1953 Jewish ART BOOK Sculptor RUDI LEHMANN 30 Sculptures TARSHISH Israel HEBREW for Sale

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1953 Jewish ART BOOK Sculptor RUDI LEHMANN 30 Sculptures TARSHISH Israel HEBREW For Sale

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1953 Jewish ART BOOK Sculptor RUDI LEHMANN 30 Sculptures TARSHISH Israel HEBREW:
$125.00

DESCRIPTION : Up for sale is an EXTREMELY RARE art catalogue - book regarding theacclaimed Israeli-Jewish artist , The SCULPTOR , Painter and WOODCUT ARTIST of German origin RUDI ( Rudolf ) LEHMANN . The RARE PUBLICATION is named \"RUDOLF LEHMANN - Specimens of his Work in WOOD TERRACOTTA STONE and PLASTER of PARIS. It was published in 1953 in ISRAEL - JERUSALEM by TARSHISH BOOKS ( Dr. Moshe Spitzer ) . The ENGLISH - HEBREW catalogue consists of THIRTY of Lehmann\'s SCULPTURES. The cover is a WOODCUT of typical Lehmann\'s CATS ( Kittens ).Originaly illustrated WOODCUT Cover. 9 x 6\". THE WHOLE WOODCUT IS DOUBLED 12\" X 9\". 28 chromo PP. 30 pieces. Very good condition. Clean. Tightly bound . Signs of foxing.( Please look at scan for actual AS ISimages ) .Will be sent protected inside a protective rigid packaging.AUTHENTICITY :ThisistheORIGINALvintage 1953 ( dated ) art book , NOT a reproduction or a reprint,The book holds alife longGUARANTEE fortheir AUTHENTICITY andORIGINALITY.PAYMENTS : Payment method accepted : Paypal& All credit cards.
SHIPPMENT : SHIPP worldwide via registered airmail is $ 25 . ( $12 domestic only for buy it now ) Book will be sent inside a rigid protective packaging . Handling around 5-10 days after payment.
Rudi Lehmann (Hebrew: רודי להמן‎) was a German-born Israeli sculptor and woodcut artist.[1] He was one of the pioneers of ceramic art in the State of Israel.[2] Rudolph (\"Rudi\") Lehmann was born in Berlin, Germany in 1903. In 1917-1922, he studied mechanics and worked as a blacksmith\'s apprentice. After studying woodcarving and sculpture with sculptor Harold Isenstein, he attended the municipal arts and crafts school in Berlin, majoring in sculpture and ceramics. During his studies there, he met Hedwig Grossman, whom he later married.[3] In 1928-1930, Lehmann worked for Holzmann\'s Stone Mason and Carving company. He became a freelance stonemason and sculptor for museums around Germany, including the Pergamon Museum in Berlin, and worked in terra cotta at Hedwig\'s ceramics workshop. In the summer of 1933, Lehmann immigrated to Mandate Palestine with his wife and settled in Haifa. They established a ceramics testing laboratory at the Technion in Haifa and settled on Kibbutz Yagur in 1935, where they established a flower pot factory. In 1937, the couple opened a sculpture studio in Jerusalem, where Lehmann produced miniature carvings from olive wood, ivory, horn and gemstones sold as tourist souvenirs. In 1945-1947, Lehmann worked for the Haganah, building models and ballistic implements. In 1947-1948, he joined the Jewish Agency\'s Self-Defense Planning Committee. Mural by Rudi Lehmann In 1953, he helped to found the Ein Hod Artists\' Village, where he taught sculpture. Among his students were Yigael Tumarkin[4] and Menashe Kadishman.[5] In 1959, Lehmann and his wife moved to Givatayim where he established an art school under the auspices of the Givatayim municipality. The school held classes in sculpture, woodcuts and ceramics for young people and adults.[6] Lehmann\'s work was influenced by the Canaanism school of Israeli art.[7] which attempted to create a direct relationship with the Land of Israel by emphasizing simple shapes and motifs from the sculpture and ritual art of early Middle Eastern civilizations.[8] He died in 1977. The special event is a performance in conjunction with the exhibition of woodcuts and sculptures by Rudi Lehmann. German-born Rudi Lehmann (1908-1977) was a sculptor and printmaker. He made numerous woodcuts and sculptures that represented animals and their delicate traits. He remains one of the most important Israeli sculptors of his time despite never having reached widespread fame. Rudolf (Rudi) Lehmann View exhibitions » View videos and articles » Visit our Information Center to browse the artist file » File includes: 65 Articles8 Exhibition invitations57Artwork reproductions Rudolf (Rudi) Lehmann, Israeli sculptor, 1903-1977, born in GermanyRudi Lehmann was born in Berlin. In 1917-1922, he studied mechanics and worked as an apprentice for a blacksmith. In 1922-1924, he studied woodcarving and sculpture with sculptor Harold Isenstein. In 1924-1928, he attended the municipal arts and crafts school in Berlin, where he studied sculpture and ceramics. There he met his future wife, Hedwig Grossman. In 1928-1930, he worked for Holzmann\'s Stone Mason and Carving company. After that, he worked as a freelance stonemason and sculptor at museums around Germany, including the Pergamon Museum in Berlin. He also worked in terra cotta at Hedwig\'s ceramics workshop and taught at an art school.In the summer of 1933, Lehmann immigrated to the Land of Israel with his wife and settled in Haifa. They set up a ceramics testing laboratory at the Technion in Haifa and then moved to Kibbutz Yagur in 1935, where they established a factory for flower-pots. In 1937, they opened a sculpture studio in Jerusalem, where Lehmann produced miniature carvings from olive wood, ivory, horn and gemstones that were sold to tourists.In 1945-1947, Lehmann worked for the Haganah, building models and ballistic implements. In 1947-1948, he was a member of the Jewish Agency\'s Self-Defense Planning Committee. In 1953, he was one of the founding members of the Ein Hod Artists\' Village, where he taught sculpture. In 1959, Lehmann and his wife moved to Givatayim where he established an art school under the auspices of the Givatayim municipality that offered courses in sculpture, woodcuts and ceramics to youth and adults. Education 1912 Academy of Berlin, Germany, wood sculpture with Vordermeyer1917 Berlin, Germany, blacksmithing and metalworking1922-24 woodcarving and sculpture with sculptor Harold Isenstein1923 Municipal High School for Art, Berlin, Germany, sculpture and ceramics1924-28 Modern Art School, Berlin, Germany, sculpture and ceramics Teaching 1923-25 Art School, Berlin Municipality, Germany1934 Bezalel Academy of Arts & Design, Jerusalem1959 Studio in Givatayim, sculpture and ceramics Rudolf (Rudi) Lehmann, Sculptor. b. 1903, Berlin. Immigrated 1933. Studies: 1912 Berlin, wood sculpture with Vordermeyer; 1923 Municipal High School for Art, Berlin, sculpture and ceramics; Modern Art School, Berlin. Worked as stone-mason and sculptor in museums in different towns in Germany. Teaching: 1923-25 Art School, Berlin Municipality; Bezalel Jerusalem; Studio in Givatayim, sculpture and ceramics; taught and influenced a generation of Israeli sculptors, including Shoshana Hermann, Tumarkin, Kadishman, Shemi. Used terra cotta for sculptures in ceramic workshop with his wife, ceramist Hedwig Grossman; studied and worked with her. On arriving in Israel, they set up a ceramic workshop in Bat Galim, Haifa; an experimental laboratory at the Technion, Haifa; founded a factory for flower-pots at Kibbutz Yagur; 1937 opened studio for sculpture in Jerusalem. 1953 A founder of Artists Village, Ein Hod. 1959 Moved to Givatayim, set up a teaching workshop. Under the auspices of Givatayim Municipality, founded an art institute for youth and adults with departments for sculpture, woodcuts, ceramics. Prizes: 1953, 1966 Dizengoff Prize. Died 1977, Givatayim. (The Israel Museum in Jerusalem ) *****MOSHE SPITZER (1900-1982)Born in Boskowitz (today\'s Czech Republic), raised in a traditionally Jewish family, Spitzer was familiar with the religious writings of Judaism at an early age and was involved in the Zionist youth movement.He studies Indology in Kiel, is doing his doctorate with a thesis on Sanskrit, and becomes a research assistant at the “Prussian Academy of Sciences”.In 1932 the publisher Salman Schocken hired Spitzer as a scientific secretary for Martin Buber, in order to advance Buber\'s project of translating the Hebrew Bible into German.During these years Spitzer also acquired his vast knowledge of typography and book design.From 1933 onwards he designed the “Schocken Bücherei” for Schocken-Verlag in Berlin, an 83-part series intended to bring together the best of Jewish culture in Hebrew and Yiddish along with German literature.It was produced between 1933, the year in which Adolf Hitler came to power in Germany, and 1938, the year in which Schocken was forced to close the publishing house by the National Socialists.In addition to the “Schocken Bücherei”, Spitzer also published works of medieval Jewish poetry and almanks.After Spitzer emigrated to what was then Palestine in 1939, he founded his own publishing house \"Tarshish\" in Jerusalem in 1940, for which he designed over 100 books over the next 40 years: classics of European and modern Hebrew literature as well as medieval Jewish texts.In order to improve the quality of book printing and to be able to better control the layout and typography of his books, Spitzer set up his own typesetting shop in Jerusalem from 1942, which is also used by other publishers.Between 1945 and 1960 he also ran the publishing house of the \"Jewish Agency\".He also designed some of the Bialik Institute\'s major publications, including the complex work of the “Encyclopedia Biblica”.One of Spitzer\'s main concerns was to improve the poor quality of Hebrew characters for printing.In 1954 he therefore founded the \"Jerusalem Type Foundry\", the first Israeli type foundry, together with Heinz van Cleef.In collaboration, Spitzer also designed new fonts such as \"Hatzi Light\", \"Romema\" and \"David\". **Born in 1900 in Boskowitz (Czechia), Moshe Spitzer studied Indology in Kiel, and worked in Berlin before emigrating to Palestine (now Israel) in 1939. In Israel, he set up the Tarshish printing house, and founded his own type foundry in 1942. To improve the quality of Hebrew type, he set up the Jerusalem Type Foundry with Heinz van Cleef in 1954, the first type foundry in Israel. Together with his partners he developed the Hebrew typefaces Hatzi Light, Romema and David. He died in 1982. ****Dr. Moshe (Moritz) Spitzer; July 8, 1900 – November 16, 1982, 1982) was an Israeli illustrator, typographer, font designer, Hebrew bibliophile and publisher. An indologist by training.Contents1 History of his life1.1 \"Trishish\"1.2 Font formatting2 His family3 exhibitions4 of his publications4.1 Translation5 Read more6 external links7 footnotesHistory of his lifeThis chapter is lacking. Please donate to Wikipedia and complete it. You may find detail on the conversation page.Born in 1900 in the Czech town of Boskowitze, Moravia, the Austro-Hungarian Empire (now in the Czech Way) to a traditional Jewish family. From an early age, he was active in Zionist movements, and was involved in the establishment of a branch of the Youth Movement in Lao Weiss (blue and white) in his hometown.He studied indology (Sanskrit and ancient India culture) at the universities of Berlin, Frankfurt, Kiel and Vienna, and in 1926 received a PhD in this discipline from Keel University. [1] After his studies he worked from 1927 to 1928 as a research assistant at the Akademie der Wissenschaften in Berlin. As part of this, he studied philosophical manuscripts in Sanskrit from the 2nd or 3rd century AD, found on the Silk Road (in The Torfaen Commission, in eastern Xinjiang Province, eastern China) - the oldest journal of its kind found to date. During World War II, many of the manuscript\'s 1,000 segments were lost, and the text remained only in Spitzer\'s transformations. Since Spitzer-Handschrift was the first to study the manuscript, it is named after Spitzer-Handschrift (Spitzer Manuscript). [2] In 1930 he was editor of the children\'s section of the Jüdische Rundschau. Then, from 1932 to 1934, he was a research assistant to Martin Webber. From 1934 to 1938 he became director of Schoen Publishing in Germany. In this capacity, he conducted socio-whisk correspondence with many writers and poets, including Shai Agnon, Elsa Lasker-Schiller, Uri Zvi Greenberg and others. In 1934, he turned to Acanon with a proposal to create an anthology concerning the terrible days. Agnon accepted the proposal, and the anthology, \"Terrible Days\" her name, was published in 1937. In 1939 he immigrated to Eretz Israel and settled in the Rehavia neighborhood of Jerusalem. Died in Kfar Saba at the age of 82.\"Trishish\"In 1939 he established the Biblyopal Publishing House \"Thrashish\" to publish the best classical literature of the world in Hebrew and meticulously published in terms of paper quality, graphic design, signal type and pattern. Moshe Spitzer translated for german expenditure and worked himself on the graphic design of the books and the design of their covers.format fontsOne of Spitzer\'s pioneering works was the design of fine letters for Hebrew printing. In the 1940s he helped develop the letters \"Bezalel\" and \"Romema\", developing the sign \"David\" (together with Itamar David), and the \"Deer\" (together with Zvi Hausman). The printing press of \"Treshish\", \"Letters of Jerusalem\" served as a laboratory for examining the new letters.Spitzer has also conducted studies shaping Hebrew letters, both historical and practical studies, which to this day form the broadest theoretical basis for the field. For example, he explored the possibilities for bold hebrew writing, which lacks tools such as italics, the possibilities offered by the ancient patterns and manuscripts, and by the latest technologies for creating decorations and headlines that are readable and pleasant, and more.You can learn a lot about the appreciation for Spitzer\'s work from things written in his honor in the important and old art graphics journal Penrose Annual (N):Dr. Moshe Spitzer\'s pioneering and revolutionary work in the field of new Hebrew book design, print quality and the development of Hebrew printing letters give him a considerable place among the great Hebrew printmakers who have made their mark on the history of the Hebrew book in the five centuries of Hebrew printing. Dr. Spitzer was rarely joined together: expertise in printing and book manufacturing processes, knowledge of the history of the book and hebrew script styles in ancient times, medieval manuscripts and the age of print, breadth of opinion, rest of spirit and versatile education, knowledge of Jewish culture, Western and Eastern culture, aesthetic sensitivity, taste and subtle aesthetic perception. The merging of these properties of an artist, artist and smart student was reflected in the books dr. Spitzer designed, printed and produced. Trashish books and various books designed by him for other publishers are the most beautiful books created in Eretz Israel. Dr. Spitzer turned the design and printing of the book into a chen-included art in our country. His approach, the typographic and aesthetic principles he coined, and the books he designed and printed became exemplary for all art and print lovers, book designers, their producers. His love for the beautiful book was snilly for many who came to dawn for his advice.— Israel Sofer, \"The Pioneer work of Moshe Spitzer\", Penrose Annual, Volume 63, 1970[3]FamilySpitzer was married to Pepa Hammerman, born in Drohovich in 1903, and father of three: Daniel Joseph, Amiti and Esther Yehudit.Exhibitions1970 – The Typographic Work of Moshe Spitzer, Israel Museum[4] (Exhibition in Honor of His Full 70)1973 – Dr. Spitzer Collection, The Little Gallery, Jerusalem[5]1981 – \"Dr. Moshe Spitzer: Books, Letters, Design\": An Exhibition in Honor of Dr. Spitzer in Honor of Heroness, The National and University Schools2015 - Changing patterns: The design work of Moshe Spitzer, Franziska Baruch and Henry Friedlander, Israel MuseumFrom his publicationsMoshe Spitzer (Ed.), a letter is never: a file of articles dedicated to the design of the Hebrew letter, Jerusalem: Ministry of Education and Culture - Department of Torah Culture: Association for Jewish Art, 1981. (Second edition: 1990-1990)Moshe Spitzer, on our letters, Jerusalem: The Books of Treshish, 5770. (Review first printed in \"On IAI, Menachem Deuteronomy to Shelma Zalman Schoelen\", Jerusalem: 5760, and printed again with slight changes)Moshe Spitzer, \"The Development of the Hebrew Letter\", in the Hebrew book - K.O. Issue of Machni, 5770.Begriffsuntersuchungen zum Nyāyabhāṣya, Leipzig: Harrassowitz Verlag, 1927. (in German) 3176