Large Hand-Forged Replica Viking Age Steel Mouth Harp. Our Viking mouth harps, also know as a jaw harp, or jew's harp. Hand-forged from steel these are replica Viking mouth harps that are ready to play. The mouth harp (also known as a jaw harp / Jew's harp) was an instrument known to the Vikings, as well as the Saxons & even the Romans. Their small size makes them easy to carry with your kit and a handy instrument to have on those long dark nights around the campfire. - This particular design is similar to one in the Viking Ship Museum in Roskilde, Denmark (see 2nd image). - Length 105mm (4.15 inch), width 68mm (2.65 inch). - Weight 57g (2oz).
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El poema anglosajón es uno de los relatos míticos más conocidos de las islas y narra la leyenda del guerrero Beowulf en su lucha contra el demonio Grendel.
Oskar Schindler's story of how he saved countless Jews during World War II has been documented and celebrated through books and film, but his life after the war and how the "Schindler Jews" saved his life right back is lesser-known.
Brown wandering jew leaves are a common problem, but what causes them to turn? Learn about the possible reasons, and get tips to fix it.
This medallion measures six inches across. The ground is linen (black warp and white weft) and the embroidery is worked in linen and silk-ivory (a blend of silk and wool). The design is based on an extant Fatimid ceramic bowl, luster-painted in one color. The bowl is housed in the Museum of Islamic Art, Cairo, item 14930 and was featured in Jenkins, Marilyn. "Muslim: An Early Fatimid Ceramist." The Metropolitan Museum of Art Bulletin, v. 26, no. 9 (May, 1968). I was delighted to find the bowl as it neatly brought together three elements: the Fatimid period, a griffin (the mascot of Northshield), and it could be altered to echo the compass rose motif (also associated with Northshield). To emphasize the compass rose, I simplified the filler between the cardinal points, and highlighted the north indicator circle with the only white embroidery on the piece. I wanted the griffin to be gold (a Northshield convention), and I selected colors from my stash that would accent it. I used stitches found in extant embroidered Fatimid pieces—stem stitch, split stitch, and chain stitch—that were best suited to the different thicknesses of the yarns I selected. It was amazingly difficult to transfer the design onto this dark fabric. I ultimately scaled the design to six inches on the computer, printed it, taped the printout to a sunny window and pinned the fabric to the paper. I used a light colored fabric pencil to trace the general design, then pulled it down and filled in the details with chalk. Because of the nature of embroidery (essentially plunking the fabric every time the needle is drawn through, which causes the chalk to loosen and float away) I used a narrow needle and sewing thread the “draw” the design in running stitch over the chalk, and then covered the running stitch with the embroidery. For more information on extant Medieval Islamic embroidery see: Ellis, Marianne. Embroideries and Samplers from Islamic Egypt. University of Oxford, Ashmolean Museum: University of Oxford, 2001.
Forget Netflix—now is the time of #Knitflix and Chill. Here’s why more and more people are spinning the yarn on social media.
In this post, learn the reasons why the Jews reject Jesus as God and Messiah. Moreover, discover how you can prove that Christ is indeed God in the flesh and improve your faith.
Wolnerman had lied about his age when he stood in line at Auschwitz in 1940
Book Synopsis Finalist, 2014 Sami Rohr Prize for Jewish Literature from the Jewish Book Council Traces American Jews' complicated relationship to alcohol through the years leading up to and after prohibition From kosher wine to their ties to the liquor trade in Europe, Jews have a longstanding historical relationship with alcohol. But once prohibition hit America, American Jews were forced to choose between abandoning their historical connection to alcohol and remaining outside the American mainstream. In Jews and Booze, Marni Davis examines American Jews' long and complicated relationship to alcohol during the late nineteenth and early twentieth centuries, the years of the national prohibition movement's rise and fall. Bringing to bear an extensive range of archival materials, Davis offers a novel perspective on a previously unstudied area of American Jewish economic activity--the making and selling of liquor, wine, and beer--and reveals that alcohol commerce played a crucial role in Jewish immigrant acculturation and the growth of Jewish communities in the United States. But prohibition's triumph cast a pall on American Jews' history in the alcohol trade, forcing them to revise, clarify, and defend their communal and civic identities, both to their fellow Americans and to themselves. Review Quotes "Davis has succeeded in depicting the trials and tribulations of many Jewish immigrants as they adapted to life in the United States."--Morton I. Teicher "The Jewish Chronicle""[This reviewer] has always been amazed at the ability of academics to take inherently interesting subjects, like TV and sex, and make them incredibly boring. Davis manages to avoid this, producing an account which is at once both highly readable and yet still approaches the subject in a sophisticated manner."-- "Heeb Magazine""A comprehensive look at a little-discussed historical subject that can't help but have a spring in its step."--Jenny Hendrix "Forward""A pioneering study of Jews and the American trade in alcohol from entrepreneurial 19th century immigrants through 20th century battles over prohibition. Lively, well-researched, and comprehensive, this will long stand as the definitive study of Jews, booze, and evolving American taboos."--Jonathan D. Sarna, author of American Judaism: A History"Beginning with the mid-nineteenth century, Davis provides a solidly documented study of Jewish participation in the American alcohol industry, and she carefully verifies her stories with specific examples from many sections of the country. Furthermore, she shows that the alcohol industry provided an avenue of acculturation first of German Jewish immigrants and later of Eastern European Jewish immigrants . . . . [I]t presents a solidly researched and well-documented history in a field that has been overlooked by Jewish studies."--Kay Goldman "Yearbook of German-American Studies""Davis has significantly enhanced our understanding of Jewish acculturation in the United States."-- "Journal of American Ethnic History""Davis's book offers a unique keyhole into the Jewish immigration experience."--David Rosen "Brooklyn Rail""Engrossing and well-written."-- "Jewish Book Council""Every Jew should read Jews and Boozebecause it touches on a most important topicwhat can happen when the challenge of maintaining tradition, on the one hand, and fostering entrepreneurship, on the other hand, is greatly heightened."--David Geffen "Jerusalem Post""Focusing on Americas late-nineteenth-century temperance movement and the passage into law of the Eighteenth Amendment establishing Prohibition in 1919, Davis illuminates the dilemma facing many American Jews of the time: the desire to maintain traditions often livelihoods or to assimilate further into mainstream society . . .Jews and Booze is an academic text, without a strong narrative or a central character. A couple of repetitions, like the noxious quote from Henry Ford the Jews are on the side of liquor and always have been slow things down occasionally, but there are enough interesting anecdotes, facts and figures in the charming history to make the reader thirsty for another round."--Evan Rail "Times Literary Supplement""Imaginatively conceived, fiercely researched, beautifully written, Jews and Booze is welcome news indeed. A very talented and promising historian has shown how a contentious slice of the American Jewish past can remain important to today's readersand has made a particular conflict between Protestant moralism and ethnic habits her own"--Stephen J. Whitfield, author of In Search of American Jewish Culture"In her debut, Davis suggests that anti-Semitism and Prohibition were parallel expressions of political disquiet during the turn of the last century . . . A fascinating, nuanced social history."-- "Kirkus""In his multilayered book, Davis (Georgia State Univ.) explores the braided nature of the temperance movement, assimilation, ethnicity, immigration, nativism, wartime fervor, and postwar intemperance. The alcohol trade enabled some Jews to acquire economic power and social standing before the Prohibition movement, and the Volstead Act caused more non-Jews to question that very involvement. Jews themselves reacted differently to attempts to restrict or prohibit alcohol, while the perception of Jews held by others underwent transformation as well. In cities like Cincinnati and Louisville, the alcohol industry had proved economically nurturing, affording entrepreneurial opportunities for Jews and allowing for the promotion of institutions such as Hebrew Union College. Toward the close of the 19th century amid mass migration of Jews from czarist Russia, anti-Semitism and discrimination practices heightened. While striving to prove themselves as both Jews and Americans, Jews contested prohibitory measures they considered contrary to American freedom and individualism. Having attained a reputation for moderation regarding alcohol consumption, Jews had to contend with growing associations involving immigration, liquor, and criminality, particularly during the Prohibition era, when Jewish mobster Meyer Lansky helped to found the organized crime syndicate. The perplexity of how to respond to Prohibition only ended when the 'Great Experiment' did."--R.C. Cottrell "CHOICE""In this groundbreaking study, Davis deftly blends social and cultural history to uncover the important role American Jews played in the liquor trade, and the hostilities they elicited. In recovering this nearly forgotten past, Jews and Booze provides a prism through which to view the difficulties of Americanization."--Tony Michels, author of A Fire in Their Hearts: Yiddish Socialists in New York"It was probably inevitable that someone had to ask if Prohibition was good for the Jews. Sure enough, Marni Davis has come along not only to raise the question but also to provide intriguing answers inJews and Booze."-- "Moment Magazine""Jews and Booze is an excellent piece of academic research on a serious subject, written superbly, which is entertaining, enlightening and engaging."--Tim Holt "Brewery History""Jews and Booze is thorough and well-researched."-- "The Weekly Standard""Jews and Booze tells many important stories and recognizes the diversity and complexity of American Jewish experience."--Wendy Bergoffen "H-Net Reviews""Jews and Boozetouches on a most important topicwhat can happen when the challenge of maintaining tradition, on the one hand, fostering entrepreneurship, on the other hand, is greatly heightened . . . this [is a] fascinating work."--David Geffen "International Jerusalem Post""Marni Davis had me with the title of her book, Jews and Booze. But the book itself, an academic monograph that is also highly readable, is an eye-opener."-- "Jewish Journal""The author does an excellent job of delving into the Jewish community."--Kevin Winter "City Book Review""The best kind of historysurprising, authoritative, and written with both acuity and charm. I loved this book."--Daniel Okrent, author of Last Call: The Rise and Fall of Prohibition"The book deserves a wide audience for its creative inquiry and suggestive approach to American immigration and ethnic history."-- "American Historical Review""This book is an important addition to the literature of cultural conflict in American history."--K. Austin Kerr "American Jewish Archives Journal""This fascinating, academically sophisticated, and superbly written exposition of the intricate, often precarious, role that Jews played in every aspect of the American alcohol industryfrom production in industrial stills to retail sale in bars and speakeasies across the land, and finally to bootlegging, a crime that created the fortunes of some of North Americas most prominent Jewish philanthropic familiesturns out to be a wonderful historical companion to HBOs most explosive series since The Sopranos and to the recent PBS airing of Ken Burns documentary Prohibition.More important, Jews and Booze is a major contribution to the economic history of the Jews in the United States. The book also offers an original and rich exposition of the social and political importance of alcoholparticularly the puritanical fear and loathing of itin the development of anti-immigration and anti-Semitic sentiments in late 19th- and early 20th-century America."-- "Tablet Magazine""This is an excellent book. Davis crafted a complex and sophisticated narrative, weaving a variety of themes together into an argumentative arc that demonstrates the complex relationships between prohibition and the development of three generations in American Jewish life."-- "Journal of American History""Using census data and other primary documents, Davis brings to life the stories of Jewish saloon keepers, rabbis, and alcohol producers faced with the temperance movement and increased anti-Semitism. While much has been written about the temperance movement and Prohibition, Davis focuses uniquely on the implications and impact of this period on
The Normans remain as the standard bearer of the pre-revisionist interpretation of crusader motives - for gold and glory, but not for God. However, examination of the evidence does not bear this distinction out.
This type of instrument has been around for centuries and goes by many names, note that its most common name in the USA is Jew's Harp and has no antisemitic connotations. This example was probably made in England and there it is known as a jaw harp. Good condition was probably made in the 1800's, it looks cast from steel.
Gerrit Rietveld designed his last chair for the store of jeweler Steltman at the age of 75. With this design, he again proved his status as a pioneering designer. The chair owes its name to The Hague's jeweler and purveyor, Steltman, who commissioned Rietveld in 1963 for the renovation and...
Jewish women and children, who have been selected for death, walk in a line towards the gas chambers in a horrifying image published in a new book.
2012 saw the 100th anniversary of Ze'ev Raban's arrival in Eretz Israel at the Bezalel School of Arts and Crafts, first as a student and then as a teacher. Born as Wolf Rawicki in Lodz, Poland in 1890, he studied decorative arts from 1905 to 1911, first in his home town and then in Munich, Paris and Brussels. Many of the influences he absorbed during this time would emerge in his later work, but with a distinctly Levantine take on them. It is this combination of styles and influences that appeals so much to me. I love the boldness and the optimism of his work, the rousing use of colour and the stylised depiction of biblical scenes and figures. Raban came to Eretz Israel as part of the Second Aliyah, one of a wave of immigrants who revived the Hebrew language and worked on the land, creating a new type of society, different from diaspora Jews and not wishing to live on charity as some of the established communities did. On arrival he joined the Bezalel at the invitation of its director - Boris Schatz, remaining there until 1929 as director of the repousse workshop and teacher of anatomy and decorative arts. Working with other departments, he designed a number of large objects including the beautiful Elijah Chair of 1925 that can be seen in the Israel Museum in Jerusalem. He came to be considered the main proponent of the Bezalel style, bringing together European influences, techniques of Eastern applied art and Jewish and biblical themes and motifs. Over time, he took a stronger "eastern" approach to his work, particularly adopting the image of the Yemenite Jew as the model for biblical or Hebrew figures in his work. The second wave of Yemenite aliyah between 1908 and 1914 saw whole families arriving in the country and many were employed in the school, especially in the silversmith, stonemasonry and carpet making departments. Several also acted as models. Raban was a committed Zionist and was commissioned by the Jewish National Fund to design posters to encourage tourism. He designed two which are still reproduced and sold today, original copies changing hands at huge prices. One depicts a western tourist pointing at a map of the country beneath the legend "Come and see Erez Israel", with a series of important Jewish religious sites displayed around the edges and a prominent advertisement in English and Hebrew for the Bezalel and its products. The other is a biblical scene overlooking the city of Tiberias and the Kinneret. These themes were repeated in his illustrations of biblical scrolls, including the Song of Songs (1914-18), Book of Esther (1927), the Book of Ruth (1930) and his famous Ten Cities of 1930 which shows ten of the holiest Jewish sites in Israel. My own copy of the Ten Cities is a personal treasure. Leafing through the tissue divided pages and gazing at the images of Rachel's tomb and Hebron stir me to want to visit these sites. It is still possible to pick up original copies of these and other Raban works from time to time. Trionfo at 9 Dorot Rishonim Street (off Ben Yehuda) in Jerusalem sometimes has copies as does Pollak in King George Street, Tel Aviv. Trionfo is especially worth a visit as serious customers are offered strong arabic coffee and invited to take their time to look through the stock and chat with Abraham Medeisker or his son Gali, both of whom are extremely knowledgeable and able to locate just the right item! The shop is crammed with Israeliana, old books, posters and artefacts. It is a real treasure house. Raban's tourist poster designs led to broader based work in advertising. In 1925 he was commissioned by S.Tokolwsky, the owner of the Jaffa Fruit Company to prepare labels for the orange crates. This resulted in an icon of early Israeli design showing a man dressed in a white blouse, red sash, blue narwal and turban standing on the beach and a robed arab figure. The city of Jaffa is visible in the background. The text reads "'Lord' Jaffa Oranges Famous for Flavour". Other advertising work followed including for Nur cigarettes, Ariel cigarettes, Carmel Oriental wine and, my own favourite, Havilio Halva. There is something about Raban's skills as a story teller that makes me want to buy these products, despite not being a drinker or a smoker! I have often thought about the seeming contradiction between his use of biblical motifs and the production of commercial art to sell cigarettes and oranges. Some people argue that like all artists Raban needed to put bread on the table and this would certainly be true. However for me, the beauty of the commercial works and the iconic status they have achieved lead me to believe he approached this field with equal seriousness and also considered them to be important artistically. Raban lived through some of the most turbulent years of Israel's history, including the Mandate period, the War of Independence and the wars of the 1950's and 1960's. A story is told about how in 1922 during a period of strained relations between the British forces and the Jews, the Bezalel students were sent out to collect used gun shells for decorating vases or to be melted down for other works. Normally the British would ignore this, but on one occasion arrested a young student, holding him for several days, believing the School was collecting weapons for combat. The episode ended with a surprise attack on the School, with the soldiers breaking the doors down only to find the shells being used for artistic purposes. To commemorate the event, Raban created new doors, now on display in the Artists House, Jerusalem. It is still possible to see some of his ceramic designs used to decorate buildings in Tel Aviv in the 1920's. Several of these are on the exterior of buildings - real gems being the Municipal School in Ahad Ha'am Street, the exterior sign on the Ismaylof home and the Moshav Zkenim synagogue on Allenby Street. These works conjure up times of great creativity in Israel, a time when great artists, poets, writers, actors and musicians frequented cafes and salons, creating a unique Hebrew and Israeli culture from their many different backgrounds and influences, with Raban being a key figure in this renaissance. Topping the bill has to be the recently restored Bialik House on Bialik Street in Tel Aviv. A beautiful, eclectic style building, whitewashed on the exterior, the interior is a blaze of reds, blues, greens and other vibrant colours showing scenes from Jewish history interspersed with the motifs of the 12 Tribes and the signs of the zodiac. Normally photographs are not allowed, but I managed to get a dispensation on my most recent visit. Raban died in 1970, blind and suffering from Parkinson's disease, a sad end for a man inspired to create beautiful images and who chose to communicate his view of the world through such visual means, but he has left a legacy that still inspires admiration today.
Samuel Willenberg (pictured) was the last of just 67 people believed to have survived the infamous Treblinka camp in Poland, who fled in a revolt against the Nazis shortly before it was destroyed.
In September 1941, the Nazis and their collaborators murdered 33,771 Jews from Kiev at Babi Yar
In 1939, the Nazi German forces began their occupation of Poland. By 1944, the Russians were advancing from the East and the Allies from the West. The Polish Home Army, Armia Krajowa, was a secret rebel force that had been stockpiling weapons, strategizing, and waiting for the opportune moment to…
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