1930 Palestine ABEL PANN Bezalel ART PORTFOLIO Biblical 12 LITHOGRAPHS Judaica

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1930 Palestine ABEL PANN Bezalel ART PORTFOLIO Biblical 12 LITHOGRAPHS Judaica:
$355.00

DESCRIPTION : Here for sale is a RARE PORTFOLIO of exquisite BEAUTY and ARTISTIC IMPORTANCE . It\'s an art portfolio of TWELVE LITHOGRAPHS by the BEZALEL ARTIST , The legendary painter , Bible interpreter ABEL PANN. All lithographs are SIGNED IN THE PLATE by Pann. The LITHOGRAPHS were published around 80 years ago ( Ca 1930\'s ) in Eretz Israel ( Then also refered to as Palestine ) by the \"ABEL PANN ART PUBLISHING SOCIETY JERUSALEM\" . It depicts \"TWELVE BIBLICAL SUBJECTS\" and actualy depicts SCENES and PROTAGONISTS of the book of GENESIS. The LITHOGRAPHS are of EXQUISITE BEAUTY . Captures in Hebrew and English , Being quotes from the Biblical book of GENESIS. PORTFOLIO- FILE of folded thin cardboard . 12 loose throughout illustrated LITHOGRAPHIC SHEETS of special heavy stock . All lithographs are signed in the plate by Abel Pann . The captures , Namely Biblical quotes are in Hebrew and English. Good condition . The portfolio was worn and torn and was restored , Using its original components. The 12 lithographs are in very good condition. Clean . A few lithographs suffer of very slight wear of margins. ( Pls look at scan for accurate AS IS images ) . Will be sent inside a protective rigidpackaging .
AUTHENTICITY : Thisis an original ca 1930\'s copy , Not a recent reproduction ,The PORTFOLIO holds alife long GUARANTEE for its AUTHENTICITY and ORIGINALITY.PAYMENTS : Payment method accepted : Paypal.SHIPPMENT : SHIPP worldwide via expedited insured trackable registered airmail is $ 18.Portfolio will be sent inside a protective rigid envelope . Handling within 3-5 days after payment. Estimated Int\'l duration around 10 days.

Abel Pann (1883–1963), born Abba Pfeffermann in Latvia[1] or in Kreslawka, Vitebsk, Belarus,[2] sources vary, was a European Jewish artist who spent most of his adult life in Jerusalem.Early career and war paintingsPann studied the fundamentals of drawing for three months with the painter Yehuda Pen of Vitebsk, who also taught Marc Chagall.[1] In his youth, he traveled in Russia and Poland, earning a living mainly as an apprentice in sign workshops.[1] In 1898 he went south to Odessa where he was accepted into the Academy of Fine Arts.[1] In 1903, he was in Kishinev where he documented the Kishinev pogrom with drawings; an effort that is thought to have contributed to his self-definition as an artist who chronicles Jewish history.[1] Still in 1903, he moved to Paris, where he rented rooms in La Ruche, a Parisian building (which still exists) where Modigliani, Chagall, Chaim Soutine and other Jewish artists also lived.[1] Pann studied at the French Academy under William-Adolphe Bouguereau.[3] He earned his living primarily by drawing pictures for the popular illustrated newspapers of the era.[1] In 1912, Boris Schatz, founder and director of the Bezalel Academy of Arts and Design visited Pann in Paris and invited him to come work in Jerusalem.[1][2]In 1913, after traveling in Southern Europe and Egypt, Pann arrived in Jerusalem where he had decided to settle for life.[1][3] Pann went to see Schatz and it was decided that he would head the painting department at the Bezalel Academy for several months while Schatz embarked on an extensive overseas fund-raising trip.[1] According to Haaretz art critic Smadar Sheffi, a work form this period with the simple title \"Jerusalem\" shows a cluster of buildings at sunset \"with a sky in blazing orange.\" The painting is \"more expressive and abstract that is typical of his work,\" and Sheffi speculates that \"the encounter with the city\" of Jerusalem was a \"strong emotional experience\" for the artist.[1]Pann returned to Europe to arrange his affairs before moving permanently to the British Mandate of Palestine, but was caught on the continent by World War I.[1] Pann\'s wartime paintings would prove to be among \"the most important\" of his career.[1] He made many posters to support the French war effort.[1] He also made a series of fifty drawings showing the extreme suffering of Jewish communities caught in the fighting between Germany, Poland and Russia.[1] Art critic Smadar Sheffi regards them as \"the most important part of his oeuvre.\"[1] These \"shocking\" drawings put modern viewers in mind of depictions of the Holocaust.[1] Pann\'s drawings were intended as journalistic documentation of the fighting and were successfully exhibited in the United States during the War.[1] According to Pann\'s autobiography, the Russians, who were allied with the French, refused to allow a wartime exhibition of the drawings in France.[1] According to the New York Times, the drawings were published in Paris during the war, but the government intervened ot block their distribution on the grounds that they \"reflected damagingly upon an ally\" (Russia).[4]Mid-career and Bible paintingsUpon his post-war return to Jerusalem in 1920, Pann took up a teaching position at the Bezalel Academy and wrote that he was about to embark on his life-work, the painting and drawing of scenes from the Hebrew Bible.[2] He returned briefly to Vienna where he met and married Esther Nussbaum and purchased a lithographic press, which the couple brought home to Jerusalem.[2] Pann began work on a series of lithographs intended to be published in an enormous illustrated Bible, and although that series was never completed, he is widely admired for the series of pastels inspired by Bible stories that he began in the 1940s.[2] The iconography of these works is linked to the 19th century orientalism.[1] He was part of a movement of contemporary Jewish artists interested in Biblical scenes, including Ephraim Moses Lilien, and Ze\'ev Raban.[1] All three were influenced by Art Nouveau and by the Symbolist movement.[1] This influence can be seen in \"You shall not surely die,\" a colored lithograph in which the serpent is represented as a bare-chested woman.[1] The lithograph is reminiscent of the style of Aubrey Beardsley.[1]In 1924, Pann resigned from his teaching position to devote himself full-time to lithography.[2] The lithographs met with considerable success on international tours.[4] Pann told the New York Times that he found most illustrated Bibles boring, accusing the many artists who had illustrated Bibles before him of tending \"to produce an impression that the Bible itself is a tiresome volume.\"[5] He said that he wished to present the Bible\'s characters as \"possessing the passions of human beings... with their virtues and vices, loves and hatreds.\"[5]Especially in his pastels, Pann envisioned Rachel, Rebekah, and other Biblical women as child-brides and imagined the teen-aged Jewish girls from Yemen whom he used as models along with young Bedouin girls, regarding both Yemenites and Bedouins as authentic oriental types.[2] He posed them in elaborate traditional wedding and festival clothing and jewelry.[2] In the twenties, the period when Pann was painting them, Yemenite and Bedouin girls did marry at the age of puberty.[2] He often captured not only their youth and beauty, but the anxiety of a young girl about to marry a man she might hardly know.[2] Other pastels capture the elderly matriarch Sarah looking \"absolutely alive\" and the care-worn facts of Jerusalem\'s Yemenite Jewish laborers, posed as Biblical patriarchs.[2]Pann\'s work reveals an intimate familiarity with the work of Rembrandt, James Tissot, and other European painters of biblical scenes.[2][4] Among his most original approaches was a pastel of Potiphar\'s wife. This familiar theme had for hundreds of years and in the hands of innumerable artists conventionally depicted a mature beauty seducing an innocent youth, Joseph. According to art critic Meir Ronnen, Pann\'s interpretation, a late period pastel dating from the 1950s, depicts Potiphar\'s wife as a spoilt child, an extremely young and very bored girl who is \"possibly just one of the lesser playthings of a gubernatorial harem.\" She turns her bored gaze on the young Israelite. Ronen considers her to be \"the most brilliant of all Pann\'s creations.\"[2]Pann\'s youngest son was killed in the Israeli War of Independence. After that loss, he turned to painting scenes of the Holocaust.[2] He died in Jerusalem in 1963.[2]For many years, Pann was considered an important artist in Israel, and had even greater success among Jewish art consumers abroad, but he \"outlived his artistic times,\" fading in importance beside the new, modernist painters.[1][2] Although many of his paintings are in museum collections, private collectors can sometimes find them at galleries such as the Mayanot Gallery.[3] In 1990 art curator and Israeli art historian, Shlomit Steinberg submitted an MA thesis at the History of Art department of the Hebrew University, Jerusalem, titled: \"The Image of the Biblical Woman as Femme Fatale in Abel Pann\'s Works\".ExhibitionsAbel Pann Paints the Bible, The Israel Museum, Jerusalem. Curator: Yigal Zalmona. (2003)[1]\"Abel Pann - The painter of The Bible, Catalogue by Shlomit Steinberg and Felix Salten, The Jewish Museum, Vienn (2001).[6]Abel Pann, Mayanot Gallery, Jerusalem. (1987)[6]Paintings, Drawings, and Lithograph by Abel Pann,\" Art Institute of Chicago, (1920) [7]Books and articlesShlomit Steinberg (1991) \'The Image of the Biblical Woman as Femme Fatale in Abel Pann Works\' (Jerusalem): MA Thesis, The Hebrew University Yigal Zalmona (2003), The art of Abel Pann: from Montparnasse to the Bible, Jerusalem: The Israeli Museum. Abel Pann (1883-1963), born in Latvia, was one of the pioneers of Israeli art. As a young child, he studied painting and later, traveled around Russia. At the age of 20 he moved to Paris, where he studied art. During this period, his humorous caricatures were published in many French newspapers. In 1921 Pann arrived to Israel and joined the teaching staff at the Bezalel academy of arts, after being invited by its founder, Boris Schatz. Pann is best known for his biblical paintings which depict the characters of the bible as exotic figures with authentic oriental appearance. Pann believed that in order to achieve a genuine impact, the Bible series should only be painted in Israel. Abel Pann\'s work influenced many Israeli artists in the 1920\'s and 1930\'s, who perceived the oriental style as having a social and political mission. Abel Pann: A prominent and influential member of the first generation of Israeli artists, Abel Pann first studied art techniques in Vitebsk, under Yehuda Pen. He then travelled within Russia and Poland, earning a living mostly as a sign painter. In 1898 Abel Pann enrolled in the Academy of Fine Arts, Odessa. Five years later he visited Kishinev and chronicled the impoverished living conditions of the pogrom residents there. This would form the genesis of the drawings and lithographs he made during World War One concerning the extreme sufferings of those living in the Russian pogroms. Pann was in Paris during the war and intended to publish his lithographs of the Russian pogroms under the title, Road of Tears; however, the Russian Minister in Paris convinced French officials to foroffer its publication. Abel Pann first moved to Paris in 1903, renting rooms in a building which was called, \'La Ruche\' (\'The Hive\'). Other occupants there included Marc Chagall, Chaim Soutine and Amedeo Modigliani. Pann enrolled at the Academie des Beaux-Arts to study painting under Bourguereau. At the same time he began illustrating for journals and newspapers. By 1912 Abel Pann had established enough recognition for his art that Boris Schatz, the founder and first director of the Bezalel Academy of Arts, invited him to work in Jerusalem. Pann visited the city in the following year and decided to make it his permanent home. He returned to Paris to settle his affairs but was forced to stay there due to the outbreak of the First World War (1914-1918). At this time he created posters and prints for the Allied Cause, as well as the suppressed Road of Tears portfolio of lithographs. Pann permanently settled in Jerusalem in 1920. In this year his paintings, drawings and lithographs were the subject of a large exhibition at the Art Institute of Chicago. Consequently in the following years there were many American collectors of his art. Abel Pann took a teaching post at the Bezalel Academy and imported a lithographic press from Vienna, which was the first in Jerusalem. He began working almost immediately on the lithographs for The Bible (1924) and The Five Books of Moses (1930), and dedicated most of his efforts to these lithographic portfolios during the decade. In fact he resigned from his teaching post at the Academy in 1924 to devote all his energies to the Biblical lithographs. Abel Pann\'s later years saw their share of misfortunes. As the decade of the Depression took its toll, customers, both at home and abroad, for his lithographs and paintings diminished. As well, the twentieth century taste for abstraction and other avante guarde movements slotted his representational style as archaic. Pann lost a son in the Israeli War of Independence and dedicated his final years mostly to paintings images relating to the Holocaust. Today the fine art of Abel Pann is included in the permanent collections of the Hecht Museum, University of Haifa, Haifa Museum of Art, The Israel Museum, Jerusalem, Tel Aviv Museum of Art, Jewish Museum, Prague, Duke University Library, and the Tyler Museum of Art, Tyler, Texas. ABEL PANN Abel Pann was born in Lithouania. He began his artistic studies in Odessa and continued them in Paris. A number of his pictures have been acquired by the French Government, by the Municipality of Paris, by the Museum of Luzembourg and by the Art Institute of Chicago and a series of 45 pictures has been purchased in America for the National Museum of Jerusalem. The Palestine Art Publishing Co. Ltd Jerusalem Abel Pann wrote: The task I have set myself involves a serious responsibility. The enthusiasm which my work arouses in me is often clouded by painful doubts and questionings. For that same Book which has inspired many a genius to produce his masterpiece has proved to be beyond the reach of a far greater number of artists. A son of the race which produced this marvelous Book. I feel that I, better than some others, may be able to seize its true spirit, and to communicate it to my fellow-men. But the absolute truth is with G-d alone. Mankind is ever the subject to error. And so I entreat the indulgence of my judges. The term Bezalel school describes a group of artists who worked in Israel in the late Ottoman and British Mandate periods. It is named after the institution where they were employed, the Bezalel Academy, predecessor of today’s Bezalel Academy of Art and Design, and has been described as \"a fusion of ‘oriental\' art and Jugendstil.\" 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. 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. Like the British Arts and Crafts Movement, Wiener Werkstätte in Vienna, William Morris firm in England, and Tiffany 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 Arie, Ze\'ev Raban, Jacob Eisenberg, Jacob Steinhardt, 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 ivory and in wood,” in a touring exhibit. In the metalwork Moorish patterns predominated, and the damascene work, in particular, showed both artistic feeling and skill in execution . Bezalel Academy of Art and Design is Israel\'s national school of art. It is named after the Biblical figure Bezalel, son of Uri (Hebrew: ), who was appointed by Moses to oversee the design and construction of the Tabernacle (Exodus 35:30).It is located on Mount Scopus in Jerusalem and has 1,500 students registered in programs such as: Fine Arts, Architecture, Ceramic Design, Industrial Design, Jewelry, Photography, Visual Communication, Animation, Film, and Art History & Theory. 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) degree. The academy was founded in 1903 by Boris Schatz, and opened in 1906, but was cut off from its supporters in Europe by World War I, and closed due to financial difficulties in 1929. The academy was named \"Bezalel\" (Hebrew: \"in God\'s shadow\") as an illustration of God\'s creativity being channeled to a man of flesh and blood, providing the source of inspiration to Bezalel ben Uri in the construction of the holy ark.Many early Zionists, including Theodor Herzl, felt that Israel needed to have a national style of art combining Jewish, Middle Eastern, and European traditions. The teachers at the academy developed a distinctive school (or style) of art, known as the Bezalel school, in which artists portrayed both Biblical and Zionist subjects in a style influenced by the European jugendstil (art nouveau) and by traditional Persian and Syrian styles.Like the Wiener Werkstätte in Vienna, William Morris firm in England, and Tiffany 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 whose members had been making aliyah in small groups at least form the beginning of the nineteenth century, forming a distinctive Yeminite community in Jerusalem. Silver and goldsmithing, occupations forofferden to pious Muslims, 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, Jacob Eisenberg, Jacob Steinhardt, and Hermann Struck. The School folded because of economic difficulties. It was reopened as the New Bezalel School for Arts and Crafts in 1935, attracting many of its teachers and students from Germany many of them from the Bauhaus school which had been shut down by the Nazis. In 1969 it was converted into a state-supported institution and took its current name. It completed its relocation to the current campus in 1990. The Bible (from Koine Greek τὰ βιβλία, tà biblía, \"the books\") is a canonical collection of texts considered sacred in Judaism or Christianity. Different religious groups include different books within their canons, in different orders, and sometimes divide or combine books, or incorporate additional material into canonical books. Christian Bibles range from the sixty-six books of the Protestant canon to the eighty-one books of the Ethiopian Orthodox Church canon. The Hebrew Bible, or Tanakh, contains twenty-four books divided into three parts: the five books of the Torah (\"teaching\" or \"law\"), the Nevi\'im (\"prophets\"), and the Ketuvim (\"writings\"). The first part of Christian Bibles is the Old Testament, which contains, at minimum, the twenty-four books of the Hebrew Bible divided into thirty-nine books and ordered differently than the Hebrew Bible. The Catholic Church and Eastern Christian churches also hold certain deuterocanonical books and passages to be part of the Old Testament canon. The second part is the New Testament, containing twenty-seven books: the four Canonical gospels, Acts of the Apostles, twenty-one Epistles or letters, and the Book of Revelation. By the 2nd century BCE Jewish groups had called the Bible books \"holy,\" and Christians now commonly call the Old and New Testaments of the Christian Bible \"The Holy Bible\" (τὰ βιβλία τὰ ἅγια, tà biblía tà ágia) or \"the Holy Scriptures\" (η Αγία Γραφή, e Agía Graphḗ). Many Christians consider the whole canonical text of the Bible to be divinely inspired. The oldest surviving complete Christian Bibles are Greek manuscripts from the 4th century. The oldest Tanakh manuscript in Hebrew and Aramaic dates to the 10th century CE, but an early 4th-century Septuagint translation is found in the Codex Vaticanus. The Bible was divided into chapters in the 13th century by Stephen Langton and into verses in the 16th century by French printer Robert Estienne and is now usually cited by book, chapter, and verse. The Bible has estimated annual sales of 25 million copies,and has been a major influence on literature and history, especially in the West where it was the first mass printed book.