Judaica JEWISH POLISH PAPER CUT Hebrew ART BOOK Judaica ISRAEL Shiviti MIZRACH

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Judaica JEWISH POLISH PAPER CUT Hebrew ART BOOK Judaica ISRAEL Shiviti MIZRACH:
$95.00

DESCRIPTION : Here for sale isthe MOST regarding theJewish Judaica papercut ( Paper-Cut ) art, OUT OF PRINT , Rare and greatly sought after. WithHebrew and English text , This magnificent bookisthroughoutILLUSTRATED with numerous colored and B&W PLATES depictingthe best ofthe JEWISH PAPERCUTART . HC + Illustrated DJ.12\" x 9\" . Around 150 pp. PRISTINE condition. Mint. Practicaly unused ( Pls look at scan for accurate AS IS images ). Will besent inside a protective rigid envelope .

PAYMENTS : Payment method accepted : Paypal .

SHIPPMENT : Shipp worldwide via registeredairmail is $14 . Handling within 3-5 days after receipt of payment. Duration around 14 days. Book will be sent in a special protective rigid sealed package.

THEART OF THE JEWISH PAPERCUT In his forward to this special collection,Professor Bezalel Narkiss, of Hebrew University in Jerusalem, explains thatJewish papercuts represent a unique art form, created by mostly anonymous folkartists. At first impression they resemble naive painting or a child\'s art. Butone quickly realizes the complexity of the designs, and the knowledge involvedin their composition. Narkiss hopes that Giza Frankel\'s celebration of thisrare and disappearing art form will not only introduce it to the uninitiatedand help researchers, but also inspire contemporary artists to revive and continuethis rich tradition. The Jews became familiar with papercuts in Germanyof the 17th century, where they were known as \"Scherenschnitt\"(scissor-runs). Austrian monks and nuns went on to create\"Spitzenbilder\", splendid \"lace-pictures\" of cut paper andthe art was also known in Holland by the 18th century. But Jewish merchantsprobably met this form much earlier, in the 14th century, from travels to theFar East. Papercuts became most popular in the 19th century and into the early20th. They were made exclusively by men: pupils in heder, yeshivastudents, teachers (melamedim) and their assistants. Sometimes old menmade papercuts in their spare time. Below are samples of some of the beautiful,full-color reproductions that appear in the hardcover book The MIZRACH (Hebrewfor \"East\") papercut above is rich in motifs from the animalworld: pairs of eagles, deer, elephants, squirrels, roosters, birds, and lions.All are formed in the traditional style of Polish Jewish folk art of the 19thcentury. Similar motifs decorated the walls and ceilings of wooden synagoguesin Poland in the 17th and 18th centuries. Its dimensions are 43x34 centimeters,and it is at The Israel Museum in Jerusalem. The 19th century SHIVITI above,from Galicia in Poland, is a particularly imaginative and unusual papercut. Ofthe four pairs of lions, one has human faces. The central geometric motif isvery delicate and elaborate. Other motifs include the double0headed eagle,deer, and a pair of cocks. The text \"I have set the Lord always beforeme\" (Psalms 16:8) is distributed among the four round medallions. There isan interesting contrast between the tightly controlled, geometric pattern ofmost of the papercut, and a much freer, almost abstract painting on the blackbackgrounf, upper part of the sides.Its dimensions are 56.5x44 centimeters, andit is at the Einhorn collection in Tel-Aviv. This MENORAH (Hebrew for\"Lamp\") is from late 19th century or early 20th century Morocco.Flanked by a pair of blessing hands, with a pair of fish above, the text isfrom the psalms. IT is the same text that appears in the \"Shir Ha\'ma\'alot\" of Eastern Europe. Dimensions are 60x40 centimeters, and it is at TheWolfson Jewish Art Museum, at Solomon Hall in Jerusalem. This MIZRACH - SHIVITIis an early American papercut, well before the great wave of Jewish immigration(made in the U.S.A. in 1861; currently at The Skirball Museum, Hebrew UnionCollege, in Los Angeles). Its dimensions are 25x18.5 centimeters, and the styleis interesting because of the combination of precise geometric motifs withcurved, floral ones. The upper frame contains a gate, presumably that of theTemple in Jerusalem. It carries the inscriptions: \"This is the gate toGod\", and above it, in two separate medallions, \"I have set the Lordalways before me.\" The gate is flanked by two slender towers, with a Flagon each, and inside the Flags, there are small images of keys. At the base ofthe large Menorah, there are inscriptions, in Hebrew and in English, giving thename of the artist: Naphtali, son of Rabbi Moshe Hacohen (in Hebrew), andPhillip Cohen (in English). This SHEVUOSL from Poland illustrates, in its whitecenter, the Tables of the Law, with the inscription \"This ShevuothHoliday\", the Shield of David, and a menorah. These are surrounded bycolored images of two columns, another menorah, lions, deer, squirrels(unusual), birds, and floral motifs within a geometric frame. The three lettersinside the Shield of David are the initials of \"Time (of the) Giving (ofthe) Torah\".Papercuts were popular among the Jews of Poland and Russia inthe 19th and 20th centuries. They were also known in Italy, Germany, Holland,North Africa and The Middle-East. Jewish paper-cuts represent a unique form oftraditional folk art which had a special significance in the daily life of thecommunity and of the family. They served as ornaments, as religious articles,and frequently took on the attributes of amulets. Most European papercutswere destroyed during the Second World War. Those which survived, are to befound in museums and private collections. This beautiful book contains over 50reproductions of papercuts, in full color and with detailed descriptions inboth Hebrew and English. The bilingual edition reviews origins, developments,and present conditions of this art.. About the author: Dr. GizaFrankel, was an internationally renowned ethnologist. For over 50 years, sheresearched extensively papercuts, costumes, and crafts of Eastern-EuropeanJews. Born in Poland, Dr. Frankel studied at Vienna and Lvov universities, andworked at The Department of Ethnology of The Lvov University until the latethirties. After World War 2, she served as the curator of The Warsaw JewishHistorical Institute Museum. Following her move to Israel in 1950 (with her childrenZygmunt and Stella), she worked at The Haifa Museum of Ethnology and Folklore.Dr. Frankel authored many publications on the above subjects, and organizednumerous exhibitions