Auction 102 Part 2 Rare and Important Items
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Decorated parchment ketubah for the wedding of Peretz David son of Yitzchak Nissim Chaim Ovadiah [Servadio] and Ricca daughter of Avraham HaLevi. Senigallia, Italy, 14th Tishrei 5603 [September 18, 1842].
Ink and paint on parchment.
Ketubah on rectangular parchment sheet, with upper margins cut into a stylized arch topped by a pointed ornamentation. The ketubah text appears in the center in square script, with the edge containing signatures of the groom and witnesses: Yaakov Chaim Moscato and Avraham Chaim Montebarocci.
Very richly decorated, in a symmetrical pattern, comprising architectural motifs incorporating vegetal illustrations, interlocking wreaths, musical instruments (lyre) and two miniature pastoral landscapes. The bottom third features a large female figure carrying a basket full of flowers.
The present ketubah stands out from other known ketubot of Senigallia for its great beauty and unique miniature landscapes incorporated in its bottom margins.
43.5X77 cm. Fair-good condition. Old moisture damage, mainly visible on verso, but some affecting text and illustrations on front. Old folding marks. Marginal tears and some pieces missing, professionally restored.
This ketubah is also documented on the NLI ketubot site, listing 990003035480205171.
For similar ketubot from Senigallia, see: Shalom Sabar, The Art of the Ketubbah, Vol. I. New York: Library of the Jewish Theological Seminary, 2022, nos. 124-128.
Decorated paper ketubah for the marriage of Yitzchak son of Mordechai Kefeli and Mirat daughter of Aharon. "Karaite community in Gözleve" (today Yevpatoria), Crimean Peninsula, 17th Kislev 5608 [November 25, 1847].
Ink and paint on paper.
Ketubah on large paper sheet, representing the unique rite and customs of the Karaite community: the ketubah text is written in Hebrew (rather than Aramaic), the document is composed of two parts – the upper part is the ketubah document, and the bottom part details the dowry; and the ketubah is signed by no fewer than ten witnesses. Before the signatures of the witnesses appear signatures of the groom, who notes his last name (Kefeli), and the signature of the bride's brother.
After noting the location, "Gözleve", the document goes on to mention "Emperor Nikolai I Pavlovich" (Tsar Nicholas I), and includes a commitment to the "covenant of Mount Sinai and the laws of Mount Horeb, to observe G-d's festivals, consecrated by observation of the moon and the presence of spring in the holy Land of Israel…".
Decorated with repeating vegetal and floral patterns, topped by a low flower vase in a pointed arch. The frames separating the different parts of the ketubah are decorated in a faded gold appearing for the most part as green. The inner frame incorporates verses from the Book of Ruth and blessings.
Gözleve or Gozlov was Hebrew name of Yevpatoria, Crimean Peninsula. During the 19th century, this city served as the spiritual center of Karaite Judaism and was home to the community's Hakham. In the late 19th century (1897), the city was home to 1,505 Karaite Jews and 1,590 more Krymchak and Ashkenazi Jews.
For another Karaite item donated by Mordechai Kefeli (apparently the groom's father) to the Gözleve synagogue, see: Kedem, Auction 94, October 31, 2023 (Gross Family Collection), Lot 60. The Hebrew press that was active in Gözleve during the 1930s was also managed by a member of the Kefeli family.
55.5X79 cm. Overall good condition. Folding marks, slightly affecting text. Stains, slightly affecting text (mainly visible on verso). Fading of gold color. Minor tears, professionally restored. Moisture damage, slightly affecting text and illustrations.
The NLI ketubah site documents only six ketubot from Yevpatoria, including the present ketubah (listing 990003035730205171).
For further information and comparisons, see: Kedem, Auction 94, October 31 2023 (Gross Family Collection), Lot 13; René Braginsky collection, K54.
Large decorated parchment ketubah, for the wedding of Yitzchak Refael son of Yehoshua Yehudah Amado and Joya daughter of Daniel de Chaves. Izmir, Ottoman Empire (today Turkey), 14th Shevat 5575 [January 25, 1815].
Ink and paint on parchment.
Richly-decorated ketubah, representing the early ketubah decorating tradition of Sephardic Jews in Izmir. This is one of the earliest decorated ketubot of Izmir.
Ketubah on large parchment sheet, with upper margin cut in wave pattern, with a sharp rounded protrusion in center. The ketubah text appears in the bottom half inside an arch-shaped frame, in Sephardic cursive script (several words – blessings, the names of the groom and bride, and dowry – are written in square script). The witnesses' signatures appear below the ketubah text: "David Amado" – Rabbi of Izmir (1777-1832), author of Tehillah LeDavid and Einei David; "Avraham Chaim", and signature of groom.
After signatures appears a Tosefet Ketubah written years later in Jerusalem, on 9th Tamuz 1862. Below are signatures of witnesses: to the right – signature and stamp of R. Rachamim Shlomo HaLevi (a rabbi and kabbalist of Jerusalem), to the left – signature and stamp of R. Refael Yisrael Elyakim (a rabbi of Jerusalem and Hebron), and in center – signature of groom, Yitzchak Refael Amado.
Afterwards follows another line with a confirmation by the Beit Din, signed by: R. Mordechai Eliezer Suzin (an emissary and rabbi of Jerusalem), R. Rachamim Menachem Mitrani (a rabbi of Adrianople, today Edirne; authored the MeAm Loez commentary on the Book of Yehoshua, continuing the endeavor initiated by R. Yaakov Culi) and R. Menachem son of R. Yitzchak (a rabbi of Adrianople).
The ketubah is richly decorated in gold, red, yellow and green, mainly in vegetal patterns. On the top is a large, round medallion with a flower-like decoration in its center, with eight petals; its outer frame incorporates the verse "One who finds a wife has found good" (Mishlei 18:22), and along the petals are verses from Yeshayahu (61:10-11; 62:1). The ketubah decorations resemble the style of ketubot from Thessaloniki during the same period.
Despite the bounty of documented ketubot in Izmir – which was home to one of the largest, most prosperous Jewish communities in the Ottoman Empire, and the second most important in Turkey – only a few decorated ketubot from the early 19th century survive. In his article on decorated ketubot of the Ottoman Empire, Prof. Shlomo Sabar notes (see below) that only two ketubot survive from this period (up to the 1830s), dated 1828 and 1830. The NLI ketubah site documents only two earlier ketubot from Izmir.
De Chaves was an important and well-established family in Izmir. Members of the family are mentioned in the Chevra Kadisha book of Izmir, Constantinople 1750, which records the names of society members since the mid-17th century.
66X87.5 cm. Overall good condition. Many folds and creases, affecting decorations. Some stains, mainly to margins. Several tears and missing pieces in margins. Uneven trimming of bottom margin (apparently original).
Reference: Shalom Sabar, "Decorated Ketubbot", in: Sephardi Jews in the Ottoman Empire: Aspects of Material Culture, edited by Esther Juhasz, Jerusalem: The Israel Museum, 1990, pp. 218-237.
Decorated paper ketubah, for the wedding of Yosef son of Nissim Angel and Sarah daughter of Moshe Lisbona. Damascus, Syria, 2nd Elul 5656 [August 11, 1896].
Ink and paint on paper; gold-colored patterned papercut.
Ketubah on a rectangular sheet of paper. The ketubah text appears in the center, on the bottom half, in Sephardic cursive script (with some words written in square script), with signatures of the witnesses below: R. Meir Tarab and R. Yaakov Yosef HaKohen Tarab (Chief Rabbi of Beirut).
The ketubah text is located within a rectangular frame headed by a decoration resembling a crescent or arch, with two blue flowers with verses of blessing in square script below. The rectangular frame is topped by a large vase made of gold-colored patterned paper, from which stems of colorful flowers extend. The upper margins have two more mounted papercuts, granting the upper border an arch-like aspect. To the left and right of the ketubah text are two large cypresses; outer frame with repeating vegetal pattern.
47.5X66.5 cm. Overall good condition. Stains. Folding marks, slightly affecting text and decorations. Old moisture damage, slightly affecting text and illustrations.
