Auction 87 - Jewish and Israeli Art, History and Culture
Including: sketches by Ze'ev Raban and Bezalel items, hildren's books, avant-garde books, rare ladino periodicals, and more
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Plaque to mark the occasion of the Hebrew month of Adar, hand-painted by Yosef Zvi Geiger; marked with his inked stamp. Safed, Adar 5669 (1909).
This sheet is adorned with (Hebrew) verses and sayings relevant to the Hebrew month of Adar. Interspersed among the inscriptions are images of a pair of fish (representing Pisces), a pair of hands engaged in handshake, and a bottle and cup of wine and a "lekach" cake (honey cake). Marked with the inked stamp of Yosef Zvi Geiger and dated to the Hebrew month of Adar, 5669 (1909).
It was customary in Jewish communities from Eastern and Central Europe to hang up decorated plaques – either hand-painted or printed – on the occasion of the month of Adar. Such plaques would be placed over an unfinished patch in a particular spot on the wall serving to commemorate the destruction of the Temple in the home. This practice would represent a fulfillment of the Rabbinical teaching that, during the month of Adar, one should maximize joyfulness. It was considered most appropriate to have this joyfulness cover up and thus minimize the sadness that this particular unfinished patch of the building would normally signify. The plaques were made just large enough to cover the unfinished patch, roughly one square cubit. The plaques were commonly put up also in synagogues, where having a designated patch commemorating the destruction of the Temple was not customary. There was something of a generic format to these plaques, and they shared a number of common motifs, such as fish, food and drink, and other such symbols.
48X37 cm. Fair-good condition. Numerous repairs with transparent adhesive tape, with considerable resultant acidic damage from these repairs. Tears, small holes, and creases.
Yosef Zvi Geiger (1870-1944), native of Safed. One of the most prominent public figures in Safed. He served as general secretary of Safed's "Kolel" institutions, and his home was a regular meeting place for the "gaba'im" (managers) of the various Kolelim and congregations. The Yishuv's newspapers – including "Havatzelet, " "HaLevanon, " and "HaZefirah" – regularly published his articles. He also served as a scribe for the Kolelim, and assisted illiterate members of the community by writing letters on their behalf. Geiger was renowned in Safed for being both a gifted scribe and talented painter, entrusted with producing beautifully scripted documents. Among his extant works are splendid "Mizrah" and "Shiviti" plaques, calligraphic and illustrated title pages for "donors books, " certificates for donors and greeting letters, as well as papercuts in the Eastern European style. His contemporaries remember beautiful marriage contracts he produced for the city's couples, decorated with gilt lettering and floral and vegetal designs; and artworks he created to decorate the walls of the local synagogues, including gilt-lettered plaques. Among his many special talents was his ability to inscribe micrographic texts onto grains of wheat; he could fit several verses from the Bible onto a single grain. In the (Hebrew) book of memoirs by Yosef Zvi's grandson, Benjamin Geiger, entitled "One of the Elders of Safed, " Benjamin writes that his grandfather also specialized in engraving in stone (and engraved several headstones in Safed). Benjamin also relates that Yosef Zvi was a lover and champion of the Hebrew language, and in his efforts to promote the language he would put up signs with words in Hebrew on the walls of study rooms and yeshivas throughout the town, so that children would get to know these words. He personally taught the language to his children and grandchildren, ensuring they would become fluent.
Large poster with depiction of the Binding of Isaac in bold color. Along the poster border are cartouches with monogrammic representations of the word "Yerushalem" (Jerusalem); both the border and lettering conform to a style associated with the Bezalel School. At the top of the poster is the (Hebrew) inscription "And the Binding of Isaac for his descendants on this day with mercy shall You remember" (from the conclusion of the "Zikhronot" segment of the "Amidah" of the "Mussaf" prayer for Rosh Hashanah), translated into both English and German. An additional (Hebrew) inscription appears at the bottom: "Gift of memory and a remembrance of love from the Holy City of Jerusalem, may it be rebuilt and re-established speedily in our time, Amen."
60X50 cm. Fair condition. Numerous tears, including open tears (mostly to edges), professionally restored, causing some damage to print. Creases. Minor stains to edges. Matted.
Six color lithographs (signed in the plate), depicting Keren Hayesod settlements in the Jezreel Valley. Placed in the original folder, with a table of contents and a colophon leaf (Hebrew and English).
[8] plates (six lithographs and two text pages), 33.5X41 cm. Good condition. Minor stains. Creases and blemishes to margins (mostly minor). Folder worn and rubbed, with abrasions and tears. One of the inner flaps is detached, and one is missing.
French translation of the story "Cupid and Psyche, " a chapter from the novel "The Golden Ass" by Roman author Lucius Apuleius. Accompanied by 32 plates of prints after paintings by Raphael, signed in the plate "C. Normand" (Charles Pierre Joseph Normand?).
The present copy has been re-bound, with new endpapers (with the original cover mounted onto the new one). Ink drawing by poet Leah Goldberg on front endpaper; on the right, a woman (self-portrait of Goldberg?) is seen holding a sign reading "Lea Goldberg." The words "Ex Libris" appear at the top of the illustration.
[37] pp. + 32 plates, approx. 32 cm. Fair condition. Stains and an open tear to margins of endpaper with Goldberg's drawing, and strips of paper glued to same endpaper (none of this affecting drawing). Minor tears to edges of leaves. Large open tears to original back cover. Inked stamps on back endpaper.
This edition of the book is not listed in OCLC.
Provenance: The Tuvya Ruebner Collection.
Ruth Schloss (1922-2013), A Waiting Worker, 1956.
Oil on canvas. Signed and dated.
54X81 cm.
Ruth Schloss (1922-2013) was born in Nuremberg, Germany, and immigrated to Palestine with her family in 1935. When she was only sixteen, she began her studies at Bezalel, and then joined the founding group of Kibbutz Lehavot HaBashan. Schloss devoted her talents to the art and printing enterprises of the Kibbutz Movement, working as an illustrator for the newspaper "Mishmar LiYeladim" and as a book cover designer for "Sifriyat Poalim." From ca. 1950 to 1952, she studied art at the Académie de la Grande Chaumière in Paris. After returning to Israel, due to the rift in the Kibbutz Movement, she left her kibbutz.
Schloss was a member of the Communist Party, and her paintings, in the style of Social Realism, often conveyed a socialist message, exposing social gaps and the ramifications of class distinctions. Her works focused on the weaker members of society – downtrodden women, hungry children, workers, and residents of transit camps. Later, she turned her attention to the lives of women, to the helplessness of the birth experience, and to the decline of old age, all of which she painted from the perspective – and with the sensitivity – of a woman viewing human beings as rooted in their surroundings. In the words of the poet Nathan Zach: "Her motto remained the same over the years. Life itself. Without embellishment."
The present work was presented at the exhibition at the Haifa Museum of Art titled "Social Realism in the 50's, Political Art in the 90's" (1998). In the exhibition catalogue, the curator Gila Ballas write as follows: "Many of her paintings of the 1950s were labourers. 'A waiting worker… is the most important of her works in this area. Withdrawn, preoccupied with worries, he hunched on the curb waiting for casual employment to come his way. The strong realistic design, the emphatic, three-dimensional form, the dark mass on a background of bright greys, give this oil-painting a quality that recalls certain paintings by Cezanne."
Reference: Gila Ballas, Ilana Tenenbaum, and Yael Lotan (curators and eds.), "Social Realism in the 50's, Political Art in the 90's, " exhibition catalogue, Haifa Museum of Art, Haifa, 1998, Hebrew and English (p. 156; p. 89, no. 8).
Provenance: The Uzi Agassi Collection.
Yehiel Krize (1909-1968), Figures.
Oil on board. Signed.
Approx. 46X35 cm, in a 72X61 cm frame. Cracks and minor losses to paint.
Yechiel Krize (1909-1968), born in Turek (Poland), immigrated to Palestine with his family in 1923. At first, he worked as his father's apprentice, painting houses, and in his twenties, was employed as a packer in citrus orchards. At that time, having no background in art, he started painting. Later, he studied at the studios of Avigdor Stematsky and Joseph Zaritsky, and in 1935, travelled to study art in Paris. During his stay in Europe, he worked in the artists' colony in Kazimierz Dolny, Poland. In 1947-1948, he was twice awarded the Dizengoff Prize for Painting.
Krize was close to artists of the New Horizons movement, his style growing increasingly abstract over the years, especially after his seven-month stay in New York in 1958-1959. Nevertheless, he chose to work as an independent artist, not joining any group. Solo exhibitions of his work were held at the Tel Aviv Museum of Art, at the Artists' House in Tel Aviv and Haifa and elsewhere, but his works were also exhibited in the official New Horizons exhibition at the Mishkan Museum of Art, Ein Harod, in 1963.
Provenance: The Uzi Agassi Collection.
Two sheets (color lithographs) – proofs of Lotto boards designed by Nehemia Bedarshi, featuring illustrations of the fruit, vegetables, and flowers of Palestine (several boards on each sheet; in all likelihood, the illustrations were influenced by a Lotto board game featuring the flowers of Palestine created by the painter Shmuel Charuvi, one of the teachers at the Bezalel School), with proofs of several other items: a business card and bookplate (?) of Shmuel Ben David, a library card for the Bezalel library, stamps (in Hebrew and Latin letters) of Ze'ev Raban (with both his adopted Hebrew and original surnames, "Z. Raban" and "Z. Ravitzki" respectively), Miriam Ravitzki, Shmuel Ben David, and M. Aloni, among others.
Two sheets, 50X34.5 cm. Good condition. Several minor tears to edges (not affecting print).
Reference: Nurit Shilo-Cohen, "Bezalel: 1906-1929," exhibition catalogue, The Israel Museum, Jerusalem, 1983, pp. 204, 209 (in the Hebrew edition).
Comprehensive work by the art historian and curator Mordechai Narkiss, detailing – from both a historical and artistic perspective – the history and development of the Hanukkah lamp, in all its multifarious forms and variations. The book is dedicated in print to the memory of the founder of the Bezalel School of Arts and Crafts, Prof. Boris Schatz. Copy from an edition of 400 copies.
18, 102, [2] pp., LXIV pp. (plates; photographs), n pp., 31.5 cm. Good condition. Stains, mostly minor. Several tears mended with adhesive tape (not affecting text). Several leaves and plates partly detached. Strips of adhesive tape on inner margins of several leaves. Notation in pen on back endpaper. Binding with gilt impression. Minor blemishes to edges of binding.
1. "HaHalutzim" ("The Pioneers"). Jerusalem: Bney Bezalel, 1925. First edition. Hebrew.
Autograph inscription by the manager of "Bney Bezalel" publishing house, Yitzchak Narkis and his wife Frida, to Jacob Eisenberg (1893-1966).
[4], 20, [2] ff., 23.5 cm. Good condition. Foxing (some dark stains). Wear, stains and minor abrasions to binding.
2. "HaHalutzim" ("The Pioneers"). Jerusalem: Bney Bezalel, 1925. Second edition. Hebrew.
[4], 20, [2] ff., 23.5 cm. Good condition. Minor stains. Inked stamp to inside front board. Binding partly detached. Wear, stains and abrasions to boards; minor tears to spine.
3. "Dudaim". Text by Miriam Wilensky-Stekelis. Tel Aviv: Pnina, 5707 [1946].
Autograph inscription by Gur Aryeh, dated Jerusalem, 28.11.46.
[1] 20 ff. (silhouettes) + 20 printed tissue guards, approx. 30X20 cm. Good condition. Stains (mostly to cover). Bookplate to inside front cover. Cover partly detached; tears and open tears to edges and spine.
Provenance: Estate of Shlomo Kedmi.
Lot includes: • a Bakelite silhouette depicting camels and a palm tree • Four silhouette prints, one printed on postcard. Signed in the plate.
Bakelite silhouette: 11X11.5 cm. Good condition. Minor stains. Prints: size varies. Good condition. Minor stains and blemishes.
Provenance: Estate of Shlomo Kedmi.
Included: • Portraits of Ben-Yehuda, Tchernichovsky and Bialik. • Portrait of a Yemenite boy (inscribed by Gur-Aryeh; inscription dated "Pesach 1945"). • Pioneers dancing Hora. • Jews praying at the Western Wall. • Roses (two copies of the etching, colored). • And more.
All prints are signed in pencil by Gur Aryeh.
Size and condition vary.
Provenance: Estate of Shlomo Kedmi.
Meir Gur Aryeh (1891-1951), portrait of Theodor Herzl, woodcut.
Signed in the plate and in pencil.
A copy of this woodcut is held by the Petach Tikva Museum of Art and was part of the museum's exhibition entitled "Shadowscapes" in 2016-2017.
Approx. 19X14.5 cm. Good condition. Minor creases and stains.
Provenance: Estate of Shlomo Kedmi.