1900 LILIEN Bezalel JEWISH Bookplate EXLIBRIS Judaica JUGENDSTIL ART NOUVEAU

Description

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 its exquisite 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 ".  Excellent condition.
( 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
& All credit cards
.
AUTHENTICITY
: This is an ORIGINAL vintage
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 $ 19
.
Will be sent  in a special protective rigid sealed packaging.
Will be sent around 5 days after payment .
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 forbidden 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.
Ephraim Moses Lilien (1874–1925) was an art nouveau illustrator and print-maker particularly noted for 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 at the Academy of Arts in Kraków. He studied under Polish painter Jan Matejko from 1890 to 1892. As a member of the Zionist Movement, Lilien traveled to Ottoman Palestine several times between 1906 and 1918. He accompanied Boris Schatz to Jerusalem to help establish the Bezalel Art School. Lilien was one of the two artists to accompany Boris Schatz to Eretz Israel in 1906 for the purpose of establishing Bezalel Academy of Arts and Design, and taught the school's first class in 1906. Although his stay in the country was short-lived, he left his indelible stamp on the creation of an Eretz Israel style, placing biblical subjects in the Zionist context and oriental settings, conceived in an idealized Western design. In the first two decades of the century, Lilien's work served as a model for the Bezalel group.
Artistic career
Lilien is known for his famous 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 in New York. Lilien's illustrated books include
Juda
(1900), Biblically-themes poetry by Lilien's Christian friend, Börries Freiherr von Münchausen, and
Lieder des Ghetto
(Songs of the Ghetto) (1903), Yiddish poems by Morris Rosenfeld translated into German.
Death and 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 opposed Theodor *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 opposed Arthur *Ruppin's "slow settlement methods." During World War I he 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 (in Turkey: A Past and A Future, 1917) for cooperation between Zionism and the Allies. After World War I Trietsch 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 periodical Volk und Land (Berlin, 1919). Trietsch was coeditor and cofounder (with Leo Wintz) of Ost und West (Berlin, 1901–02) and with Alfred *Nossig of Palaestina (Berlin, 1902). He propagated his ideas in a great many books, pamphlets, and articles, including Palaestina-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 Vogt Davis Trietsch (1870-1935) has been one of the leading voices of cultural Zionism at the beginning of the 20th century. He established the journal Ost und West together with Leo Winz in 1901, he participated in the foundation of the Demokratische Fraktion at the Fifth Zionist Congress in the same year, and he was among the founders of the Jüdische Verlag in 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 journal Palästina from 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 19th and 20th centuries, 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 journal Ost 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 the Alldeutsche 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 Trietsch Davis Trietsch in Eretz Israel, 1912 Berlin 1902: Gründungsmitglieder des Jüdischen Verlags. V.l.n.r.: (stehend) E. M. Lilien, Chaim Weizmann, Davis Trietsch, (sitzend)Berthold Feiwel und Martin Buber.[1] Davis Trietsch (* 4. Januar 1870 in Dresden; † 31. Januar 1935 in Tel Aviv) war ein deutscher Schriftsteller und zionistischer Wirtschaftspolitiker, Mitgründer bzw. Mitherausgeber von Ost und West (Berlin 1901–1923, gegründet von Leo Winz; im Sinn des programmatischen Titels der Zeitschrift sollten vor allem den assimilierten Juden des Westens die Kulturleistungen der Juden in Osteuropa vermittelt werden), der oppositionell-zionistischen Birnbaum-Zeitschrift Der Weg(1903) sowie der Zeitschrift Palästina (erschien von 1902 bis 1938 in Berlin, dann in München, dann in Wien). Inhaltsverzeichnis   [Verbergen]  ·       1Leben ·       2Weitere Werke/Publizistik (Auswahl) ·       3Literatur ·       4Weblinks ·       5Einzelnachweise Leben[Bearbeiten | Quelltext bearbeiten] Trietsch lebte nach längeren Reisen durch Europa von 1893 bis 1899 in New York City, wo er das jüdische Wanderungsproblem studierte, zu dessen Lösung er bereits 1895, also lange bevor Herzl den politischen Zionismus ins Leben rief, die Kolonisation auf Zypern vorschlug. Spätestens seit Juni 1898 überlegte auch Herzl – weil die armen Massen sofortige Hilfe brauchen –, der zionistischen Bewegung ein näheres territoriales Ziel zu geben, unter Beibehaltung Zions als Endziel; dabei dachte er an Cypern, Südafrika oder Amerika. Nachdem Davis Trietsch sich der zionistischen Bewegung angeschlossen und am ersten Zionistenkongress teilgenommen hatte (er war einer der insgesamt vier Teilnehmer aus Amerika, neben Rosa Sonnenschein, Adam Rosenberg und Rabbiner Schepsel Schaffer aus Baltimore, der der einzige amerikanische Delegierte war; die übrigen waren bloße Teilnehmer), stellte er sich als praktischer Zionist und Anhänger der sofortigen Kolonisation gegen Herzl und rief zu einem Kolonisationsprogramm für Gross-Palästina auf, 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 als zionistischen Maximalismus. Trietsch ließ Herzl schon im Dezember 1897 ein diesbezügliches Memorandum zukommen. In seiner Antwort vom 29. Dezember 1897 hatte Herzl den Vorschlaginteressant genannt, hielt es aber momentan nicht für opportun davon zu sprechen. Ende 1899 findet Herzl erneut die Trietsch'schen Aktivitäten und die Idee sehr vernünftig, kann sich aber nicht öffentlich dafür erklären. Später lebte Davis Trietsch in Berlin. Dort war er auch 1902 Mitbegründer des Jüdischen 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 1930 Literatur[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, 1988 ISBN 3-598-10477-4 Weblinks[Bearbeiten | Quelltext bearbeiten] ·       Literatur von und über Davis Trietsch im Katalog der Deutschen Nationalbibliothek         ebay3454