...A growing and vital secular community encourages a more liberal interpretation of the Second Commandment,
and human figures appear more often than in Diaspora hanukkiot. While women and children are also depicted,
masculine motifs and bold designs often assert the ‘new Jew.’ Other figures now include usually heroic,
but sometimes whimsical, depictions of contemporary and ancient man and popular icons.
Esthetic license, such as various placements of the Shamash or use of multiple levels for the candles,
sometimes even conflict with traditional religious conventions and practices.
Some hanukkiot are made in traditional Diaspora candelabrum or bench styles or their symmetrical contemporary
versions. Some are variations on specific editions of contemporary or classic European masters. In others, these
basic designs are elaborated and new formats added, such as Aladdin lamps (based on ancient oil lamps,)
hybrids, asymmetric and free-forms, and musical and electric hanukkiot. Others portray sketches or
even paintings, reminding us that hanukkiot are works of art. Traditional, Bezalel, Art Nouveau, Art Deco,
Eames, and other design elements are pure or blended. Images are executed in highly sculpted three-dimensions,
bas relief, and detailed metal craft and grillwork, or are just painted. Large and miniature or oil and candle versions
often come in pairs or families.
Added to traditional materials and techniques are modern materials like steel or aluminum,
or Timnah copper and turquoise stones, olivewood, glass, iron, stone, ceramics, pewter, and other indigenous
or readily available inexpensive materials. Modern techniques incorporate the use of machines, welding, etc.
Surface finishes and other variations reflect traditional and modern metal finishing techniques, and references
to ancient techniques in painted or enameled faux design, or actual small tile or stone mosaics, color, and a
symmetry appear. Polished brass, painted, baked enamel, lacquered, or verdigris1 versions
or combinations can be seen of the same design...
Endnote
1 Founder, owner, and chief designer of Pal-Bell Maurice Ascalon brought from Europe a
technique of applying hot chemicals to the surface of copper to produce a greenish finish
known as verdigris. While the process had been used in Europe for larger sculptures, Ascalon
was one of the first to use it widely in smaller metal craft. (Carl Sorensen of Philadelphia had
made small Arts and Crafts verdigris pieces ca. 1900.) The appearance and color became
popular and widely imitated, but Pal-Bell’s had been the best. As it ages, it often wears off.
Its use ceased after the early 1960s because it was not safe for workmen. The greenish
color became identified with Israeliana, and used in painted lacquered or baked versions
since, sometimes referred to as ‘faux verdigris.’ In this book, we refer to either the authentic
or later painted versions as ‘verdigris.’
