DESCRIPTION :   Here for sale is a RARE nice copy of the Jewish book "  Das Jahr des Juden " ( Yamim Mikedem  ) by Arno Nadel with sub-heading "  Zwolf Gedichce Zu Zwolf Radierungen " . This EXQUISITE Jewish ART book consists of TWELVE Tipped in ENGRAVINGS , Reproduced as HELIOGRAVURES ( " Die Abbildungen dieser allgemeinen Ausgabe sind in Heliogravuere reproduziert " ) All are SIGNED in the plate by JOSEPH BUDKO of the BEZALEL School of ART in Eretz Israel ( Also refered to as Palestine )  . These enchanting Jewish ART PIECES accompany 12 Jewish poems by Arno Nadel regarding 12 JEWISH HOLIDAYS (    Sabbath, Selichot, Un'Sane Tokef, Kol-Nidre, Sukkoth, Simchath-Thora, Chanukkah, Purim, Pessach, Schabuoth, Tischah B'ab,   ) . In addition , An ORIGINAL Budko WOODCUT is printed on a separate leaf as a FRONTISPIECE ( " das Titelblatt ist ein Originalholzschnitt von Joseph Budko " ) . The book was published ( FIRST EDITION ) by FRITZ GURLITT BERLIN in 1920  .  12 leaves of LETTERPRESS  .  Overall 12 BUDKO's tipped in ENGRAVINGS and the frontispiece WOODBLOCK . Excellent quality paper. Original ILLUSTRATED wrappers . 11.5 x 9 ". ( Around 30 x 24 cm) .  Around 30 leaves.  Uncut margins . Excellent condition . Tightly boung . Very clean. Very slight cover wear.   ( Pls look at scan for accurate AS IS images ) Will be sent inside a protective packaging .

AUTHENTICITY : This is the ORIGINAL vintage 1920 book ( Dated ) . NOT a reproduction or a reprint  , All the ENGRAVINGS and WOODCUT are guaranteed original as issued by the publisher.  They come with life long GUARANTEE for their AUTHENTICITY and ORIGINALITY.

PAYMENTS : Payment method accepted : Paypal  & All credit cards. SHIPPMENT : SHIPP worldwide via registered airmail $ 25 . Book will be sent inside a protective packaging .   Handling around 5-10 days after payment.  Josef Budko was born in Plonesk, Poland and studied in Berlin with the Jewish painter and Graphic designer, Hermann Struck. In 1933 he immigrated to Israel with Mordecai Ardon and Yaacov Shtainheart. Two years later, with the opening of the “New Bezalel” school in Jerusalem, he became the head of the institution, a position he held till his death in 1940. His work includes carving for the Pesach Hagada, woodcarvings ilustrating biblical events, decorations for the books of Agnon, Bialik and numerous etchings and lithographies. This exhibition presents the series of woodcarvings created for the 50 th. Edition of Haim Nahman Bialik’s writings, published in Berlin in 1923. Other works exhibited, present the wide range of Jewish and Zionist topics that Budko dealt with over his long carrier. ******** Joseph Budko Polish 1888-1940 Joseph Budko was amongst an influential group of graphic minded Jewish artists who embraced the revival of the woodcut, a medium which lent itself perfectly to express the views of Israel and Jewish culture in various lands. Born in Poland, Budko studied art in Germany under the instruction of Hermann Struck and the influence of Jacob Steinhardt. Mixing his personal attitude with Jewish outlook; melding Jewish tradition and modern artistic approach, Budko soon developed his own powerful style, influencing future great artists in turn—Marc Chagall being no exception. Budko has been credited with resurrecting the spirit of book illustration by elevating it to modern design. Eventually moving to Israel, Joseph Budko became the head of the Betzalal Academy in Palestine when it re-opened in 1935. He remained in this position until his untimely death, in 1940. ******* The revival of the woodcut as a graphic medium started in the late 19th century. Artists like Paul Gauguin and Edvard Munch transformed the woodcut from a narrative illustration into a tool to express individual ideas. They experimented with the wooden block to produce textures and tones that were more dramatic. This trend continued into the 20th century with the emergence of German Expressionism. Most of the German Expressionists were graphic-minded. They made prolific use of the leading print mediums, especially the woodcut, using the sharp contrast of black and white and the hard, dramatic cuts to express their souls and to turn a small format into a monumental image. Graphic works also had a solid tradition in the history of Jewish art. Jews used calligraphy to scribe in accordance with certain stylistic rules. The Jewish attachment to the book promoted the evolution of book illustrations. Jewish artists like Herman Struck, Joseph Budko and Jacob Steinhardt, who produced powerful graphic work with Jewish themes, inspired future artists. Herman Struck (1887-1944) contributed internationally to the development of etching and created prints representing views of Israel and Jewish culture in various lands. His student, Joseph Budko (1880-1940), followed his lead and turned to graphic art. Budko developed a style that combined personal attitude with Jewish mentality, a synthesis of Jewish tradition and modern artistic approach. He also revived the spirit of Jewish book illustration, elevating it to modern design. In 1913, Jacob Steinhardt (1887-1969) and Ludwig Meidner (1884-1966) founded the Berlin Expressionist group known as Die Pathetiker (The Suffering Ones), which focused mainly on graphic arts. Steinhardt became one of the most prominent woodcut artists using a neo-Gothic or Biblical style and refining the technique of block printing. The Federal Arts Program of the U.S. Works Progress Administration established a Graphic Arts Division in 1935. The replicated prints and public murals created during this period contained social messages that were targeted to a Depression-weary mass audience. The artists of A Gift to Biro-Bidjan, who were active members of the WPA, produced graphic art and public murals. In 1937, the Chicago Society of Artists began publishing an annual block-print calendar to expose Chicago artists to a wider audience and to finance the society’s activities. The Artist Calendar – 1937 was published in the summer of 1936 and featured woodcuts by 30 artists, including four artists who contributed to A Gift to Biro-Bidjan: Fritzi Brod, Abraham Weiner, Louis Weiner, and Todros Geller. This calendar project, used as a fund-raising tool, preceded the ICOR publication of A Gift to Biro-Bidjan. Among the artists who participated in A Gift to Biro-Bidjan, Todros Geller was the most prominent graphic artist. He illustrated more than 40 books, and several books of his woodcuts were published. In the same year A Gift to Biro-Bidjan was produced, L.M. Stein published Geller’s woodcuts album, From Land to Land. The artists of A Gift to Biro-Bidjan made remarkable use of woodcut techniques to promote their ideas. Black silhouette, where the artist carves out background spaces from the wooden block, was applied mainly for the motif of “despair.” White silhouette, where the artist carves out the area of the subject, was used primarily for the motif of “new hope.” The dramatic contrast of black-and-white woodcut emphasizes the symbolism of “dark” versus “light” and “despair” versus “new hope.” ***** Arno Nadel (* 5. Oktober 1878 in Wilna/Litauen; † März 1943 im KZ Auschwitz) war ein deutsch-jüdischer Musikwissenschaftler, Schriftsteller und Maler Leben Arno Nadel entstammte einer jüdischen Familie; sein Vater war Mechaniker. Er erhielt bei Eduard Birnbaum in Königsberg Unterricht in synagogalem Gesang. 1895 ging er nach Berlin, wo er die Jüdische Lehrerbildungsanstalt besuchte. Anschließend wirkte er als Lehrer und Musiker. Ab 1916 war er Leiter des Chors und Kantor an der Synagoge in der Berliner Pestalozzistraße. Er sammelte und bearbeitete jüdische Volkslieder und Synagogenmusik, daneben veröffentlichte er Kritiken und musiktheoretische Aufsätze. 1923 erhielt er von der Berliner Jüdischen Gemeinde den Auftrag zur Zusammenstellung einer Anthologie der Synagogenmusik; er schloss diese Arbeit 1938 ab und beabsichtigte das Ergebnis in sieben Bänden unter dem Titel "Hallelujah" zu veröffentlichen. Nadel wurde am 12. März 1943 nach Auschwitz deportiert und dort vermutlich unmittelbar nach der Ankunft ermordet. Es war ihm gelungen, seinen musikalischen Nachlass vor den Nazis in Sicherheit zu bringen; Nadels Sammlungen ruhen heute in der Schreiber Jewish Music Library in Philadelphia (Pennsylvania). Neben seinem musikalischen und musikhistorischen Werk schuf Arno Nadel ein literarisches Werk, das aus Gedichten und Theaterstücken besteht und von Nadels Interesse an philosophischen und religiösen Themen beeinflusst ist; daneben übersetzte er aus dem Jiddischen. Nadel war außerdem als Maler und Zeichner aktiv. Werke Aus vorletzten und letzten Gründen, Berlin 1909 Cagliostro, Berlin 1913Um dieses alles, München [u.a.] 1914 Adam, Leipzig 1917Jacob Steinhardt, Berlin 1920Das Jahr des Juden, Berlin 1920 (zusammen mit Joseph Budko)"Rot und glühend ist das Auge des Juden", Berlin 1920 Der Sündenfall, Berlin 1920 Der Ton, Leipzig 1921 Das gotische ABC, Berlin 1923 Heiliges Proletariat, Konstanz 1924 Die Erlösten, Berlin 1924 Tänze und Beschwörungen des Weissagenden Dionysos, Berlin 1925 Drei Augen-Blicke, Berlin 1932 Das Leben des Dichters, Berlin 1935 Der weissagende Dionysos, Heidelberg 1959; wieder 1986 Herausgeberschaft Jontefflieder, Berlin 1919 Jüdische Volkslieder, Berlin 1,1 (1920) 1,2 (1920) Jüdische Liebeslieder, Berlin [u.a.] 1923 Die Haggadah des Kindes, Berlin 1933 Zemirōt šabat, Berlin 1937 ****** Arno Nadel was born in Vilna in 1878. In childhood he showed tremendous talent for musical composition and, consequently, he chose to pursue music as a career. At the age of seventeen he entered the Jewish Teacher's Institute in Berlin, and he became so enamored with that city he decided to spend the rest of his life there. In 1916, Nadel was appointed conductor for the choir of the largest synagogue in Berlin, and shortly thereafter he became the musical supervisor of all Berlin synagogues. As an adult, Nadel displayed a special aptitude and concern for the writing of poetry. Until 1935, a dozen books containing Nadel's poems were published and distributed throughout Germany However, with the advent of Nazism, Nadel's books were burned and any further publication of his poetic work was prohibited. In 1943, Nadel was transported to Auschwitz concentration camp, where he was subsequently murdered. Nadel's poetry gained its greatest popularity in the early 1920s when the writer was influenced by the spiritual philosophy of Taoism. A circle of writers, painters, and musicians gathered around Nadel at this time in order to hear him read and comment on his work. In addition, actors from the German stage gave periodic reading from Nadel's Taoist poetry at a major art gallery in Berlin. In 1923, some of these poems were published as a chapbook entitled Lao Tsu and Confucius (Poems Following a Chinese Motif). Although Nadel's Taoist poetry possesses a metaphysical quality, his motivation for writing in this vein was strictly a worldly one. According to one observer who heard Nadel's work being read, the poet intended his material to serve as an antidote to the prevailing attitudes of selfishness and animosity which existed in Weimar Germany. Nadel hoped that the quiet, gentle whispering of his poems would counter the insensitive anger that he currently witnessed all around him, especially the belligerence connected to a new wave of anti-Semitism which had emerged in Germany since its defeat in World War I. Between 1910 and the year of his death, 1943, Arno Nadel's poetry was compared favorably to the works of the great German lyrical poets, Alfred Mombert, Theodor Daubler, and Oscar Loerke. Even though the latter three individuals have had some of their poems translated into English, this honor, up till now, has escaped Nadel. The present translations of Nadel's Taoist poetry apparently are the first time his work has ever appeared in the English language.****** When Arno Nadel, in his last letter before being deported to the concentration camp of Buchenwald, invoked God’s protection over ‘Holy Germany, the wise nation of poets and thinkers,’ he did not and probably could not foresee the consequences of his patriotism¬ his death in Auschwitz in 1943. Nadel was convinced that after its ‘bloody detours and mistakes’ Germany would eventually find its way back to ‘freedom of the spirit and the noble arts.’ Despite his tragic belief in Germany, Nadel could not escape his fate. Nadel’s talents were highly versatile: he was an accomplished arranger, composer, conductor, painter, poet, and playwright. He also became a collector of Jewish music, and in the 1920s and 1930s compiled an anthology of synagogue and Eastern European Jewish folk music. Indeed, Nadel was deemed an authority of Jewish music during his lifetime. The art historian Max Osborn praised Nadel as a ‘gifted human being of blessed creativity.’ Born in Vilna, Russian Lithuania, on 3 October 1878 into a Chassidic family, Nadel began his musical education in Königsberg under the renowned cantor Eduard Birnbaum and continued with Robert Schwalm. In 1895 he enrolled in the Jüdische Lehrerbildungsanstalt (Jewish Teacher Training Institute) in Berlin, and upon graduation in 1900 settled there and began further studies in composition with Max Julius Loewengard and Ludwig Mendelsohn. Among his earliest compositions is the Trauermarsch auf den Tod der Kaiserin Friedrich (Funeral march on the death of Emperor Friedrich, 1901) and Der parom (The ferry, 1910). He also wrote chamber music, among them two string quartets, a quintet, a suite for two pianos and lieder. From 1903 on Nadel was responsible for the music supplement of the Jewish Zionist journal Ost und West, and did the same from 1916 to 1918 for Martin Buber’s journal Der Jude. He also worked as music critic for Vossische Zeitung, Vorwärts, Freiheit and Die Musik, and contributed to other journals and several reference works. Nadel also gave private lessons in music, art history, and literature. In 1916 he became choir director at the Kottbuser Ufer synagogue, an appointment that later also involved the supervision of musical events at all synagogues in Berlin. During this time he increasingly devoted himself to composing and arranging works centred on traditional synagogue song, biblical cantillation, and Jewish folk music. Most of these pieces were published (Jüdische Liebeslieder, Berlin: Benjamin Harz, 1923; Jontefflieder, Berlin: Jüdischer Verlag, 1919) or served as musical supplements to his articles in the Gemeindeblatt der Jüdischen Gemeinde zu Berlin. With the exception of Zemirot shabat: Die häuslichen Sabbatgesänge (Berlin: Schocken Verlag, 1937), many of his great compositions written after 1933 only survive in manuscript. A typical case is the Orgelvorspiel über hebräische Motive, which premiered in March 1936 at the Friedenstempel in Berlin with Herman Schwarz at the organ, and the 1940 blessing setting Der Herr segne und behüte dich for male chorus and soloists. The Prelude to the film Hebräische Melodie of 1935 is one of his few works to be recorded. Nadel’s compositions fulfil several functions at the same time: They were performed during concerts and in synagogue service. In lecture-recitals they also took on an educational dimension, introducing a Jewish audience to different types of music both on a theoretical and practical level. In 1923 the Berlin Jewish community commissioned Nadel to compile and arrange new music for their liturgy. This resulted in a seven-volume manuscript compendium of synagogue music for cantor, choir, and organ, completed on 8 November 1938. The anthology reflects Nadel’s passion for collecting from the vast repertoire of Jewish music, and features Eastern European folk and synagogue song, as well as cantorial music, which he believed should be arranged in an artful manner. Nadel collected old manuscripts of Jewish liturgical music>(for instance, he owned the Hannoversches Kompendium of 1744) and had also saved the repertoire he encountered when he studying under Eduard Birnbaum in Königsberg. Thus Birnbaum’s handwritten scores and in¬scribed manuscripts became part of Nadel’s extensive music library. Nadel’s greatest and best transmitted output is as writer. He wrote several librettos, seven dramas, and over 2000 poems and cycles inspired by Polish and Russian Jewish theatre. Among his milestones is the poetry collection Der Ton: Die Lehre von Gott und Leben (The tone: A study on god and life) of 1920. As an Expressionist Nadel gained greatest popularity in the early 1920s with poetry influenced by the spiritual philosophy of Taoism. In 1923, some of these poems were published as a chapbook. His poetry collection Der weissagende Dionysos of 1925 is the result of 25 years of writing. By 1935, a dozen books containing Nadel’s poems had been published and distributed throughout Germany. Since 1910, Nadel’s poetry had been compared favourably to the works of the great German lyrical poets – Alfred Mombert, Theodor Daubler and Oscar Loerke – but with the advent of Nazism, any further publication of his poetic work was prohibited. Not until 1918, comparatively late, did Nadel devote himself to painting. Rooted both in Judaism and Expressionism, Nadel created the cycle Vierzig Gestalten der Bibel (Forty biblical characters) and many self-portraits. Although Nadel was able to obtain an exit visa to England, he was too weak and dispirited to make the journey. On 12 March 1943 he was deported to Auschwitz concentration camp where he was murdered the same year. Before his deportation Nadel left his entire library with a neighbour who managed to save a good part of the material. After the war, the neighbour returned it to Nadel’s estate. An avid collector and personal friend of Nadel, Eric Mandell, acquired the collection from the Nadel family and brought it with his own collection to the United States. It lies uncatalogued in the Gratz College Archive in Philadelphia. Nadel’s diaries were saved by the painter Käthe Kollwitz. ******* The revival of the woodcut as a graphic medium started in the late 19th century. Artists like Paul Gauguin and Edvard Munch transformed the woodcut from a narrative illustration into a tool to express individual ideas. They experimented with the wooden block to produce textures and tones that were more dramatic. This trend continued into the 20th century with the emergence of German Expressionism. Most of the German Expressionists were graphic-minded. They made prolific use of the leading print mediums, especially the woodcut, using the sharp contrast of black and white and the hard, dramatic cuts to express their souls and to turn a small format into a monumental image. Graphic works also had a solid tradition in the history of Jewish art. Jews used calligraphy to scribe in accordance with certain stylistic rules. The Jewish attachment to the book promoted the evolution of book illustrations. Jewish artists like Herman Struck, Joseph Budko and Jacob Steinhardt, who produced powerful graphic work with Jewish themes, inspired future artists. Herman Struck (1887-1944) contributed internationally to the development of etching and created prints representing views of Israel and Jewish culture in various lands. His student, Joseph Budko (1880-1940), followed his lead and turned to graphic art. Budko developed a style that combined personal attitude with Jewish mentality, a synthesis of Jewish tradition and modern artistic approach. He also revived the spirit of Jewish book illustration, elevating it to modern design. In 1913, Jacob Steinhardt (1887-1969) and Ludwig Meidner (1884-1966) founded the Berlin Expressionist group known as Die Pathetiker (The Suffering Ones), which focused mainly on graphic arts. Steinhardt became one of the most prominent woodcut artists using a neo-Gothic or Biblical style and refining the technique of block printing. The Federal Arts Program of the U.S. Works Progress Administration established a Graphic Arts Division in 1935. The replicated prints and public murals created during this period contained social messages that were targeted to a Depression-weary mass audience. The artists of A Gift to Biro-Bidjan, who were active members of the WPA, produced graphic art and public murals. In 1937, the Chicago Society of Artists began publishing an annual block-print calendar to expose Chicago artists to a wider audience and to finance the society’s activities. The Artist Calendar – 1937 was published in the summer of 1936 and featured woodcuts by 30 artists, including four artists who contributed to A Gift to Biro-Bidjan: Fritzi Brod, Abraham Weiner, Louis Weiner, and Todros Geller. This calendar project, used as a fund-raising tool, preceded the ICOR publication of A Gift to Biro-Bidjan. Among the artists who participated in A Gift to Biro-Bidjan, Todros Geller was the most prominent graphic artist. He illustrated more than 40 books, and several books of his woodcuts were published. In the same year A Gift to Biro-Bidjan was produced, L.M. Stein published Geller’s woodcuts album, From Land to Land. The artists of A Gift to Biro-Bidjan made remarkable use of woodcut techniques to promote their ideas. Black silhouette, where the artist carves out background spaces from the wooden block, was applied mainly for the motif of “despair.” White silhouette, where the artist carves out the area of the subject, was used primarily for the motif of “new hope.” The dramatic contrast of black-and-white woodcut emphasizes the symbolism of “dark” versus “light” and “despair” versus “new hope.” . ******* Bezalel Academy of Arts and Design is Israel's national school of art, founded in 1903 by Boris Schatz. It is named for the Biblical figure Bezalel, son of Uri (Hebrew: בְּצַלְאֵל בֶּן־אוּרִי‎), who was appointed by Moses to oversee the design and construction of the Tabernacle (Exodus 35:30). The academy was founded in 1903 by Boris Schatz. Theodor Herzl and the early Zionists believed in the creation of a national style of art combining Jewish, Middle Eastern, and European traditions. The teachers of Bezalel developed a distinctive school of art, known as the Bezalel school, which portrayed Biblical and Zionist subjects in a style influenced by the European jugendstil (art nouveau) and traditional Persian and Syrian art. The artists blended "varied strands of surroundings, tradition and innovation," in paintings and craft objects that invokes "biblical themes, Islamic design and European traditions," in their effort to "carve out a distinctive style of Jewish" art for the new nation they intended to build in the ancient Jewish homeland. [1] 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 were often members of the Yemenite community, which has a long tradition of craftmanship in precious metals. Silver and goldsmithing 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, Shmuel Ben David, Ya'ackov Ben-Dov, Ze'ev Ben-Tzvi, Jacob Eisenberg, Jacob Pins, Jacob Steinhardt, and Hermann Struck.[2]The school closed down in 1929 in the wake of economic difficulties, but reopened in 1935, attracting many teachers and students from Germany, many of them from the Bauhaus school shut down by the Nazis. In 1958, Bezalel won the Israel Prize for painting and sculpture (the fine arts). [3] In 1969, Bezalel became a state-supported institution. It completed its relocation to Mount Scopus in 1990.       ebay5759 folder 203 + ebay 568 / meirjune 

• Condition: Used
• Condition: Excellent condition . Tightly boung . Very clean. Very slight cover wear. ( Pls look at scan for accurate AS IS images )
• Religion: Judaism
• Country/Region of Manufacture: Germany

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