Abstract
Based on the example of a Lazarus Posen Witwe Hanukkah menorah with Greek gods in bas-relief, this article argues that the iconography of Jewish ceremonial objects in the age of industrial production has to be approached in a contextual manner. By unfolding the trade networks and collaborations behind these objects, like that between Lazarus Posen Wwe and Bruckmann & Söhne, it is possible to discern certain ideas of style and to date objects and documents. This also allows us to get an understanding of Jewish ceremonial objects as consumer items in Germany during the late nineteenth and early twentieth centuries.
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