Auction 93 Part 1 - Manuscripts, Prints and Engravings, Objects and Facsimiles, from the Gross Family Collection, and Private Collections
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Des justificirten Juden / Joseph Sueß oppenheimers / Geburt / Leben und Tod [The Execution of the Jew Joseph Süß Oppenheimer, Birth, Life and Death]. Hand–colored engraving, depicting scenes from the life of "the Jew Süß". Publisher, place and year not indicated, [Germany, ca. 1738]. German.
The present engraving was originally part of a larger sheet (broadsheet), comprising a brief biography and satirical stanzas describing the story of Joseph Süßkind Oppenheimer in its lower part ("the Jew Süß", 1698–1738). The broadsheet was presumably part of a group of publications circulated shortly after his execution. See also items 233 and 234.
Compare: USHMM, item 2016.184.242; Würtemberg State Library, Stuttgart, item HBFC 6015.
Joseph Süßkind Oppenheimer (1698–1738) was a court Jew, banker and financial advisor to Duke Karl Alexander of Würtemberg. After the Duke's sudden death, Oppenheimer was charged for a variety of offenses: treason, abusing his position and authority for his personal gain, embezzlement of public funds and licentious lifestyle; he was hanged and his body left in a suspended cage for six years (this cage is featured in most engravings depicting his story).
31X21 cm. Fragment (lacking lower part). Overall good condition. Folding marks. Tears, professionally restored. Some stains. Paper residue on verso.
Exhibition:
• Only on paper: Six Centuries of Judaica from the Gross Family Collection, CD, 2005.
Provenance: The Gross Family Collection, Tel Aviv, 117.011.008.
Des Joseph Süssen Lebens–Wamdel, wie auch sein Schellme–voller handel, wird mit dem galgen–Tod bezahlet woran er in den Kefig prahlet / [Die Hinrichtung des Juden Süß Oppenheimer in Stuttgart]. [Execution of the Jew Süß in Stuttgart]. Engraving by an unknown artist. Publisher, place and year not indicated, [Germany, ca. 1738]. German.
Engraving depicting six scenes from the life of Joseph Süßkind Oppenheimer, from the time he served as court Jew until his execution. The center of the leaf is occupied by a large illustration of the gallows and the metal cage Oppenheimer's body was exhibited in. This engraving is presumably part of a group of publications circulated shortly after his execution.
Joseph Süßkind Oppenheimer (1698–1738) was a court Jew, banker and financial advisor to Duke Karl Alexander of Würtemberg. After the Duke's sudden death, Oppenheimer was charged for a variety of offenses: treason, abusing his position and authority for his personal gain, embezzlement of public funds and licentious lifestyle; he was hanged and his body was left in a suspended cage for six years (the cage is featured in most engravings depicting his story). See also items 232 and 234.
Compare: Germanisches Nationalmuseum Nürnberg, Inventarnummer HB3934.
Engraving: 35.5X27.5 cm; leaf: 36.5X29 cm. Very good condition. Minor creases, minor stains. Paper residue on verso.
Provenance: The Gross Family Collection, Tel Aviv, 117.011.018.
Joseph Süß Oppenheimer… Engraving by Ioh. [Iohann?] Gustav Kleckler, hand–colored. Publisher, place and year not indicated. [Germany, ca. 1738]. German.
High–quality, hand–colored engraving, printed on thick paper, portraying the life of Joseph Süßkind Oppenheimer, accompanied with illustrations and verses describing his life story. This engraving is presumably part of a group of publications circulated shortly after his execution.
Joseph Süßkind Oppenheimer (1698–1738) was a court Jew, banker and financial advisor to Duke Karl Alexander of Würtemberg. After the Duke's sudden death, Oppenheimer was charged for a variety of offenses: treason, abusing his position and authority for his personal gain, embezzlement of public funds and licentious lifestyle; he was hanged and his body left in a suspended cage for six years (this cage is featured in most engravings depicting his story). See also items 232 and 233.
Compare: Institut für Stadtgeschichte Frankfurt am Main (ISG FFM) Best. S7Z (Zeitbilder) No. 1614-4.
Engraving: 29.5X21.5 cm; leaf: 32.5X23.5 cm. Good condition. Some stains. Minor tears, professionally restored. Minor creases. Paper residue on verso.
Provenance: The Gross Family Collection, Tel Aviv, 117.011.019.
Rare.
Wahre eigentliche Abildung dess unsterblichen Heydens, Joseph Krantz, Von dessen Wandel, Ursachen und neuester Eräugnüs im Norden von Engelland [true depiction of the "Eternal Jew" Joseph Krantz... and his appearance in North England]. Engraving by an unknown artist. Publisher, place and year not indicated, [Germany, ca. 1694–1710]. German.
Single leaf (broadsheet), with an engraving at the top depicting the meeting in North England between the "Eternal Jew" Joseph Krantz and two other gentlemen. The heading is inscribed above the engraving, which is followed by a lengthy text describing the appearance of Joseph Krantz, who allegedly lived 1700 years. The text is based, presumably, on the various versions of the Ahasverus legend – "The Wandering Jew" or "The Eternal Jew" – a Jewish cobbler condemned to eternal wandering after he defamed Christ. First disseminated in the Middle Ages, it earned much popularity and was circulated in many illustrated versions, mostly of antisemitic character.
[1] leaf. 40.5X32.5 cm. Fair–good condition. Tears, slightly affecting text, professionally restored. Folding marks. Some stains. Mounted on non–acidic paper. Tear to central fold.
For further information, see: George K. Anderson (1947), Joseph Krantz, Twin of Ahasverus, The Germanic Review: Literature, Culture, Theory, 22:3, pp. 188–201.
Provenance: The Gross Family Collection, Tel Aviv, 117.011.048.
Rare.
Entdeckter Jüdischer Baldober, oder Sachsen–Coburgische acta criminalia, [by Paul Nicolaus Einert]. Coburg: Georg Otto, 1758. German.
"Jewish Bandleader Captured", book by Paul Nicolaus Einert (published anonymously). The book Includes three engraved plates, two of which show handcuffed Jewish criminals: Mendel Carbe and Hoyum Moyses.
The author Einert headed the investigation leading to the arrest of a band of robbers, most of whose members were Jews, captured in the 1730s in Coburg, Bavaria (Germany).
The bandleader ("Baldober") was the Jew Mendel Garbe or Carben, following whose arrest many other band members were captured, almost all of them Jewish. The band was responsible for a long series of robberies in various parts of the country. After the investigation was completed and the band members convicted, Einert published this book with the aim of "exposing many heretofore unknown crimes and robberies carried out by Jews". Einert used the affair to disseminate a book of anti–Semitic accusations based on two assumptions: first, that solidarity exists between all Jews, whether criminal or not, making the entire Jewish people accomplices to crime; second, that the motivation of Jewish criminals to commit crimes is not just greed and the desire for profit, but also the desire to harm Christians and Christianity.
[7] leaves, 600 pages + [3] engraved plates. Approx. 21.5 cm. Good condition. Stains, including minor ink stains. Title–page and frontispiece attached with non–acidic tape. Pen inscription inside front board. Card binding, with parchment corners and spine. Stains, wear and abrasions to binding. Open tear to bottom of spine. Pen inscription on spine. Remnants of card spine pasted on spine.
Provenance: The Gross Family Collection, Tel Aviv, NHB.169.
Sichas Chulin, Eine fun di Geshichten, a tale by Moishe Broderzon, illustrated by Eliezer (El) Lissitzky. Moscow: Nashe slovo, 1917 (printing details from colophon on final page). Yiddish.
Sichas Chulin ("Small Talk" or "The Legend of Prague") is widely regarded as one of the twentieth century's finest examples of illustrated Jewish books. The composition was written as a Modernist adaptation of the folk tale "Maaseh Yerushalmi" ("A Jerusalem Tale"), a story of the marriage of the Jew R. Yonah to the daughter of Ashmedai (Asmodeus), King of the Demons, with the setting of the story moved to the Jewish Ghetto of Prague.
The design of this publication – Lissitzky's first significant work in book design – was inspired by illustrated Jewish scrolls, while at the same time integrating modernist elements. The text was written entirely by a Jewish scribe ("sofer stam"), in square Hebrew letters, and was illustrated throughout in a format resembling that of Esther scrolls, with splendid illustrations and decorations – figures, animals and architectonic structures. The title page illustration shows three figures representing the creators of this scroll, namely Lissitzky, Broderzon, and the scribe, and a fourth, smaller figure, representing the main character of the story – a Jew being lifted upward in the talons of a large bird.
The first edition of Sichas Chulin was printed in Moscow, 1917, in a limited edition, of which a small number of copies were bound in form of scrolls (see Kedem Auction 92, item 183).
[18] pages. 30.5X24 cm. Good condition. Stains. Marginal tears to title page and final page, repaired with paper. Inner margins reinforced with paper. Stamps. Faded inscription on title page. New binding and endpapers.
El (Eliezer Lazar Markovich) Lissitzky (1890–1941), Russian Jewish artist, designer, photographer, educator, typographer, and architect, among the most prominent and influential leaders of the Russian avant–garde movement. An architect by training, Lissitzky, along with his mentor and friend Kazimir Malevich, greatly contributed to the formation and development of the Suprematist movement, which advanced a geometric form of abstract art. He was responsible for the design of numerous books and periodicals, as well as exhibitions and propaganda material on behalf of Russia's Communist regime, and he exerted considerable influence on Europe's Bauhaus and Constructivist movements.
Early in his career, Lissitzky expressed a keen interest in Jewish culture, and Jewish motifs were integrated into many of his works. In this vein, in 1915–16 he took part in Sh. An–ski's ethnographic expedition into the Pale of Jewish Settlement. With the outbreak of the October (Bolshevik) Revolution, Lissitzky came to be wholeheartedly identified with the Communist cause. In the interest of advancing Jewish culture in Russia in the aftermath of the Revolution, he devoted much of his creative energy, among other things, to designing and illustrating Yiddish children's books, and a number of his published children's books were regarded as pioneering masterpieces of graphic design and typography. Nevertheless, several years later he largely abandoned Jewish subject matter and embarked instead on the development of a more abstract and universal artistic language. The resulting style found its keenest expression in a series of abstract, geometric paintings, drawings and prints he created in the years 1919–27, to which he gave the name "Proun."
Moishe Broderzon (1890–1956), poet, playwright, and founder of a number of prominent artists' groups in Eastern Europe, including the "Yung–Yiddish" avant–garde group, the Ararat Theater of Łódź, and the world's first Yiddish marionette theater, "Had Gadya." In 1916, Broderzon was one of the founders of the "Circle for Jewish National Aesthetic" artists' group in Moscow known as "Shomir". Broderzon's oeuvre includes a host of poems and plays, many of which were dedicated to Jewish topics. Among other works, Broderzon created the libretto for "Dovid un Bas Sheva, " the first Yiddish opera to appear onstage in Poland, as well as the acclaimed epic poem "Yud, " which deals with the impending calamity about to befall European Jewry. Many of Broderzon's books were products of a collaboration with other Jewish artists, including designers, painters, and photographers. These collaborations gave rise to several books illustrated and designed in a host of different styles.
Alongside "Had Gadya" (see following item), "Sichas Chulin" is widely regarded as one of the twentieth century's finest examples of illustrated Yiddish books.
Provenance: The Gross Family Collection, Tel Aviv.
Dem Zeydns Kloles: a Kinder Komedie in Ayn Akt [Grandfather's Curses: A Children's Comedy in One Act], by Tsadok Dolgopolski, illustrations by El Lissitsky. [Moscow: Tsentraler Yidisher Komisariat, 1919]. Yiddish.
A play for children by the Soviet Yiddish writer Tsadok Dolgopolski, accompanied by two fine, intricate illustrations by El Lissitsky, who also designed the cover (the cover illustration is printed again in the last page of the book).
Rare. This booklet is among the earliest publications of the Tsentraler Yidisher Komisariat ["Central Jewish Commissariat, in Russian: Tsentraler Yidisher Komisariat].
[2], 5–32 pp. (title–page apparently missing). Approx. 11.5X16.5 cm. Good condition. Inscriptions and signatures on cover. Minor stains. Detached leaves. Pinholes to inner page margins. Signs of pasting to cover margins. Minor tears to spine.
Tsadok Dolgopolski (1879–1959), Yiddish author, playwright and teacher, native of Vitebsk (Belarus). In 1914 he published in Vilna an anthology of his writings, mostly comprising stage works concerned with Jewish life in the Shtetl. In 1919 he published his play "Dem Zeydns Kloles". A socialist, following the October Revolution he moved to Minsk, where he published stories, plays, poems and novels, all in the spirit of Communism, aiming to spread the values of the revolution among the Jewish populace.
In 1936, as part of a "purge" of Soviet Belarus from "Jewish nationalism" (i.e. Zionism), many Jewish intellectuals, among them Dolgopolski, were arrested, murdered or deported. Dolgopolski was among the sole survivors of this purge; after his release he returned to Vitebsk.
El (Eliezer Lazar Markovich) Lissitzky (1890–1941), Russian Jewish artist, designer, photographer, educator, typographer, and architect, among the most prominent and influential leaders of the Russian Avant–Garde movement. An architect by training, Lissitzky, along with his mentor and friend Kazimir Malevich, greatly contributed to the formation and development of the Suprematist movement, which advanced a geometric form of abstract art. His was responsible for the design of numerous books and periodicals, as well as exhibitions and propaganda material on behalf of Russia's Communist regime, and he exerted considerable influence on Europe's Bauhaus and Constructivist movements. Early in his career, Lissitzky expressed a keen interest in Jewish culture, and Jewish motifs were integrated into many of his works. In this vein, in 1915–16 he took part in Sh. An–ski's ethnographic expedition into the Pale of Jewish Settlement. With the outbreak of the October (Bolshevik) Revolution, Lissitzky came to be wholeheartedly identified with the Communist cause. In the interest of advancing Jewish culture in Russia in the aftermath of the Revolution, he devoted much of his creative energy, among other things, to designing and illustrating Yiddish children's books, and a number of his published children's books were regarded as pioneering masterpieces of graphic design and typography.
See:
• Kazovsky, 2003, pp. 201, no. 74.
• Sanctity – Art – Aesthetics, Exhibition catalog, Mané-Katz Museum, 2011.
Provenance: The Gross Family Collection, Tel Aviv, B.1404.
Der Ber [The Bear], by Feter Ben Zion [Benzion Raskin]. Kiev-St. Petersburg: Yiddisher Folks-Farlag, 1919. From the "Kinder-Garten" series of children's books. Yiddish.
A tale for children, illustrated by El Lissitzky.
10, [2] pages. Approx. 20 cm. Good condition. Minor stains. Minor tears to spine. Several inscriptions and stamps. Without binding.
In April 1919, El Lissitzky and Benzion Raskin signed a contract with the Yiddisher Folks-Farlag publishing house in Kiev, in which they sold the rights for eleven Yiddish illustrated children's books under the general title "Kinder-Garten". According to the contract, which they most probably signed due to financial distress, all eleven books had to be written and illustrated in a period of five months. Ultimately, only three books of the planned books were published: "Der Ber" [The Bear], "Di Hun vos hot Gevolt hoben a Kam" [The Hen that Wanted a Comb], and "Der Milner, di Milnerin un di Milshtayner" [The Miller, the Miller's Wife and the Millstones]. Shortly thereafter, Lissitzky returned to Vitebsk, to teach architecture, painting and graphic arts at the art school directed by Marc Chagall. See: Tradition and Revolution, The Jewish Renaissance in Russian Avant-Garde Art 1912-1928, p. 118.
El (Eliezer Lazar Markovich) Lissitzky (1890-1941), a Jewish-Russian artist, designer, photographer, teacher, typographer and architect, a prominent and important member of Russian avant-garde.
Lissitzky, an architect by training, contributed much, together with his teacher and friend Kazimir Malevich, to the conceptualization and development of the Suprematism movement – the abstract art focused on geometric forms. He also designed numerous books and journals, exhibitions, and propaganda posters for the communist regime in Russia and influenced the Bauhaus and Constructivist movements in Europe. In his early days, Lissitzky showed much interest in Jewish culture and many of his works integrated Jewish motifs (during the years 1915-1916, he took part in the ethnographic expedition headed by Shlomo An-ski to the Pale of Settlement). Wanting to promote Jewish culture in Russia after the revolution, he became engaged in designing and illustrating Yiddish children's books, creating several children's books which are considered pioneering masterpieces due to their graphics and typography. However, several years later, he abandoned the Jewish motifs in favor of developing a more abstract and universal artistic language.
In 1921, Lissitzky moved to Germany, where he served as the Russian cultural ambassador, engaged in forming connections between Russian and German artists and continued to design books and journals. Lissitzky, who perceived books as immortal artifacts, "monuments of the future" by his definition, used the medium as a tool for spreading the messages of avant-garde and his artistic perception, as indicated by the variety of books in whose design, production or illustration he took part – from children's books and poetry books and to catalogs, guidebooks and academic publications.
Lissitzky died in Moscow at the age of 51. In his final years, his artistic work was dedicated mainly to soviet propaganda; yet it seems that the same worldview accompanied his works throughout his life – the belief in goal-oriented creation (Zielbewußte Schaffen, the German term he coined) and the power of art to influence and bring about change.
Provenance: The Gross Family Collection, Tel Aviv, B.55.
Frilings-Toyt, a Eynakter funem Arbeter-Leben [Spring's Death: one-act play on the life of the workers], by Yosef Berson. Kovno-Berlin: Farlag Yiddish, "Ever" press (Berlin), 1921. Second edition.
Fine, clean copy of the play about the lives of Jewish workers, dedicated to the Jewish Freedom Fighters (printed dedication at beginning of book). The book was part of the Folks-Bibliotek Yiddish series, produced by the Farlag Yiddish publishing house. On the front wrapper, logo of the series designed by Ben-Zion Zuckermann – a bird surrounded with vegetal motifs, and the publishing house logo designed by El Lissitzky – priestly hands, shtetl landscape and gravestone.
22, [1] pages. Approx. 17 cm. Good condition. Minor defects. Tears to spine.
Provenance: The Gross Family Collection, Tel Aviv, ALE.76.
Elefandl ["The Elephant's Child"], by Rudyard Kipling. Illustrations by "Kraft" [El Lissitzky]. Berlin: Schweln, 1922. Yiddish.
Yiddish translation of the famous children's story "The Elephant's Child" by Rudyard Kipling (1856–1936), from the collection entitled "Just So Stories." Illustrations by the Russian–Jewish avant–garde artist El Lissitzky (under the pen name "Kraft).
13, [2] pages. 28 cm. Good–fair condition. Stains and creases. Detached leaves. Marginal tears and open tears to some leaves (minor; one restored with paper). Tear to bottom part of the spine.
El (Eliezer Lazar Markovich) Lissitzky (1890–1941), a Jewish–Russian artist, designer, photographer, teacher, typographer and architect, a prominent and important member of Russian avant–garde.
Lissitzky, an architect by training, contributed much, together with his teacher and friend Kazimir Malevich, to the conceptualization and development of the Supremacist movement – the abstract art focused on geometric forms. He also designed numerous books and journals, exhibitions, and propaganda posters for the communist regime in Russia and influenced the Bauhaus and Constructivist movements in Europe.
In his early days, Lissitzky showed much interest in Jewish culture and many of his works integrated Jewish motifs (during the years 1915–1916, he took part in the ethnographic expedition headed by Shlomo An–ski to the Pale of Settlement). Wanting to promote Jewish culture in Russia after the revolution, he became engaged in designing and illustrating Yiddish children's books, creating several children's books which are considered pioneering masterpieces due to their graphics and typography. However, several years later, he abandoned the Jewish motifs in favor of developing a more abstract and universal artistic language.
In 1921, Lissitzky moved to Germany, where he served as the Russian cultural ambassador, engaged in forming connections between Russian and German artists and continued to design books and journals. Lissitzky, who perceived books as immortal artifacts, "monuments of the future" by his definition, used the medium as a tool for spreading the messages of avant–garde and his artistic perception, as indicated by the variety of books in whose design, production or illustration he took part – from children's books and poetry books and to catalogs, guidebooks and academic publications.
Lissitzky died in Moscow at the age of 51. In his final years, his artistic work was dedicated mainly to soviet propaganda; yet it seems that the same worldview accompanied his works throughout his life – the belief in goal–oriented creation (Zielbewußte Schaffen, the German term he coined) and the power of art to influence and bring about change.
Exhibition:
• Sanctity – Art – Aesthetics, Exhibition catalog, Mané-Katz Museum, 2011.
Provenance: The Gross Family Collection, Tel Aviv, B.2338.
"In Vald" [in the forest], children's story by Leib Kvitko, illustrated by Yisakhar Ber Rybak. Berlin: Schwellen, [1921]. Yiddish.
Rhymed children's sory by Leib Kvitko. Color cover and illustrations by Yisakhar Ber Rybak.
Fine copy.
15, [1] pages. Approx. 24X31 cm. Good condition. Stains. Minor creases.
Yisakhar Ber Rybak (1897–1935), native of Elisavetgrad, Russia (today Kropyvnytskyi, Ukraine), painter, graphic artist, and sculptor; one of the most prominent artists of the Russian–Jewish avant–garde. Studied at the Academy of Art in Kiev and in the studio of Aleksandra Ekster. In 1915–16, he was a member of the ethnographic expedition, headed by Shlomo An–ski, that aimed to document the culture of the Jewish communities of Podolia and Volhynia, and, working side–by–side with El Lissitzky, he produced copy–sketches of tombstones and monuments and documented the popular art he observed in the wooden synagogues of villages in the Pale of Settlement. For Rybak, this experience marked the beginnings of an enduring love affair with themes borrowed from popular Jewish tradition, and these themes and motifs provided the elemental foundations for his future work. He became one of the most active and outspoken artists of the "Kultur Lige" ("Culture League"), and taught drawing in the school that operated under the auspices of its art division. In 1921, he moved to Berlin, where he joined the "November Gruppe" and participated in joint exhibitions with other member artists. Rybak subsequently returned briefly to the Soviet Union and then moved to Paris, where he died in 1935.
See:
• Jüdische Lebenswelten, Katalog, edited by Andreas Nachama and Gereon Sievernich. Berlin, 1991, p.174, no. 8/27.
• Futur antérieur: l'avant–garde et le livre yiddish (1914–1939). Paris, 2009, p. 257, no. 151.
• Sanctity – Art – Aesthetics, Exhibition catalog, Mané-Katz Museum, 2011, p. 57.
Provenance: The Gross Family Collection, B.1360.
Foyglen [birds], by Leib Kvitko. Illustrations by Issachar Ber Ryback. Berlin: Schwellen, [ca.1922]. Yiddish.
Long children's poem, accompanied by large monochrome illustrations of various bird types, by Issachar Ber Ryback, who also made the color illustrations that appear on the front and rear covers.
15, [1] pages. Approx. 24X31 cm. Good condition. Minor stains. Minor marginal tears and creases to cover and spine.
Yisakhar Ber Rybak (1897–1935), native of Elisavetgrad, Russia (today Kropyvnytskyi, Ukraine), painter, graphic artist, and sculptor; one of the most prominent artists of the Russian–Jewish avant–garde. Studied at the Academy of Art in Kiev and in the studio of Aleksandra Ekster. In 1915–16, he was a member of the ethnographic expedition, headed by Shlomo An–ski, that aimed to document the culture of the Jewish communities of Podolia and Volhynia, and, working side–by–side with El Lissitzky, he produced copy–sketches of tombstones and monuments and documented the popular art he observed in the wooden synagogues of villages in the Pale of Settlement. For Rybak, this experience marked the beginnings of an enduring love affair with themes borrowed from popular Jewish tradition, and these themes and motifs provided the elemental foundations for his future work. He became one of the most active and outspoken artists of the "Kultur Lige" ("Culture League"), and taught drawing in the school that operated under the auspices of its art division. In 1921, he moved to Berlin, where he joined the "November Gruppe" and participated in joint exhibitions with other member artists. Rybak subsequently returned briefly to the Soviet Union and then moved to Paris, where he died in 1935.
Exhibitions:
• Jüdische Lebenswelten, Katalog, edited by Andreas Nachama and Gereon Sievernich. Berlin, 1991, p.174, no. 8/28.
• Futur antérieur: l'avant–garde et le livre yiddish (1914–1939). Paris, 2009, p. 257, no. 152.
• Sanctity – Art – Aesthetics, Exhibition catalog, Mané-Katz Museum, 2011, p. 56.
Provenance: The Gross Family Collection, B.1361.