1929 Bezalel STEINHARDT Book HAND SIGNED 9 Woodcuts JUDAICA Jewish BEN SIRAH

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1929 Bezalel STEINHARDT Book HAND SIGNED 9 Woodcuts JUDAICA Jewish BEN SIRAH:
$450.00

DESCRIPTION : Only 800 copies of this EXQUISITE book were published , consisting of NINE original EXPRESSIONIST WOODCUTS , HAND SIGNED with PENCIL by the artist JACOB STEINHARDT . The Jewish Judaica book \" NEUN HOLZSCHNITTE ZU AUSGEWÄHLTEN VERSEN AUS DEM BUCHE JESCHU BEN ELIESER BEN SIRAH .MIT EINER EINLEITUNG VON ARNOLD ZWEIG \" Text from BEN SIRAH book , Was published by Soncino Berlin in 1929 , Limited edition of 800 copies . HAND SIGNED with PENCIL by STEINHARDT. Hebrew-German text in exquisite CALLIGRAPHY . NINE ORIGINAL Steinhardt\'s full page WOODBLOCKS of expressionist nature . Kindly note - The price for a similar copy ON LINE if you manage to locate such copy is up to $700 . The whole book is a woodcut printing. Doubled leaves. Excellent quality paper. Original HC. Vellum spine . Headings written on spine ( Pls watch my scan ) .11 x 7.75 \". (27 x 19 cm) . 24 Double leaves. Very good condition . Very slight foxing on end leaves, Almost none in inner illustrated leaves. Cover slightly soiled . ( Please look at scan for actual AS IS images ) . Book will be sent protected inside a protective rigid envelope .PAYMENTS : Payment method accepted : Paypal .SHIPPMENT : SHIPP worldwide via registered airmail is FREE . Book will be sent protected inside a protective rigid envelope . Handling within 3-5 days after payment. Estimated Int\'l duration around 14 days.

Yakov– Jacob Steinhardt was born in the then remote, largelyPolish town of Zerkow in the Posen District of Germany. (poland/german)Immigrated 1933. Studies: 1906 School of Art, 1906 Studied in Berlin Arts andCrafts School. Berlin; 1907 painting with Lovis Corinth and engraving andetching with Hermann Struck; advanced studies, 1908-10 Paris, with HenriMatisse and Steinlen; 1911 Italy. Teaching: Bezalel, Jerusalem, 1953-57Director. 1910 Participated in the “New Sezession”, Berlin. 1912 together with LudwigMeidner and Janthur he founded the \"Pathetiker\" group very early inthe German expressionist movement. Running afoul of the Nazis, he fled toTel-Aviv and then Jerusalem in the early 30s, showing in “Der Sturm” Gallery.1914 Exhibited with ludwig Meidner at first Expressionist Exhibition in Berlin.Worked mainly in woodcuts depicting biblical and other Jewish subjects. 1955-58International awards for his woodcuts. Yacov Steinhardtreceives graphiccommissions from Fritz Gurlitt. 1922 Yaacov Steinhardt Marries Minni Gumpert.Active in organizing Secession exhibits. 1925 Trips to Mark Brandenburg andHoly Land. Turns primarily to painting; stops work on etchings and lithographs.1933 Emigrates to the Palestine. 1934 Moves to Jerusalem and opens an art school;attempts some etchings. 1948 Closes the art school and becomes Chairman ofGraphics Department, Bezalel School for Arts and Crafts. 1954-57 Director ofBezalel School for Arts and Crafts. Taken up by J. B. Neumann who became theagent for his etchings. Exhibited Sturm Gallery, Herbst-salon. 1914 Outbreak ofWorld War I; Steinhardt enlists in German army. 1916-18 First on Eastern Frontin Poland and Lithuania, then after short training period in Berlin, sent toMacedonia. 1917 Exhibition of Lithuanian drawings at Berlin Secession inSpring. Elected member of the Secession. Bezalel School The Bezalel Academy ofArts and Design, was founded in 1906 by Boris Schatz. In 1903, Schatz metTheodore Herzl and became an ardent Zionist. At the Zionist Congress of 1905,he proposed the idea of an art school in the Yishuv (early Jewish settlements),and in 1906 he moved to Israel and founded the Bezalel School of Art inJerusalem. Bezalel, which was a school for crafts as well as for graphic art,became successful very rapidly. Schatz’s vision was to develop useful arts andcrafts among Palestinian Jews, thereby decreasing the dependence on charity. Atthe same time, he sought to inspire his students to create a Jewish nationalstyle of the arts, in order to promote the Zionist endeavor. The inhabitants of19th-century Palestine, both Jewish and non-Jewish, had produced mostly folkart, ritual objects and olive-wood and shell-work souvenirs, so the founding ofBezalel provided a professional and ideological framework for the arts andcrafts in Jerusalem. The school employed workers and students, of whom therewere 450 in 1913, in manufacturing, chiefly for export, decorative articlesranging from cane furniture, inlaid frames and ivory and wood carvings, todamascene and silver filigree and repousse work. A major part of Schatz’sschool was the workshops, which, starting with rug-making and silversmithing,eventually offered 30 different crafts. Workshops included the\"Menorah\" workshop where they designed relief and souvenirs made ofterra-Cotta, and the Sharar, Stantsky and Alfred Salzmann workshops whereMenorah lamps, candlesticks, brass plates for Passover, and many otherceremonial and souvenir items were made. For Schatz, Bezalel was not merely acommercial enterprise, but a stage towards a Utopian society. Intended tocreate an original national style, Bezalel artifacts were a mixture of orientalstyles and techniques with Art Nouveau features, art deco styles and influencesfrom the Arts and Crafts Movement. The exhibitions of Bezalel works in Europeand the United States arranged by Schatz were the first occasion that worksfrom Israel were exhibited abroad. During World War I, the school was closed bythe Turks. The Academy reopened after Schatz\'s death in 1935 led by the newdirector, Joseph Budko, who took advantage of the many new European immigrants\'talent and energy and succeeded in revitalizing the school. In the mid 1930\'s,Bezalel was reestablished by German and European refugee artists driven toPalestine by the Nazis, and underwent a final reorganization in 1965 thatestablished Bezalel as a school for crafts. A small museum was added to theschool which became the foundation for the Bezalel Museum later to become theworld famous Israel Museum. Bezalel strove to foster in its students a nationalstyle of art, drawing both from European techniques and Near Eastern art forms.Schatz encountered much resistance from students who were drawn to moderniststyles. In the end, they were the ones who forged the way for an indigenousIsraeli art. While centers of Jewish art could be found elsewhere early in the20th century (such as the school of Yehuda Pen in Vitebsk where Marc Chagallhad studied) these were even more short lived. The Bezalel school tradition continuedto influence the art of the Yishuv and the new State of Israel. Bezalelsubjects were a combination of traditional Jewish religious images, Zionistsymbols, Biblical themes, views of the Holy Land and depictions of the floraand fauna of Palestine. Some of the motifs included the stories of Adam andEve, Samson, and Daniel and the Lion. Often Biblical verses that expressedZionist and Kibbutz ideals were explored as well. Artists at the Bezalel Schoolused holy places, female figures and the beautiful landscapes of the holy landin their work. Zev Raban, a major Bezalel artist, also designed products forvarious artistic cooperatives that were under the control of Bezalel: for MosheMurro, Bezalel amulet artist, Raban designed many items, later executed inmetal and ivory. For the famous Bezalel Yemenite jeweler- Yichieh Yemini, Rabandesigned many jewelries and Filigree works. Renowned Bezalel School artistsinclude Meir Gur arieh, Zev Raban, Jacob Eisenberg, Jacob Steinhardt, andHermann Struck The Book of theAll-Virtuous Wisdom of Joshua ben Sira commonlycalled the Wisdom of Sirach or simply Sirach, and also known as The BookEcclesiasticus or Siracides (abbreviatedEcclus.) or Ben Sira, is a work of ethical teachings from the early 2nd centuryB.C.. (approximately 200-175 B.C..) written by the Jewish scribe Shimon benYeshua ben Eliezer ben Sira of Jerusalem. The book was not accepted into the HebrewBible and as a result the original Hebrew text was not preserved in the Jewishcanon. However, various original Hebrew versions have since been recovered. Thereare numerous citations of Sirach in the Talmud and works of rabbinicliterature (as \"ספר בן סירא\", e.g., Hagigah13a). Despite not finding ultimate acceptance into the scriptural canon ofJudaism, it was read as scripture by some Jews. For instance, it was includedin the canon of the Jewish Septuagint, the 2nd century BC Greek version of theJewish scriptures used by Diaspora Jews. Sirach is accepted as part of the Christianbiblical canon by Catholics, Eastern Orthodox, Anglican, and most OrientalOrthodox but not by most Protestants. The Greek Church Fathers also called itthe \"All-Virtuous Wisdom\", while the Latin Church Fathers, beginningwith Cyprian, termed it Ecclesiasticus because it was frequently read inchurches, leading to the title liber ecclesiasticus (Latin and LatinisedGreek for \"church book\"). In Egypt, it was translated into Greek bythe author\'s grandson, who added a prologue. The Prologue to the Book of theAll-Virtuous Wisdom of Joshua ben Sirach is generally considered the earliestwitness to a canon of the books of the prophets, and thus the date of the textas we have it is the subject of intense scrutiny. According to Jewish apocrypha,Ben Sira was the son of Yirmiyahu’s daughter who became pregnant in thebathhouse from her father Yirmiyahu’s seed. As such, Ben Sira is mentioned by Rishonimand Acharonim with regard to halakhic discussion of the possibility of becomingpregnant without intercourse. Questions remain: (1) whether the spermcontributor is considered his father; whether the offspring of parents who are forofferdenrelations to each other but who are conceived without intercourse areconsidered mamzerim; and whether in-vitro fertilization is permissible.He is also of interest because he was the grandfather of Shimon ben Yeshua benEliezer ben Sira, the author of the Wisdom of Sirach and possibly the Alphabetof Sirach. Record seekers have written that because he was born from theabsorption of semen without intercourse he was called Ben-Zer`a (בן זרע‎,\"Son of Seed\"), and when he grew up he was embarrassed by this nameand changed it to Ben Sira (בןסירא‎), which is the gematria equivalentof Yirmiyahu (ירמיהו‎). The legend is brought in the apocryphal and(semi-)heretical work the Alphabet of Sirach. The Rambam and others haveridiculed such writings as a waste of time but other Rishonim didmention it, if only skeptically or as a point in argument. The tale in Alphabetof Sirach is that Yirmiyahu was accosted in a bathhouse by onanists, who forcedhim to emit seed into the water. His seed remained viable and his daughterlater used the same bathhouse and became pregnant from the bath The halakhic rulings are as follows: Yirmiyahuwas considered his father, and ben Sira his son. Ben Sira was not a mamzer.