs (shown below) will be on display as discuss these objects along with some of my Judaica work within the framework of Recycle, Repurpose and the Meaning of Materials.  This lecture will be followed by a Q&A discussion with the audience. This event is free. 

Please join us for this lunch time event - Wednesday, October 29, 2014. The talk will begin at 12:00pm, noon and end around 12:40pm. Then there will be about 20 minutes for the audience to ask questions. 

The Magnes Collection: 
2121 Allston Way
Berkeley, CA 93704
510.643.2526

One block from BART in downtown Berkeley.

Hanukkah Menorah by Al Farrow from Gun parts 2005

Repurposed brass tray used as Hanukkah lamp, Italy, 17th century

 

Crimped metal sheet Hanukkah lamp, USA, 1909

Repurposed Hanukkah lamp from tin and sheet metal, Morocco, 20th century

Here are some questions...what are yours?

What is the difference between recycled and repurposed materials when used in artwork?

Does the selection of certain materials imbue meaning in the finished work and how does this contribute to a viewer's perception of the object?

Related Posts:

Museum Storage of the Collection at The Magnes Museum

Tzedakah Boxes at The Magnes Collection

Museums Save Ordinary as Extraordinary

The Magnes Museum Collection Cradles Extraordinary Objects and Textiles

Harriete Estel Berman

Related articles

Abracadabra - What Is Said Will Be - I Create as I Speak

Tin, Tzedakah and Seeing the Ordinary

In 1997 I was invited for the first time to participate in the invitational show hosted by the Contemporary Jewish Museum. I'd seen (and was inspired by) a few of the previous shows where they invited contemporary artists and makers to create pieces of Judaica.  The results were beyond expectations or gift store tchotche.

This was a very exciting opportunity -- but what to make? The theme was the kiddush cup.

While considered the theme, I wanted to use recycled tin cans, something that I had been working with for about 7 years at the time. Racking my brain, vague memories of the tin Tzedakah boxes from my childhood came to mind. I hadn't seen one for a long time..... no one collects charity a penny or nickel at a time.

I asked my father, "Do you have a tin Tzedakah box in a closet somewhere?"  Or do you know anyone that might have a Tzedakah box stuck in a corner somewhere?"

Within 10 days he sent me 14 boxes just like the one above. This tzedakah box design for the Jewish National Fund design dates from the mid-20th century.

From those first tin boxes I made this Kiddush cup.

Making Judaica from recycled tin seemed heretical.

What would people think? Making a ceremonial object for a museum exhibition from unwanted, ordinary "pushke boxes" seemed irreverent. Working with recycled materials was very rare at the time, even embarrassing. Recycled and repurposed materials had not yet become the eco-trend of the 21st century.

The big surprise for me was how well received this new direction was at so many levels.

A lesson for everyone to try unexpected solutions for their art or craft. This risk started a whole new series of work that continues to this day.  

Since then, many people have given me their tin tzedakah boxes. Instead of throwing them away, they give their boxes a new life.

The ordinary tin boxes carry memories of ritual, and observation from another generation. It is odd that the boxes have no value, but they are too valuable to be thrown away. That was why it was so exciting to see "Tzedakah Boxes at The Magnes Collection."

 

Reusing materials can carry information beyond the humble materials. The history of the object or the materials carries meaning. The materials contribute to the new purpose.

Since 1997, humble tin "pushke boxes" have been used in many peices.

This photos shows "Tzedakah" 50 envelopes from recycled tin cans. 



So are there ordinary objects or materials that could bring new meaning to your work?

Harriete Estel Berman

Related articles

Tzedakah Boxes at The Magnes

Museum Storage of the Collection at the Magnes Museum

Museums Save the Ordinary as Extraordinary

Tzedakah Boxes at The Magnes Collection

During my tour behind the scenes in the storage area of The Magnes, Curator, Dr. Francesco Sagnolo, opened a drawer containing Tzedakah boxes.  

How did he know that these small tin boxes would be my favorite objects of the day.

These tzedakah boxes are printed tin used to collect coins for charity. 

Once even a humble tin Tzedakah box enters a museum collection, it is documented and stored with reverence.  

Tzedakah boxes are often called "puske" boxes in Yiddish. The boxes have little value as an object, or materials, yet are very hard to find. They document a time and place when a penny, nickel or dime was collected for charity. Coins would add up to significant donations in another time.

While these are not religious objects, they often have sentimental value or even serve historical documentation.(Starting with the box on the far left in the above photo...)



This Tzedakah box from The Magnus Collection (above) shows an early map of what is now called Israel, Gaza, and Lebanon. This is an area we hear about every night in the news. The box carries historical perspective from about the 1920's before borders were designated by international negotiations and modern maps. It portrays a concept of Israel before it even existed as a nation. 

Sometimes Tzedakah boxes were for a specific organization -- kind of like a special savings account set up for donations.

This green tzedakah box (shown below) with Hebrew lettering says:

 "Tzedakah (alms) in memory of Rabbi Meir Baal Hachayim, Hungarian "kollel" [religious community study room], [...] Jerusalem". (Translation from Dr. Daniel Viragh)

The Tzedakah box (shown below) is from Vienna, Austria. 

The coin slot opening at the top was equipped internally with linked chains to make more noise when the coins were placed in the box.  

Usually Tzedakah boxes were humble materials such as painted tin, brass or copper.  The cylindrical box (left- created 1801 - 1900) has a clasp and loop for a small lock. Even more than a century ago, it was necessary to keep honest people honest.

Humble objects and modest materials can communicate values and meaning beyond the intrinsic materials themselves. 

I had completely forgotten about the little blue tin Tzedakah box of my childhood until 1997 when vague memories of tin boxes surfaced for a new direction in my work... this is THE next post. 

Harriete Estel Berman

PS. I will be lecturing at The Magnes Collection on Wednesday, October 29th for a short lunch time lecture and discusion. Please consider coming. Admission is free. 

Related articles

Museum Storage of the Collection at the Magnes Museum

The Magnes Museum Collection Cradles Extraordinary Objects and Textiles

Museums Save the Ordinary as Extraordinary

Space Available in Upcoming Workshop

Recycle, Repurpose,  RETHINK Materials
On April 22, 2012, I held a workshop at the Contemporary Jewish Museum on Earth Day.

This workshop celebrated Earth Day by focusing on recycled and repurposed materials.

While at the museum, participants could take a peek at the exhibition Do Not Destroy: Trees, Art, and Jewish Thought. Workshop attendees got to roll up their sleeves for ideas and inspiration with artist Harriete Estel Berman, then gather their own creativity to make samples and hands-on projects that bring post-consumer materials and eco-awareness into your classroom. Co-presented by SCRAP.

  TuBishvat Seder plate  by Harriete Estel
  Berman titled Reduce, Reuse, Recycle,
  Assiyah, Yetzirah, Beriyah,   © 2001
  Post-consumer recycled tin can,
  Photo Credit: Philip Cohen

The workshop was inspired by my use of post-consumer, recycled materials for over 24 years to construct artwork ranging from jewelry and teacups to entire lawns and sculptures with social commentary.  Judaica focuses on the concept of Tikkun Olam (repair of the world) with the use of recycled tin cans.

This workshop was designed for teachers to gather ideas.

If you want to celebrate Earth Day with me on Saturday be prepared to work outside. I organize an Earth Day Clean Up for my neighborhood every year. Weeding for 8 hours is on the agenda, but help for only a few hours is completely fine. This is in San Mateo. Come help!

Fawn in my backyard.

Quail on my front steps.

Amazing photo taken on Jekyll Island, Georgia.

This post was updated on February 27, 2023

Sticker Shock or A Real Bargain - It's All Relative To Framing

An editorial by Ryan Jones in The Crafts Report (November 2011) brought a fascinating TED Talk to my attention. Dan Ariely explains how "framing" different options can influence purchasing decisions.

This post is not new, the concept is not new, and yet it is still relevant many years later. Quoting Ryan Jones, editor of The Crafts Report, "Some people wonder why they should bring along some higher-priced items to a craft fair, especially if it's unlikely they will sell them. But, framing means that your highest-priced items can be a sales tool ...". Listen to the TED Talk by Dan Ariely to learn more about this concept.

I recommend listening to the TED Talk all the way to the end because it explains the logic behind why we artists should always have a big show-stopper piece of artwork in our booths or in an exhibition to sell the smaller items. After the video, take a look at an example of how I am trying to apply this reasoning for my Judaica.

Here is my practical example.
At the time of this post, I had a Seder plate for Tu Bishvat in the exhibition DO NOT DESTROY at the Contemporary Jewish Museum. The price places this work outside the average consumer. My aspiration (or wish come true) is that a museum will buy this work for their permanent collection. 

Two weeks before the museum exhibition opened,  I contacted the museum gift shop about selling some of my Mezuzot. Each mezuzah is priced at $175. That may put some people into sticker shock compared to the usual gift shop item, but it is a real bargain for the labor, preparation, skills, and design in each mezuzah. 

At the same time,  the mezuzot were an affordable example of my work with an environmental message that can be used every day. 

Everything is relative, and there are many factors that may influence the purchaser's decision including the perceived value of the artwork in the exhibition, and the validation provided by being included in the museum exhibition Do Not Destroy.

Keep this strategy in mind for your booth or next show. While the masterpiece of the show may or may not sell, it may be a prime factor in selling the other work.

I sold seven mezuzot during the show.

Harriete

 

 

 

 

 

 

 

 

 

 

(Above photo) Close-up view of the center of the Tu Bishvat seder plate. If you shine a light on the center of the seder plate it reflects a Star of David on the ceiling(shown below.)



Reduce, Reuse, Recycle, Assiyah, Yetzirah, Beriyah
                                                          ©     2011

Artist:Harriete Estel Berman
DIMENSIONS: 6” ht x 24” w x 20" d

If you are interested in viewing the design, and fabrication of this Judaica TuBishvat seder plate, CLICK HERE to view an entire album on Flickr with step-by-step photos for this work in progress.

 

This post was updated on March 10, 2022, to provide current links.

 

This post was updated on February 27, 2023

Happy Chanukah or "Eating Chinese Food on Christmas"

Chanukah already started and I forgot to tell you about my favorite books and resources for contemporary Judaica. The selection is small, but the potential audience for this genre has room for growth.

Years ago, Lark Books published 500 Judaica: Innovative Contemporary Ritual Art. (Affiliate link) I  am very pleased to say that there are several examples of my artwork.

 

A Collectors' Guide to Judaica(Affiliate link) has an interesting selection of historical pieces with informative text. (It only has a few 20th-century pieces of Judaica.)  This book might be hard to find.

 

 

 

 

Are you looking for images of contemporary Judaica that are not the generic gift store item?

Check out a newly published book, Modern Judaica by Jim Cohen includes only contemporary Judaica, many of the pieces are absolutely outstanding.  

Here are a few outstanding examples from this book: 

The Contemporary Jewish Museum, San Francisco,  has a selection of catalogs from their Invitational Exhibitions. I wonder if they are still available? 

In the order listed here (right):
L'Chaim!: A Kiddush Cup Invitational

 

Making Change: 100 Artists Interpret the Tzedakah Box.

 

Scents of Purpose: Artists Interpret the Spice Box

 New Works, Old Stories

These catalogs are not listed online, but they are all beautifully executed with images of Judaica within traditional forms and beyond the expected.

Email me, I will make a recommendation for a catalog based on your interest.

Participation in the exhibitions at the Contemporary Jewish Museum has offered me the opportunity to create museum-quality Judaica.

Many of the pieces that I made for these exhibitions have been purchased for the permanent collections of museums.

Shown to the left is "And There Was Light" a spice book that holds a Havdalah box. 

 

If you are interested, all of my Judaica is shown on my website.

"And There Was Light"                  2004

Seven hinged panels to create an accordion-style book with a removable Spice Box. This contemporary Judaica is constructed from recycled tin cans, spice tins, vintage steel dollhouses, 10 k. gold rivets, aluminum rivets, stainless steel screws. Available for purchase or exhibition.

Each panel    14.25” height x 9” width
The length of the book completely open is 54".

 

Facets of Light        1999

Menorah was constructed from pre-printed steel from recycled tin containers, "Pushke" Boxes used for the Jewish National Fund, and pre-printed steel from vintage dollhouses. Aluminum rivets. One-half-inch acrylic cubes function as feet under the menorah. Available for purchase or exhibition.

3" height x 21" width x 25.5" length

Yellow Flower Scroll Doorpost Mezuzah
Dimensions: 7.25” Inventory number M2L.220

This post was updated on February27, 2023.