Original LILIEN Bezalel JEWISH Bookplate EXLIBRIS Judaica JUGENDSTIL ART NOUVEAU

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Original LILIEN Bezalel JEWISH Bookplate EXLIBRIS Judaica JUGENDSTIL ART NOUVEAU:
$75.00

DESCRIPTION : Up for sale is an ORIGINAL EXLIBRIS - BOOKPLATE which was originaly designed by E.M.LILIEN , Very propably ca 1900\'s for the Jewish ZIONIST leader and writer DAVIS TRIETSCH.The EX LIBRIS , With itsexquisite design is a beauty . The text in the exlibris is a HEBREW phrase from the Biblical book of Joshua , A phrase with a STRONG ZIONIST message \"Every place that the sole of your foot shall tread upon, that have I given unto you \" . While the illustration consists on a WORLD GLOBE with the land of ISRAEL in its center. EPHRAIM MOSES LILIEN , The Jewish-Judaica - Hebrew ARTIST of Polish origin , A friend of HERZL from the BEZALEL SCHOOL of ART in JERUSALEM Eretz Israe- Palestine was an acclaimed JUGENDSTIL - ART NOUVEAU ARTIST. LILIEN , Along with BUDKO , RABAN , GUR ARIEH , STRUCK , STEINHARDT and others was a distinguished JUDAICA ARTIST . All these BAZALEL artists , Illustrators and painters were involved in the thrilling creation of JEWISH BOOKPLATES. The bookplate size is around 4\" x 4\". The actual illustration size is around 3.5 x 2.3 \". Excellentcondition. ( Please watch the scan for a reliable AS IS scan ) Will be sent in a special protective rigid sealed packaging.

PAYMENTS : Payment method accepted : Paypal .

AUTHENTICITY : Thisis anORIGINALvintage ca 1900\'s bookplate , NOT a reproduction or a reprint , It holds a life long GUARANTEE for its AUTHENTICITY and ORIGINALITY.SHIPPMENT : Shipp worldwide via registered airmail is $ 14 . Will be sent in a special protective rigid sealed packaging. Will be sent within3-5 days after payment . Kindly note that duration of Int\'l registered airmail is around 14 days.

Theterm Bezalel school describes a group of artistswho worked in Israel in the late Ottoman and British Mandate periods. It isnamed after the institution where they were employed, the Bezalel Academy,predecessor of today’s Bezalel Academy of Art and Design, and has beendescribed as \"a fusion of ‘oriental\' art and Jugendstil.\" The Academywas led by Boris Schatz, who left his position as head of the Royal Academy ofArts in Sofia, Bulgaria, to make aliyah 1906 and set up an academy for Jewisharts. All of the members of the school were Zionist immigrants from Europe andthe Middle East, with all the psychological and social upheaval that thisimplies. The school developed a distinctive style, in which artists portrayedboth Biblical and Zionist subjects in a style influenced by the Europeanjugendstil ( or art nouveau) movement, by symbolism, and by traditional Persianand Syrian artistry. Like the British Arts and Crafts Movement, WienerWerkstätte in Vienna, William Morris firm in England, and Tiffany Studios inNew York, the Bezalel School produced decorative art objects in a wide range ofmedia: silver, leather, wood, brass and fabric. While the artists and designerswere European-trained, the craftsmen who executed the works were often membersof the Yemenite community, which has a long tradition of craftsanship inprecious metals, and began to make aliyah about 1880. Yemenite immigrants withtheir colorful traditional costumes were also frequent subjects of BezalelSchool artists.Leading members of the school were Boris Schatz, E.M.Lilien,Ya\'akov Stark, Meir Gur Arie, Ze\'ev Raban, Jacob Eisenberg, JacobSteinhardt, and Hermann Struck.The artists produced not only paintings andetchings, but objects that might be sold as Judiaca or souvenirs. In 1915, theNew York Times praised the “Exquisite examples of filigree work, copper inlay,carving in ivory and in wood,” in a touring exhibit. In the metalwork Moorishpatterns predominated, and the damascene work, in particular, showed both artisticfeeling and skill in execution . BezalelAcademy of Art and Design is Israel\'s national school of art. It is named afterthe Biblical figure Bezalel, son of Uri (Hebrew: ), who was appointed by Mosesto oversee the design and construction of the Tabernacle (Exodus 35:30).It islocated on Mount Scopus in Jerusalem and has 1,500 students registered inprograms 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 ofArchitecture (B.Arch.), Bachelor of Design (B.Des.) degrees, a Master of FineArts 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 in1906, but was cut off from its supporters in Europe by World War I, and closeddue to financial difficulties in 1929. The academy was named\"Bezalel\" (Hebrew: \"in God\'s shadow\") as an illustration ofGod\'s creativity being channeled to a man of flesh and blood, providing thesource of inspiration to Bezalel ben Uri in the construction of the holyark.Many early Zionists, including Theodor Herzl, felt that Israel needed tohave a national style of art combining Jewish, Middle Eastern, and Europeantraditions. The teachers at the academy developed a distinctive school (orstyle) of art, known as the Bezalel school, in which artists portrayed bothBiblical and Zionist subjects in a style influenced by the European jugendstil(art nouveau) and by traditional Persian and Syrian styles.Like the WienerWerkstätte in Vienna, William Morris firm in England, and Tiffany Studios inNew York, the Bezalel School produced decorative art objects in a wide range ofmedia: silver, leather, wood, brass and fabric. While the artists and designerswere European-trained, the craftsmen who executed the works were often membersof the Yemenite community, which has a long tradition of craftsanship inprecious metals, and whose members had been making aliyah in small groups atleast form the beginning of the nineteenth century, forming a distinctiveYeminite community in Jerusalem. Silver and goldsmithing, occupations forofferdento pious Muslims, had been traditional Jewish occupations in Yemen. Yemeniteimmigrants with their colorful traditional costumes were also frequent subjectsof 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 NewBezalel School for Arts and Crafts in 1935, attracting many of its teachers andstudents from Germany many of them from the Bauhaus school which had been shutdown by the Nazis. In 1969 it was converted into a state-supported institutionand took its current name. It completed its relocation to the current campus in1990. Ephraim Moses Lilien(1874–1925) was an art nouveau illustrator and print-maker particularly notedfor his art on Jewish and Zionist themes. He is sometimes called the\"first Zionist artist.\"Ephraim Moses Lilien (Maurycy Lilien) was born in Drohobycz,Galicia in 1874. In 1889-1893 Lilien learned painting and graphic techniques atthe Academy of Arts in Kraków. He studied under Polish painter Jan Matejko from1890 to 1892. As a member of the Zionist Movement, Lilien traveled to OttomanPalestine several times between 1906 and 1918. He accompanied Boris Schatz toJerusalem to help establish the Bezalel Art School. Lilien was one of the twoartists to accompany Boris Schatz to Eretz Israel in 1906 for the purpose ofestablishing Bezalel Academy of Arts and Design, and taught the school\'s firstclass in 1906. Although his stay in the country was short-lived, he left hisindelible stamp on the creation of an Eretz Israel style, placing biblicalsubjects in the Zionist context and oriental settings, conceived in anidealized Western design. In the first two decades of the century, Lilien\'swork served as a model for the Bezalel group. Artisticcareer Lilien is known for hisfamous photographic portrait of Theodor Herzl. He often used Herzl as a model,considering his features a perfect representation of the \"New Jew.\"In 1896, he received an award for photography from the avantgarde magazine Jugend.Lilien illustrated several books. In 1923, an exhibition of his work opened inNew York. Lilien\'s illustrated books include Juda (1900),Biblically-themes poetry by Lilien\'s Christian friend, Börries Freiherr vonMünchausen, and Lieder des Ghetto (Songs of the Ghetto) (1903), Yiddishpoems by Morris Rosenfeld translated into German. Deathand commemoration Lilien died in Badenweiler, Germany in 1925.TRIETSCH, DAVIS(1870–1935), Zionist leader and author. Born in Dresden, Germany, Trietsch was educated in Berlin and subsequently studied migration problems in New York (1893–99). There he conceived (1895) the idea of settling Jews in*Cyprus, but he pursued this notion only after attending the First Zionist Congress (1897). He opposedTheodor *Herzl\'s political Zionism, insisting on immediate practical settlement wherever possible in the vicinity of Palestine. He tried in vain to persuade the Zionist Movement to adopt his conception of a \"Greater Palestine,\" which was to comprise Palestine proper, Cyprus, and*El-Arish. After negotiations with the High Commissioner of Cyprus in 1899, Trietsch brought a group of 11 Boryslaw miners to the island (March 1900). This attempt ended in failure, however, because of inadequate preparation of both the settlers and of the land. He regarded Herzl\'s negotiations with the British authorities for a settlement in El-Arish (1902–03) as \"an acceptance by Herzl of his program without him.\" This led to a permanent rupture between the two men (Sixth Zionist Congress, 1903). He subsequently organized the Juedische Orient-Kolonisations-Gesellschaft in Berlin, in whose name he negotiated with the London Colonial Office (1903) concerning a settlement in Cyprus, but was turned down.Trietsch was a delegate to the First Zionist Congress and at many subsequent ones. In 1905 Trietsch opened an Information Office for Immigration in Jaffa, with branches in other cities in Ereẓ Israel, but was unable to maintain it. In 1906 he organized and participated in an expedition to El-Arish to investigate the area for Jewish settlement with a view to reopening negotiations with the British government, but this effort, too, ended in failure. He was a member of the Zionist General Council in 1907–11 and 1920–21. Some of his suggestions regarding practical settlement in Ereẓ Israel were adopted by Zionist Congresses. At first he supported the new leadership consisting of practical Zionists (from 1911 onward), but soon fell out with them and opposedArthur *Ruppin\'s \"slow settlement methods.\" During World WarIhe served in the statistical department of the German army, and after 1915 he published a number of officially sponsored pamphlets in which he pleaded for collaboration between Zionism and Germany after the war. At the request of the British government, Arnold J. Toynbee opposed these ideas and pleaded (inTurkey: A Past and A Future, 1917) for cooperation between Zionism and the Allies. After World WarITrietsch fought for his \"Zionist maximalism\" with still more fervor, believing that a chance for large-scale immigration to Ereẓ Israel was at hand and that the agricultural methods of the Zionist Organization were inadequate to handle it. He suggested planned industrial development of the country in conjunction with numerous small \"garden cities\" and propagated these ideas at Zionist Congresses and in his periodicalVolk und Land(Berlin, 1919).Trietsch was coeditor and cofounder (with Leo Wintz) ofOst und West(Berlin, 1901–02) and withAlfred *NossigofPalaestina(Berlin, 1902). He propagated his ideas in a great many books, pamphlets, and articles, includingPalaestina-Handbuch(1907 and nine subsequent editions),Juedische Emigration und Kolonisation(1917),Palaestina Wirtschaftsatlas(1922),Der Widereintritt der Juden in die Weltgeschichte(1926).Research Project by PD Dr.Stefan VogtDavis Trietsch (1870-1935) has been one of the leading voices of cultural Zionism at the beginning of the 20thcentury. He established the journalOst und Westtogether with Leo Winz in 1901, he participated in the foundation of theDemokratische Fraktionat the Fifth Zionist Congress in the same year, and he was among the founders of theJüdische Verlagin 1902. Nevertheless, Trietsch remains one of the lesser known Zionists. No systematic research into his biography and political thought has been undertaken until today. This is one of the reasons why many of his activities that are not immediately connected to cultural Zionism are almost forgotten today. Trietsch not only edited the journalPalästinafrom 1902 until 1904 and was therefore instrumental in bringing together cultural and practical Zionism. Before joining the Zionist movement, he also lived in New York City for several years, where he studied Jewish migration to the United States, and he produced a series of geographical and cultural studies on Palestine and the wider Islamic world. Moreover, Trietsch participated extensively – and affirmatively – in the debate about the expansionist and colonialist goals of German imperialism before and during the First World War, addressing in particular the role of the Ottoman Empire, Palestine and the Jews in such a scenario. Trietsch, who was born in Dresden and lived in Berlin most of his life, emigrated to Palestine in 1932 and died in Tel Aviv in 1935.The life and work of Davis Trietsch reveals that the ideas of cultural Zionism should not be seen only as cultural, spiritual or religious, but as decidedly political thought. It was in this context that questions of Jewish identity were most thoroughly discussed. Questions of identity, as questions of the relationship between the individuals and the various collective formations in which they acted, stood at the very center of most of the political thinking during the 19thand 20thcenturies, when this relationship was constantly redefined and reconstructed. This was particularly true for the Jews whose position within the emerging modern world was still more unsettled and precarious. For cultural Zionists like Trietsch, notions such as the “Orient” and “colonization” were thus utterly political concepts.In my research project, I intend to focus on two interrelated aspects of this lesser known political dimension of the thinking of Davis Trietsch. The first aspect is his approach towards the “Orient” and his appropriation of Orientalist concepts. It has often been observed that within the cultural Zionist discourse, and not least in the journalOst und West, a specific version of Orientalism was developed which strove to establish a positive image of the “Orient” and the “Oriental” Jew. Trietsch, however, went one step further and included Islamic culture, religion and politics into his view. In my project I will analyze his writings on the Islam, on Turkey, and on their relationship to the Jews, and I will discuss the ways in which he translated cultural Zionist concepts of Jewish identity into political thought. How can we understand this political dimension of Trietsch’s Orientalism, and how was this Orientalism developed into an understanding of the political role of Islam and Judaism?The second aspect which I will address is Trietsch’s confrontation with colonialism and imperialism. Especially during the First World War, but also already before, he worked out detailed schemes on how the German Empire could succeed Britain as the world’s preeminent power. Both the Islamic World and the Jews played important roles in these schemes. Yet despite openly supporting German expansionism and imperialism, and despite him developing similar imperialist phantasies as, for example, the expansionists of theAlldeutsche Verband, Trietsch’s ideas differed markedly from those of German nationalists. This is most obvious in the fact that the Orient was not relegated to a semi-colonial periphery of the German Empire, and that the Jews, in his concept, would act as mediators between the Orient and the Occident. Central to the political thought of Davis Trietsch was the idea of the decolonization of the Orient, of the Islamic nations, and of the Jews. The project will analyze the ambivalent attitude towards colonialism and imperialism displayed in this thought, and it will discuss its relationship to Trietsch’s cultural Zionist concept of Jewish identity.On a more conceptual level, the project will investigate how, in the case of Davis Trietsch, ideas about Jewish cultural identity were transformed into political thought. It will explore how this thought interacted with a constellation that was shaped by imperialism, colonialism and the beginnings of decolonization, and it will ask how Trietsch, as a Zionist, as a Jew and as a German, positioned himself within this constellation. To understand this positioning, I will make use of concepts developed by scholars of postcolonial critique such as Stuart Hall and Homi K. Bhabha. With these concepts, it is possible to grasp the relationality, fluidity and “in-betweenness” (Bhabha) of the position from which the political thought of Davis Trietsch, and possibly Jewish political thought more generally, was developed and articulated. In this sense, the project also aims at helping to bring Jewish studies and postcolonial studies closer together. Even though scholars such as Susannah Heschel, Bryan Cheyette or Aamir Mufti have already demonstrated how fascinating a perspective lies in the dialogue of these two disciplines, this dialogue is still at its very beginnings. It is fair to assume that also Jewish political thought could gain a lot from opening itself up to a more thorough conversation with postcolonial critique.Davis TrietschDavis Trietsch in Eretz Israel, 1912Berlin 1902: Gründungsmitglieder desJüdischen Verlags. V.l.n.r.: (stehend)E. M. Lilien,Chaim Weizmann, Davis Trietsch, (sitzend)Berthold FeiwelundMartin Buber.[1]Davis Trietsch(*4. Januar1870inDresden; †31. Januar1935inTel Aviv) war ein deutscher Schriftsteller und zionistischer Wirtschaftspolitiker, Mitgründer bzw. Mitherausgeber vonOst und West(Berlin 1901–1923, gegründet vonLeo Winz; im Sinn des programmatischen Titels der Zeitschrift sollten vor allem den assimilierten Juden des Westens die Kulturleistungen derJuden in Osteuropavermittelt werden), der Weg(1903) sowie der ZeitschriftPalästina(erschien von 1902 bis 1938 in Berlin, dann in München, dann in Wien).Inhaltsverzeichnis[Verbergen]· 1Leben· 2Weitere Werke/Publizistik (Auswahl)· 3Literatur· 4Weblinks· bearbeiten]Trietsch lebte nach längeren Reisen durch Europa von 1893 bis 1899 inNew York City, wo er das jüdische Wanderungsproblem studierte, zu dessen Lösung er bereits 1895, also lange bevorHerzldenpolitischenZionismus ins Leben rief, die Kolonisation aufZypernvorschlug. Spätestens seit Juni 1898 überlegte auch Herzl –weil die armen Massen sofortige Hilfe brauchen–, der zionistischen Bewegungein näheres territoriales Ziel zu geben, unter Beibehaltung Zions als Endziel; dabei dachte er anCypern, Südafrika oder Amerika.Nachdem Davis Trietsch sich der zionistischen Bewegung angeschlossen und am erstenZionistenkongressteilgenommen hatte (er war einer der insgesamt vier Teilnehmer aus Amerika, neben Rosa Sonnenschein, Adam Rosenberg und Rabbiner Schepsel Schaffer ausBaltimore, der der einzige amerikanische Delegierte war; die übrigen waren bloße Teilnehmer), stellte er sich alspraktischerZionist und Anhänger der sofortigen Kolonisation gegen Herzl und rief zu einem Kolonisationsprogramm fürGross-Palästinaauf, das über Palästina hinaus auch die beiden damals englischen Nachbarländer Zypern und El-Arisch einschloss, und das er jahrzehntelang in Büchern, Aufsätzen und Reden propagierte. Er selbst bezeichnete dies alszionistischen Maximalismus. Trietsch ließ Herzl schon im Dezember 1897 ein diesbezügliches Memorandum zukommen. In seiner Antwort vom 29. Dezember 1897 hatte Herzl den Vorschlaginteressantgenannt, hielt es abermomentannicht füropportun davon zu sprechen. Ende 1899 findet Herzl erneut die Trietsch\'schen Aktivitäten und die Ideesehr vernünftig, kann sich aber nicht öffentlich dafür erklären.Später lebte Davis Trietsch in Berlin. Dort war er auch 1902 Mitbegründer desJüdischen Verlages. Seine schriftstellerische und publizistische Tätigkeit umfasste auch die Herausgabe von Karten und Diagrammen zur Entwicklung des jüdischen Lebens in aller Welt. Im Jahr 1932 wanderte er nach Palästina aus.Weitere Werke/Publizistik (Auswahl)[Bearbeiten|Quelltext bearbeiten]· Palästina-Handbuch, Berlin 1907 (5. Aufl. 1922)· Bilder aus Palästina, Berlin 1912· Levante-Handbuch, 3. Aufl. Berlin 1914· Volk und Land(Zeitschrift, 1919)· Palästina und die Juden. Tatsachen und Ziffern, Berlin 1919· Jüdische Emigration und Kolonisation, 2. Aufl. Berlin 1923· Atlas der jüdischen Welt, Berlin 1926· Palästina-Wirtschaftsatlas, 2. Aufl. Berlin 1926· Der Wiedereintritt der Juden in die Weltgeschichte, Mährisch-Ostrau 1926· Die Fassungskraft Palästinas, 2. Aufl. Berlin 1930Literatur[Bearbeiten|Quelltext bearbeiten]· Zitron:Lexikon zioni. Warschau 1924, Spalte 259· Georg Herlitz: „Davis Trietsch“, in:Jüdisches Lexikon, Berlin 1927, Band IV/2, Sp. 1053-1054· Lexikon des Judentums, Bertelsmann-Lexikon-Verlag, Gütersloh 1971,ISBN 3-570-05964-2, Sp. 814· Theodor Herzl:Briefe und Tagebücher, hrsg. v.A. Bein,H. Greive, M. Schaerf u.J. H. Schoeps, 7 Bde., Propyläen, Frankfurt/M., Berlin 1983-96· Joseph Walk(Hrsg.),Kurzbiographien zur Geschichte der Juden 1918–1945. hrsg. vom Leo Baeck Institute, Jerusalem. München: Saur, 1988ISBN bearbeiten]· Literatur von und über Davis Trietschim Katalog derDeutschen Nationalbibliothek