DESCRIPOTION : Here for sale is a FINE , Around 75 years old litho empty TIN CAN of the ERETZ ISRAEL "SHEMEN" pure PASSOVER Kosher OLIVE OIL ( "Kasher LePessach" is embossed on the tin ) which was produced in ERETZ ISRAEL during the late 1940's up to the late 1950's , After the establishment of the STATE of ISRAEL and its 1948 WAR of INDEPENDENCE . The typical illustrated LITHO TIN CAN as well as the BOTTLE LABELS and ADVERTISEMENTS were designed by the Bezalel artist ZEEV RABAN , Depicting a covoy of camels at the TOMB of RACHEL in BETH LEHEM - JERUSALEM . Also present is an impressive logo of the "SHEMEN" factory in HAIFA , Main manufactor of OIL and OLIVE OIL products, Passover Kosher OLIVE OIL tin from Eretz Israel . Excellent for display since its upper face is still sealed with a visible KASHER LEPESSACH mark. 4 x 2.5 x 6.5 ". 0.89 liter ( Around 1 Kilo ).  The empty TIN CAN is in an excellent condition inspite its age ( Around 60 years old !! ) , The litho is still glossy and vivid, The tin is rigid and in good condition, A few scratches. ( Pls look at scan for accurate AS IS images )  TIN CAN will be sent inside a protective packaging .
 PAYMENT : Payment method accepted : Paypal & All credit cards.
 
SHIPPMENT : Shipp worldwide via registered airmail is $ 25 .Will be shipped inside a highly protective packaging. Handling  around 5-10 days after payment. 

About Shemen
Industries Ltd The Idea The idea of innovating and founding an industry in Israel was first raised in the beginning of the previous century by a group of Hovevei Zion from Minsk, Russia. In 1903, Nahum Wilboshvitz (later known as Wilbosh), who headed the group, came to Israel in order to check the possibilities of industrial development in the country: searching for energy sources, examining ways of improving and developing the traditional industries, mainly of oil and soap. Wilbosh proposed to establish a company, which will engage in secondary production of olive oil made of rape once the oil is extracted. At the time, the process was performed using wood-pressers. Wilbosh suggested using chemical resources such as gasoline. The Foundation On a crowded land with olive plantations and oil-pressers that sell rape, a place was found. 100 dunam were bought from the land of Haditha village (located north-east of Lod). Wilbosh traveled to Europe in the purpose of learning the process of chemical extraction and ordering the required equipment. "Hadid" factory, later known as "Ben-Shemen", was established in 1905 with the financial assistance of Jews from Tzritzin who accepted Wilbosh's enterprise. The factory began working by the end of January 1906, when all the equipment arrived. The first season was not particularly blessed – out of 260 tons of rape, only 10% of oil was produced, and by the end of the season, the amount of oil reduced to merely 5-6%. The factory was used by Petach-Tikva and Rehovot's farmers. "Atid" Factory In 1906 Wilbosh married Shoshana Fineberg. Along with Shmuel and Eliyahu Berlin, he founded "Atid" company: a factory for oil and soapwort (i.e. extracting rape oil and soap). "Achad ha'Am" named the factory and "Hadid" factory joined the company. After purchasing a property on the seashore in Haifa, the factory was built from hewn stone (later it became a museum of oil industry). Nahum Arman managed the soapery, and the number of "Atid" workers amounted to 100 families within two years. Once the iron-pressers started working in the traditional industry, the percentage of rape oil decreased meaningfully, and thus, rape oil gradually became less profitable. Due to economic difficulties, the factory was shut down in 1910 and the factories were leased. Nahum Arman continued with a limited soap manufacturing until 1922. Establishing "Shemen" Despite the difficulties, Nahum Wilbosh did not give up, and in 1919 he founded "Shemen" company in London together with his brothers Moshe and Gedaliah Wilboshvitz and Eliyahu Panison. Since they needed a duty free port in order to export, they planned on building one near Caesarea. Houses were leased and schemes were written, but the British government objected, in spite of Zeev Jabotinsky's lobbyism. In 1922 Nahum and Gedaliah Wilboshvitz began establishing "Shemen" factory near "Atid" factory and started assembling the machines. In the new factory, advanced methods of manufacturing and machinery were integrated – hydraulic pressers and diesel engines as well as a modern refinery and soapery. The factory's engines were inaugurated in December 1924 by the British High Commissioner, Sir Herbert Samuel. "Shemen" factory put much effort in prompting and marketing the consumption of Israeli products, and was among the first factories which took a major part in building the country. The Modern Oil Industry At later times it was found that extracting oil from olives rape damages the oil quality, and therefore, this method of oil production was stopped at the late 70's. The oil industry moved to producing oils from grains of different plants such as: soybean, safflower, sunflower and corn whereas the olive oil industry returned only to a mechanical method of manufacturing by olive crushing, extracting the mash and separating the oil juice from the oil. Today "Atid" factory is located on the grounds of the "Shemen" factory in Haifa, and it has a museum which displays the oil industry in Israel, since ancient times to the beginning of manufacture until nowadays ******** A dove carrying an olive branch is one of the historical symbols of the Jewish people and of the State of Israel. The dove is a symbol of peace, and the olive branch represents the close ties between the Jewish people and the Mediterranean olive tree. These two elements also symbolize the link between the young state and its ancient two-thousand -year-old history in which the olive tree and its oil played an important role. Olive presses and olive oil constitute an entire culture in Israel. This culture began in ancient Biblical times when olive trees and oil were loved and revered. Israel is referred to in the book of Deuteronomy Chapter 8:7 as “A land of olives, oil, and honey.” Olive pits have been found dating back 6,000 years ago, and dozens of ancient olive presses bear witness to the many olive groves and the part that the industry played in the lives of people long ago. Olive oil was and still remains one of the most important agricultural products and was used for food, light, heat, medicinal treatments and cosmetics, as well as cleaning and hygiene. Olive oil also played an important role in religious rituals, and was used for anointing priests and kings, for libations, and burials. During Biblical times the entire season of the olive harvest signified a time of festivities. Today olive festivals mark this tradition and the olive harvest is celebrated in the fall with festivals and activities. Families make excursions to visit olive groves and to harvest olives together with the farmers, and to watch the olives being pressed. Restaurants serve special gourmet meals during the season featuring olives and olive oil. Musical events, nature walks, workshops, and other activities are held that center around the olive harvest and the production of olive oil. Israel is a country where olive trees are considered sacred, and where olive oil is a symbol of abundance and health. Tourists who are in the country during the harvest season can also join in the many interesting and colorful events that accompany the olive harvest. ******* Ze’ev Raban (1890-1970) was a leading painter, decorative artist, and industrial designer of the Bezalel school style, and was one of the founders of the Israeli art world.Life Raban was born Wolf Rawicki in Łódź, Congress Poland, and began his studies there. He continued his studies in sculpture and architectural ornamentation at a number of European art academies. These included the School of Applied Art in Munich at the height of the Jugendstil movement, the neo-classical studio of Marius-Jean-Antonin Mercié at the Académie des Beaux-Arts, and the Royal Academy of Art, Brussels, then a center of Art Nouveau, under symbolist and idealist artists Victor Rosseau and Constant Montald. Under the influence of Boris Schatz, the founder of the Bezalel Academy, Raban moved to the land of Israel in 1912 during the wave of immigration known as the Second Aliyah. He joined the faculty of the Bezalel school, and soon took on a central role there as a teacher of repoussé, painting, and sculpture. He also directed the academy's Graphics Press and the Industrial Art Studio. By 1914, most of the works produced in the school's workshops were of his design. He continued teaching until 1929.[2] In 1921, he participated in the historic art exhibition at the Tower of David, the first exhibit of Hebrew artists in Palestine, which became the first of a yearly series of such exhibits. Works Raban is regarded as a leading member of the Bezalel school art style, in which artists portrayed both Biblical and Zionist themes in a style influenced by the European jugendstil (similar to Art Nouveau) and by traditional Persian and Syrian styles. Exemplars of this style are Rabban's illustrated editions of the of Book of Ruth, Song of Songs, Book of Job, Book of Esther, and the Passover Hagadah.[2] Like other European art nouveau artists of the period such as Alphonse Mucha Raban combined commercial commissions with uncommissioned paintings. Raban designed the decorative elements of such important Jerusalem buildings as the King David Hotel, the Jerusalem YMCA [3], and Bikkur-Cholim Hospital. He also designed a wide range of day-to-day objects, including playing cards (in the spade suit, the King is Ahasuerus, the Queen is Esther, and the joker is Haman), commercial packaging for products such as Hanukkah candles and Jaffa oranges, bank notes, tourism posters, jewelry, and insignia for Zionist institutions. "Raban easily navigated a wealth of artistic sources and mediums, borrowing and combining ideas from East and West, fine arts and crafts from past and present. His works blended European neoclassicism, Symbolist art and Art Nouveau with oriental forms and techniques to form a distinctive visual lexicon. Versatile and productive, he lent this unique style to most artistic mediums, including the fine arts, illustration, sculpture, repousee, jewellery design, and ceramics."[4] Raban also designed a wide range of Jewish objects, including Hanukkah menorahs, temple windows, and Torah arks.[5] Temple Emanuel (Beaumont, Texas) has a notable set of six windows, each 16-feet high]. The windows were commissioned from Raban in 1922 by Rabbi Samuel Rosinger. Each window depicts an event in the life of one of the principal Hebrew prophets, Jeremiah, Elijah, Elisha, Ezekiel, Moses, and Isaiah. [6] Raban collaborated with other artists to produce versions of his work as ceramic tiles, a number of which can still be sees on buildings in Tel Aviv and Jerusalem, including the Bialik House. The 1925 Lederberg house, at the intersection of Rothschild Boulevard and Allenby Street features a series of large ceramic murals designed by Raban. The four murals show a Jewish pioneer sowing and harvesting, a shepherd, and Jerusalem with a verse from Jeremiah 31:4, "Again I will rebuild thee and thous shalt be rebuilt."[7] Notes ^ Israeli painting: from post-Impressionism to post-Zionism, By Ronald Fuhrer, Overlook Press , 1998 , p. 24 ^ a b AATC Artists - Ze'ev Raban ^ Jerusalem International YMCA - Architecture: the building Spertus | Spertus Museum | Chicago ^ Jewish Stars in Texas: Rabbis And Their Work, By Hollace Ava Weiner, Jimmy Kessler, Texas A&M University Press, 2006, p. 241 ^ Chaim Nachman Bialik Home, in Batia Carmiel, Tiles Adorned City; Bezalel ceramics on Tel Aviv Houses, 1923-1929, Eretz Israel Museum, Tel Aviv, copyright 1996, book in Hebrew and some English with illustrations Further reading Books Raban Remembered: Jerusalem's Forgotten Master, Essays and Catalogue of an Exhibition at the Yeshiva University Museum, December 1982 Ze'ev Raban, A Hebrew Symbolist, Batsheva Goldman Ida, Tel Aviv Museum of Art, 2001, 233 pp. Zeev Raban, 1890-1970, By Zeev Raban, Malka Jagendorf, Published by Mayanot Gallery, Jerusalem,1993 Articles Goldfine, Gil. “Zeev Raban and the Bezalel style,” (Jerusalem Post , 2001-14-12) Cohen, Nurit Shilo. The "Hebrew Style" of Bezalel, 1906-1929. The Journal of Decorative and Propaganda Arts, Vol. 20. (1994), pp. 140–163 Manor, Dalia. “Biblical Zionism in Bezalel Art,” Israel Studies 6.1 (2001) 55-75 ******* Born and initially trained in Lodz, Poland, Ze'ev Raban (1890-1970) studied in a variety of academies around Europe - the School of Applied Art in Munich, the Beaux-Arts Academy in Paris, and the Royal Academy of Art in Brussels. In 1911 he met Boris Schatz, the founder of the Bezalel Academy, a Zionist inspired school begun in 1903 to encourage a new Jewish cultural/art/craft tradition in the Jewish homeland. In the latter half of the 19th and the early 20th centuries a number of centers were established in order to develop "new" decorative arts. Among the more famous were the firms of William Morris and Christopher Dresser in England, the Faberge's in Russia, the Wiener Werkstette in Austria, and the Tiffany Studios in the United States. These and similar workshops, frequently based on a political or sociological ideology, profoundly influenced the arts, crafts, architecture and industrial design of the societies within which they functioned. Schatz's goal for the Bezalel Academy and Workshops, in which Raban participated starting in 1912, was to establish a Jewish arts and crafts tradition that combined the best of European and indigenous Middle-Eastern cultures. Raban soon became a major influence at the Bezalel. He played a central role at the Academy teaching repoussי work, painting, and sculpture and then directing the Graphics Press and the Industrial Art Studio of the Bezalel Academy. By 1914 the majority of works produced in the Bezalel workshops were designed by Raban. Raban was also an influential industrial designer in Palestine and later Israel. He designed posters, consumer goods packaging (the most reproduced of which must have been the "classic" 44 Chanukah candle box), and architectural elements for many of the important buildings of Palestine such as the YMCA building, the King David Hotel, the Bezalel building, and the Bikur-Cholim Hospital. He also designed many of the ceramic tiles that still decorate Tel-Aviv buildings. But arguably his most important contributions were the illustrations he made for the various books he published - the Song of Songs, the Book of Ruth, the Book of Esther, the Book of Job, and the Passover Haggadah. These illustrations represent the pinnacle of the "Bezalel Style" - a fusion of ‘oriental' art and Jugendstil. However, with the emergence of "modernism", the influence of the Bezalel Academy, as well of the many other design schools of that period waned. Recently, the work that came from these design movements as well as the designs of Raban have garnered new attention, and Bezalel pieces are now sought after. ******** The Bezalel school was an art movement in Palestine in the late Ottoman and British Mandate periods. Named for the Bezalel Art School, predecessor of the Bezalel Academy of Art and Design, it has been described as "a fusion of ‘oriental' art and Jugendstil." [1] The Bezalel school artists blended "varied strands of surroundings, tradition and innovation," in paintings and craft objects that invokes "biblical themes, Islamic design and European traditions," in their effort to "carve out a distinctive style of Jewish" art for the new nation they intended to build in the ancient Jewish homeland. [2] The works of art created by the group contributed significantly to the creation of a distinctive Israeli national culture. [3] The Academy was led by Boris Schatz, who left his position as head of the Royal Academy of Arts in Sofia, Bulgaria, to make aliyah 1906 and set up an academy for Jewish arts. All of the members of the school were Zionist immigrants from Europe and the Middle East, with all the psychological and social upheaval that this implies. [4] The school developed a distinctive style, in which artists portrayed both Biblical and Zionist subjects in a style influenced by the European jugendstil ( or art nouveau) movement, by symbolism, and by traditional Persian and Syrian artistry.[5] Like the British Arts and Crafts Movement, Wiener Werkstätte in Vienna, William Morris firm in England, and Tiffany glass Studios in New York, the Bezalel School produced decorative art objects in a wide range of media: silver, leather, wood, brass and fabric. While the artists and designers were European-trained, the craftsmen who executed the works were often members of the Yemenite community, which has a long tradition of craftsanship in precious metals, and began to make aliyah about 1880. Yemenite immigrants with their colorful traditional costumes were also frequent subjects of Bezalel School artists. Leading members of the school were Boris Schatz, E.M. Lilien,Ya'akov Stark, Meir Gur-Aryeh, Ze'ev Raban, Jacob Eisenberg, Jacob Steinhardt, Shmuel Ben David, and Hermann Struck. The artists produced not only paintings and etchings, but objects that might be sold as Judiaca or souvenirs. In 1915, the New York Times praised the “Exquisite examples of filigree work, copper inlay, carving in and in wood,” in a touring exhibit.[6] In the metalwork Moorish patterns predominated, and the damascene work, in particular, showed both artistic feeling and skill in execution [7] ******* Bezalel Academy of Arts and Design is Israel's national school of art, founded in 1903 by Boris Schatz. It is named for the Biblical figure Bezalel, son of Uri (Hebrew: בְּצַלְאֵל בֶּן־אוּרִי‎), who was appointed by Moses to oversee the design and construction of the Tabernacle (Exodus 35:30 History The academy was founded in 1903 by Boris Schatz. Theodor Herzl and the early Zionists believed in the creation of a national style of art combining Jewish, Middle Eastern, and European traditions. The teachers of Bezalel developed a distinctive school of art, known as the Bezalel school, which portrayed Biblical and Zionist subjects in a style influenced by the European jugendstil (art nouveau) and traditional Persian and Syrian art. The artists blended "varied strands of surroundings, tradition and innovation," in paintings and craft objects that invokes "biblical themes, Islamic design and European traditions," in their effort to "carve out a distinctive style of Jewish" art for the new nation they intended to build in the ancient Jewish homeland. [1] The Bezalel School produced decorative art objects in a wide range of media: silver, leather, wood, brass and fabric. While the artists and designers were European-trained, the craftsmen were often members of the Yemenite community, which has a long tradition of craftmanship in precious metals. Silver and goldsmithing had been traditional Jewish occupations in Yemen. Yemenite immigrants with their colorful traditional costumes were also frequent subjects of Bezalel school artists. Leading artists of the school include Meir Gur Aryeh, Ze'ev Raban, Boris Schatz, Shmuel Ben David, Ya'ackov Ben-Dov, Ze'ev Ben-Tzvi, Jacob Eisenberg, Jacob Pins, Jacob Steinhardt, and Hermann Struck.[2] The school closed down in 1929 in the wake of economic difficulties, but reopened in 1935, attracting many teachers and students from Germany, many of them from the Bauhaus school shut down by the Nazis. In 1958, Bezalel won the Israel Prize for painting and sculpture (the fine arts). [3] In 1969, Bezalel became a state-supported institution. It completed its relocation to Mount Scopus in 1990. Today In 2006, the Bezalel Academy of Art and Design celebrated its 100th anniversary. Today, it is located on Mount Scopus in Jerusalem and has 1,500 students. Faculties include Fine Arts, Architecture, Ceramic Design, Industrial Design, Jewelry, Photography, Visual Communication, Animation, Film, and Art History & Theory. The architecture campus is in downtown Jerusalem, in the historic Bezalel building. Bezalel offers Bachelor of Fine Arts (B.F.A.), Bachelor of Architecture (B.Arch.), Bachelor of Design (B.Des.) degrees, a Master of Fine Arts in conjunction with Hebrew University, and two different Master of design (M.des) degrees. In the future, the academy is expected to change its location back to Jerusalem's city center, to what is now known as The Russian Compound      ebay2237/60