DESCRIPTION : 30 years ago , The TEL AVIV Museum of ART innitiated an exhibition of The GRAPHIC IMAGES which accompanied the ZIONIST dream , The POSTERS , The PHOTOS , The ILLUSTRATED and DESIGNED images which were so typical to the FIRST YEARS of the pre ISRAEL STATE ( Palestine ) and the newly born INDEPENDENT STATE of ISRAEL . It's no wonder that the HUGE catalogue which accompanied the exhibition , Inspite the short period of only 30 years has absolutely disappeared and since then became a very SOUGHT AFTER best reference book for israeli POSTERS , PHOTOS and GRAPHIC ART and also a desired collectible by itself . The catalogue is a TREASURE BOX of numerous graphic ITEMS , All its 276 chromo pages are throughout illustrated and photographed , Loaded with beautiful as much as useful information. The richly illustrated HEBREW
BOOK - ALBUM consists of the ILLUSTRATED annals of the ZIONIST
movement in ERETZ ISRAEL ( Then also refered to as Palestine ) in the 1930's and the 1940's up to to 1950's and 1960's of the newly born INDEPENMDENT STATE of ISRAEL being a GENUINE TREASURE of NUMEROUS illustrated and photographed
HISTORICAL JUDAICA ZIONIST ITEMS and IMAGERY EPHEMERA such as : Posters , Postcards , Cards, Books ( Title
pages ) , Photographs , Advertisements , Illustrations , Books, Newspapers, Periodicals, Documents , Emblems ,
Badges, Stamps, Covers, Signes , Logos , New year ( Shana Tova ) Cards , Games, Toys , Card games, Boxes, Tzedakah Boxes , Caricatures, Illustrations, Graphic Designs ETC. A genuine TREASURE of JEWISH ZIONISM
GRAPHIC IMAGERY from the 1930's and the 1940's up to the 1950's and early 1960's . The PROFUSELY ILLUSTRATED ALBUM which was published 30 years ago in Israel is most definitely
OUT of PRINT , SCARCE and greatly SOUGHT AFTER . Richly illustrated
thick chromo WRAPPERS. 10 x 11" . 276 Thick chromo unpaged PP . Excellent condition. Clean. Tightly bound. ( Pls look at scan for accurate AS IS images ) Will be sent inside a
protective rigid packaging .
PAYMENTS : Payment method accepted : Paypal & All credit cards.
SHIPPMENT : SHIPP worldwide via registered airmail is $39 ( Very heavy volume ) .
Book will be sent inside a protective packaging . Handling around 5-10 days after payment.
The widespread custom of sending Jewish New Year's cards dates to the Middle Ages, thus predating by centuries Christian New Year's cards, popular in Europe and the United States only since the 19 century. The custom is first mentioned in the Book of Customs of Rabbi Jacob, son of Moses *Moellin (1360–1427), the spiritual leader of German Jewry in the 14 century (Minhagei Maharil, first ed. Sabionetta, 1556). Based on the familiar talmudic dictum in tractate Rosh ha-Shanah 16b concerning the "setting down" of one's fate in one of the three Heavenly books that are opened on the Jewish New Year, the Maharil and other German rabbis recommended that letters sent during the month of Elul should open with the blessing "May you be inscribed and sealed for a good year." Outside of Germany and Austria, other Jewish communities, such as the Sephardi and Oriental Jews, only adopted this custom in recent generations. The German-Jewish custom reached widespread popularity with the invention – in Vienna, 1869 – of the postal card. The peak period of the illustrated postcard, called in the literature "The Postal Card Craze" (1898–1918), also marks the flourishing of the Jewish New Year's card, produced in three major centers: Germany, Poland, and the U.S. (chiefly in New York). The German cards are frequently illustrated with biblical themes. The makers of Jewish cards in Warsaw, on the other hand, preferred to depict the religious life of East European Jewry in a nostalgic manner. Though the images on their cards were often theatrically staged in a studio with amateur actors, they preserve views and customs lost in the Holocaust. The mass immigration of the Jews from Eastern Europe to the United States in the first decades of the 20 century gave a new boost to the production of the cards. Some depicted America as the new homeland, opening her arms to the new immigrants, others emphasized Zionist ideology and depicted contemporary views of Ereẓ Israel. The Jews of 19 c. Ereẓ Israel ("the old yishuv"), even prior to the invention of the postal card, sent tablets of varying sizes with wishes and images for the New Year, often sent abroad for fundraising purposes. These tablets depicted the "Four Holy Cities" as well as holy sites in and around Jerusalem. A popular biblical motif was the Binding of Isaac, often taking place against the background of the Temple Mount and accompanied by the appropriate prayer for Rosh ha-Shanah. Also common were views of the yeshivot or buildings of the organizations which produced these tablets. In the 1920s and 1930s the cards highlighted the acquisition of the land and the toil on it as well as "secular" views of the proud new pioneers. Not only did this basically religious custom continue and become more popular, but the new cards attest to a burst of creativity and originality on the subject matter as well as in design and the selection of accompanying text. Over the years, since the establishment of the State of Israel, the custom has continued to flourish, with the scenes and wishes on the cards developing as social needs and situations changed. The last two decades of the 20 century have seen a decline in the mailing of New Year's cards in Israel, superseded by phone calls or internet messages. In other countries, especially the U.S., cards with traditional symbols are still commonly sent by mail, more elaborately designed than in the past. Thus, the simple and naïve New Year's card vividly reflects the dramatic changes in the life of the Jewish people over the last generations **** Gabriel Shamir (b. Guttel Sheftelowitz, Libau, Latvia, 1909; d. Israel, 1992) and Maxim Shamir (b. Maxim Sheftelowitz, Libau, Latvia, 1910; d. Israel, 1990), Israeli graphic designers Both of the Shamir brothers studied graphics and design at the Kunstgewerbeschule of Charlottenburg in Berlin, Germany—Gabriel in 1926-30 and Maxim in 1928-33. 1930-31, Gabriel worked for advertising agency Lintas in Berlin and, 1931-33, for advertising agency Gumaelius in Stockholm. In 1934, they opened a graphic-design studio in Riga, Latvia, but the next year immigrated to Eretz Israel (or Land of Israel, as the pre-state in Palestine was known to the Jews). The brothers arrived during the fifth wave of immigration and very soon set up the Shamir Brothers Studio at Sderot Rothschild 84 in Tel Aviv. The time was a lively and somewhat prosperous period, when the port of Tel Aviv was built (1936), the Levant Fairs were inaugurated (1932, 1934, 1936), and the first Maccabiah Games were held (1932, 1935). These and other advents created a propitious climate for those like the trained and experienced Shamirs who could create effective propaganda and advertising material, such as posters. These early years in Eretz Israel of the development of promotion and persuasion by professionals lead to the 1935 establishment of the Department of Graphics at the Bezalel Academy of Art and Design and The Society of Hebrew Graphic Artists in Eretz Israel of which the Shamirs were two of the cofounders. Because there were few Hebrew typefaces available, the Shamirs and others improvised hand-painted Hebrew letters, often into transliterated words from European languages and English. Eventually, a number of faces became available even though some were Europeanized into Hebrew letterforms that called on sans-serif fonts such as 1925 Universal by Herbert Bayer (re-formed by Jan Tischold in 1926) and 1928 Futura by Paul Renner. Whereas Franz Kraus, the Austrian graphic designer who arrived in Eretz Israel a year before the Shamirs, adhered to a uniform type style, the brothers sought typography that they felt expressed the subject matter. The story of the Shamir brothers, whose images of people were infused with an optimistic, even joyous, attitude in numerous examples, is also the story of Israel's formative years. They were empathetic partners with those enthusiastic about the future of the formation of an official State of Israel, and the Shamirs assisted the quest by visually fostering the citizens' sense of a national unity. The brothers undertook to formalize and actualize the visual symbols of Israeli sovereignty and independence. Hence, they designed the state's emblems, medals, stamps, and currency notes, including the 1949 Israeli State Coat of Arms (a hackneyed image of a menorah and olive branches). In addition, they advertised cigarettes and other consumer goods, as well as designed stamps for countries in Africa, Asia, and South America. Their posters, other advertisements, and logos from 1935 to the close of their studio in 1974—rendered for the lottery, marketing fairs, land settlement, support of the army, food rationing, anti-black-market drives, and other nationalistic efforts—express a hyped communist attitude, but not extreme or dour as in the propaganda of Bolshevik Russia. Even so, most Shamir work promoting nationalistic causes possessed a strong Israeliness and an heroic dimension which are absent in the country today. The Shamir brothers are two of Israel's most-prominent graphic designers; the others include Franz Kraus (1905–98), Dan Reisinger (b. 1934) and David Tartakover (b. 1944). ******* Franz Kraus (also known as Franz Krausz; 13 May 1905, St. Pölten, Austria – 1998, Tel Aviv, Israel) was an Israeli graphic designer. 1910–23, Kraus grew up in Graz, Austria, and claimed that his favorite place was the art studio of brother Emil Kraus. (Emil went on to study at the Akademie der bildenden Künste in Vienna and at Alexander Archipenko's own art school in Berlin, and became a prominent member of the Sezession Graz. Emil's twin brother immigrated to the United States in 1939. Their other brother, Otto, died in one of the Nazi concentration camps in the 1940s, and Emil under unknown circumstances in Paris.) Franz's first employment, arranged by his father, was as a window decorator of the bookstore of the Löwit-Verlag, a major publisher in Vienna. He had settled in Vienna in 1923 at age 18, where he resided for three years. As a Jew, his interest in Zionist issues began to develop and was encouraged by his reading the speeches of Chaim Weizman and Ze'ev (Vladimir) Jabotinsky. Kraus lived in Berlin 1926–33, where he eventually assumed the position of the sole graphic designer of the Friedrich Ernst Hübsch-Verlag (publisher). The job fulfilled his early desire to become an artist; he had envied brother Emil's talent. As a night student, he studied in the Reimann Schule in Berlin, the city where he met his wife-to-be Anni. Due to the frightening public antisemitic incidences there, he and Anni decided to immigrate to Palestine. They spent a year, 1933–34, in Barcelona (arriving there from Paris) where Franz designed Hollywood-film posters. Anni was a photographer for a German journalist whose wife was Jewish, a circumstance which possibly supported the association. Because there was no rabbi or an active synagogue in Barcelona, they could not be married as Austrian citizens and were rather wed in a civil ceremony at the German embassy. Fortunately, through a generous uncle of Anni, they were able to buy visas to Palestine, sailing from Marseille to the port of Jaffa, arriving October 1934. The Krauses moved to nearby Tel Aviv, a small, sleepy village at this time and one having only been established in 1909. Through receptive manufacturers, Franz was able to acquire clients for advertising. His forte was the design of posters. An initial client was Dubek ciagarettes, for which he worked for 45 years. Another on-going client was Elite, a candy manufacturer (today owned by Straus). Prior to Kraus who dealt with every aspect of graphic design, business people in pre-1948 Palestine and early Israel knew little about advertising methods. Even though Kraus employed photography later in his career, his most dynamic and colorful work was realized through his hand-painted artwork, frequently in gouache, sometimes calling on photographic studies shot by his wife. His best-known image, though not his aesthetic best, is the "Visit Palestine" poster of 1936. He was prolific but, even so, made very little money from frugal clients and, according to Kraus himself, was unable to work gratis. He is one of Israel's most-accomplished graphic designers; the others are Gabriel and Maxim Shamir (1909–92, 1910–90), Dan Reisinger (b. 1934) and David Tartakover (b. 1944). ******** Dan Reisinger (born 1934) is an Israeli designer of graphics, exhibitions, and stage sets. He was born in Kanjiža, Yugoslavia (now Serbia), into a family of painters and decorators active in Austria-Hungary and the Balkans. Most family members died in the Holocaust, including his father. As a teenager, he became active in the Partisan Pioneer Brigade and, with his mother and stepfather, immigrated to Israel in 1949. Reisinger initially lived in a transit camp and then worked as a house painter in order to earn money from almost any source. In 1950 at age 16, he was accepted as a student—its youngest up to the time—at the Bezalel Academy of Art and Design in Jerusalem, there to 1954. During mandatory service in the Israeli Air Force from 1954, he was the art director of its books and other publications. While there, he attended a class on postage-stamp design taught by Abram Games, who became his mentor and friend. Subsequently, he traveled, studied and worked in Europe: from 1957 in Brussels and then onto London where, 1964–66, studied stage and three-dimensional design at the Central School of Art and Design (today the Central Saint Martins College of Art and Design), designed posters for Britain's Royal Mail, and worked for other clients while making intermittent visits to Israel. Then in 1966, he returned permanently to Israel and established a studio in Tel Aviv which is today in Giv'atayim. His work has been included in numerous international group and one-person exhibitions. A large number of social-, political-, and cultural-theme posters and other graphic design, such as calendars, packaging and more than 150 logos, are superior to much of his fine art. He designed a new logo for El Al airlines (1972) and the 50-meter-long aluminum-cast relief (1978) of a biblical quotation in Hebrew on the exterior of the Yad Vashem, Israel's official museum/memorial to Holocaust victims, in Jerusalem, logos for Tel Aviv Museum of Arts, Tefen Museum of Arts, "Habima" national theater and designed 9th-15th Maccabiahs symbol and posters. His widely published self-produced “Again?” poster (1993) features a Nazi swastika (which Reisinger incorrectly made to face left) breaks apart a red Star of David in reference to the possible dreaded repeat of the Holocaust. The influences on his work—itself more widely focused than solely on social and political issues—have come from colorists, Minimalists, Constructivists, and humorists. He claims one of his more significant contributions has been to stretch the visual and communicative possibilities of Hebrew letters, through his symbols and logos. Reisinger is one of Israel's most-accomplished graphic designers; the others include Franz Kraus (1905–98), Gabriel and Maxim Shamir (1909–92, 1910–90), and David Tartakover (b. 1944). Reisinger designed the three IDF decorations the Medal of Valor, the Medal of Courage and the Medal of Distinguished Service. ******* David Tartakover (דוד טרטקובר) (born 1944) is an Israeli graphic designer, political activist, artist and design educator. He studied at the Bezalel Academy of Art and Design, Jerusalem, and is a graduate of the London College of Printing. Since 1975, he has operated his own studio in Tel Aviv, specializing in various aspects of visual communications, with particular emphasis on culture and politics. From 1976, Tatakover has been a senior lecturer in the Visual Communication Department of the Bezalel Academy, is a member of Alliance Graphique Internationale (AGI), has been a president of the Graphic Designers Association of Israel (GDAI), and is a laureate of the Israel Prize (2002). His work has won numerous awards and prizes and is included in the collections of museums in Europe, U.S. and Japan. He has established a reputation for a series of politically provocative self-produced posters, some at the time of Rosh Hashanah (the Jewish new year). His compositions are driven more by content or themes than by high aesthetics. He describes himself as "a local designer," meaning that the subjects he tackles concern Israel. He follows the mantra of Hebrew expressionist poet Avigdor Hameiri (b. Andor Feuerstein): "Freedom of opinion is not a right but a duty". Influences on Tartakover's work stem from Gustav Klutsis, John Heartfield, Alexander Rodchenko, Ben Shahn, and Andy Warhol. He claims that his mentor has been comic-book artist Bob Gill and that best work is the Hebrew-lettered "Peace Now" logo. Tatakover is one of the most prominent Israeli graphic designers; others include Franz Kraus (1905–1998), Gabriel and Maxim Shamir (1909–1992, 1910–1990), and Dan Reisinger (b. 1934).
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