Textile More Folk Art

This is an outstanding example of a late 18th/early 19th century Spanish Colonial Reliquary or table box. The emerald green combined with th...

Middle Eastern Bedouin women face veil, from the Bedouin tribes of the Sinai Desert. An amazing Niqab, Negev Bedouin veil from Palestine. Worked on a base of...

Traditional antique circa 1940s Collectible women face veil from the Sinai Bedouin Desert Garment Nikab framed in a lucite box. Museum quality well preserved Middle Eastern Bedouin women face veil, from the Bedouin tribes of the Sinai Desert. Face veil for a Bedouin Women, North Sinai Egypt or Palestine Mid 20th C. An amazing Niqab, Negev Bedouin veil from Palestine or Egypt. Worked on a base of thin red silk and cotton embroidery with antique Ottoman nickel silver coins, glass beads, wool, embroidered, stones, carnelians, glass, and amber. Mid 20th century, circa 1940-50s typical Middle Eastern traditional Arabian Bedouin, Egyptian, Palestinian face mask, garment, head dress, tribal jewelry, bridal veil. Showing heavily decorated in the bottom with silver nickel hands amulets for the Evil Eye protection and early textiles (wool and silk) and tassels hanging down. Face coverings were worn for centuries by the women of various nomadic tribal groups of North Africa and the Middle East. In the western desert of Egypt, Berber women living in Bedouin societies sometimes wear masks or veils called niqab. The veils serve multiple functions, including protecting the women’s face from sun damage, filtering dust from the air, displaying adornment, and demonstrating wealth or status. The niqab worn by Bedouin women on special occasions are sometimes elaborately decorated with coins and beads, like this one. Such masks are not for everyday use; they would be too hot and heavy. They are worn during special events, such as weddings and feasts. Face veil: 12" W x 19" L, circa 1915-1930. Last pictures are references from the book: "Traditional Palestinian Embroidery...

These heads allowed the relatives to always have a link with the deceased, second half of the 20th century.

An Intricate Jerusalem Textile, made in Jerusalem, 1886. Double-sided large pouch. Wool thread embroidered on cotton net. One side has a lion and stag holding flags reading “Jerusalem” in Hebrew, which flank a crowned Ten Commandments. Titled in Hebrew “Swift as a deer, strong as a lion” (Ethics of the Fathers 5:20). “Jerusalem” is seen in large lettering, atop a pair of birds and flowers. Top scene of the reverse side is titled “Mount of Olives”, amongst a plethora of olive trees, and a cluster of buildings is titled “Chulda the Prophetess”, (where her and others tombs reside). Main scene is titled “The Western Wall”, which features the wall and outer structures with turrets and Cyprus trees. The Hebrew date of “1886” is revealed on the bottom corners. This delicate textile, incredibly vibrant in color after 130 years of being created, is a masterful, exceedingly rare work of art produced in Jerusalem by an unknown woman --- likely quite young, a teenager --- as a gift to an unknown individual. Too complex to be a “tourist trinket”, as we know of one other similarly-made textile that is in the collection of the Israel Museum, and is dated 1876: see the book “Jewish Folk Art: From Biblical Days to Modern Times”, page 122. A clue to where perhaps this was made is in the depiction of the lion and stag holding flags, as they are identical to those featured on the crest of Moses Montefiore. In the 19th century, Montefiore gave enormous sums of money to purchase land for Jewish settlements and establish schools in Palestine. This textile most likely hailed from a school for girls funded by Montefiore, and was made as either a gift for Montefiore himself, or another wealthy donor. As to the actual purpose of this textile, since it is in the form of a large pouch, its intended purpose might have been to hold a tallit (prayer...