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JAFFE, MORDECHAI.
Levushim [elucidations and novellea to the Shulchan Aruch]. Two (of four) parts bound in one volume: Even Ha?ezer: Levush Butz Ve?argaman ff. 87. Choshen Mishpat: Levush Ir Shushan ff. 162, (2). Two titles, each with architectural arch. Wide margins. Stained in places. Bound in Valmadonna-custom full mahogany calf, spine titled in gilt. Tall folio. Vinograd, Venice 1122 and 1125. Venice Giovanni Calioni 1620 A Halachic work issued as a ?midway between two extremes: the lengthy Beith Yoseph of Karo on the one hand, and the Shulchan Aruch with Isserles? Mapah, which was too brief, on the other.? EJ, IX cols. 1263-4. Kestenbaum Company
PAIR OF FRENCH(?) TEXTILES OF THE HOLY LAND.
Charming multi-colored wall hangings: Prayer at the Western Wall. * The Tower of David in Jerusalem (with Hebrew caption below). One stamped on rear: "Made in France." Each: 17.5 x 12.5 inches.20th-century. Kestenbaum Company
(TALMUD, BABYLONIAN).
Masechta Avodah Zarah [Idolatry]. With commentaries by Rashi, Tosafoth, etc. Scholarly marginalia in an early hand on f. 62b. ff. 95 (of 96), lacking f. 67. Variously worn and stained, occasional worming, previous owners' marks. Title laid down with loss not affecting text, f.2 with small marginal loss affecting a few letters, f. 20 with more significant loss. Old calf, worn. Sm. Folio. Vinograd, Salonika 70 (JNUL copy incomplete); Rabinowitz, Talmud pp. 67-70; I. Mehlman, Gnuzoth Sepharim p.7.• A scarce copy. Following the shocking Papal order of the Burning of the Talmud in Italy, the Salonika-based printer Joseph Ya'avetz was motivated to print eight of the more frequently studied Tractates to compensate for the tremendous loss. The first three of the eight were all printed in a smaller size and not corresponding to the standardized Bomberg format of the page. Upon printing the fourth Tractate, Ya'avetz came to appreciate the value of a standard pagination for students of the Talmud and therefore arranged the format according to the order of the Venetian editions. See M. J. Heller, Printing the Talmud (1992) Vol. I, pp. 277-83.Salonika, Joseph Ya'avetz, 1567. Kestenbaum Company
CHAGALL, MARC
Paris / l'Opera [Romeo and Juliet]. Lithographed Poster. Framed. 24.5 x 38.5 inches (62.2 x 97.7 cm). Sorlier 97. Paris: Mourlot, 1965. Kestenbaum Company
WOODEN KEEPSAKE BOX FEATURING ELIAS WARBURG.
Lidded, lacquered keepsake box featuring original portrait miniature of Elias Samuel Warburg (1729-1805). Garbed in frock-coat and vest, white chemise, his wig worn en queue. Signed and indistinctly dated on the obverse "Viert 180-". Gilt-metal base engraved: "Eilje (Elias Samuel) Warburg, gest. 4 Schebat 5565/1804." Hanging device on rear. Diameter: 3.75 inches.• Elias Warburg was the son of Samuel Warburg (1700-59) and Rachel Del Banco (1700-83). He is known to have lived at Altona, near Hamburg, Germany and was involved in the controversy between Rabbis Ya'akov Emden and Jonathan Eybeschutz. Warburg married firstly, Jeannette Heilbut and had three sons: the youngest of whom settled in Gothenburg, Sweden and was one of the founders of the city's synagogue.Elias is an ancestor of the prominent Warburg banking dynasty, descended from the Venetian Jewish Del Banco family who fled Italy during the 16th century for Warburg in Germany before moving to Altona, near Hamburg a century later. The Warburg empire included, M. M. Warburg & Co. founded in 1798, the investment bank, S. G. Warburg & Co founded in London 1946 and Warburg Pincus founded in New York 1938.Johann Carl Frederik Viertel (Danish, 1772-1834); engraved 1804. Kestenbaum Company
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