Auction 69 - Part I -Rare and Important Items
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Displaying 85 - 96 of 99
![A letter handwritten by Albert Einstein to the mathematician Ernst Gabor Straus. Signed "A.S.". [Princeton, USA], J](https://files.kedem-auctions.com/files/Sale69a-public/139.jpg "A Scientific Letter Handwritten and Signed by Albert Einstein – Sent t")
Auction 69 - Part I -Rare and Important Items
December 3, 2019
Opening: $20,000
Estimate: $30,000 - $40,000
Unsold
A letter handwritten by Albert Einstein to the mathematician Ernst Gabor Straus. Signed "A.S.". [Princeton, USA], July 15, 1950. German.
An interesting scientific letter in which Albert Einstein responds to Ernst Gabor Straus' reservations about his work. At the time the letter was written, Einstein was working on the development of the Unified Field Theory (a unified theoretical framework describing the fundamental forces of nature). In the third edition of his famous book "The Meaning of Relativity" (Princeton, 1950), Einstein published an appendix titled "Generalization of Gravitation Theory" in which he tried to introduce a Unified Field Theory which includes the gravitational force and the electromagnetic force; the present letter presumably refers to the claims published in this article.
At the beginning of the letter, Einstein writes: " I am glad that you are vigorously dealing with the question of compatibility. Yet it seems to me that your fears are unjustified. I want to phrase the proof so that your letters will be taken into consideration". Following is a long scientific explanation – the proof Einstein phrased for Straus.
The mathematician Ernst Gabor Straus was Einstein's assistant at the Princeton's Institute for Advanced Studies between 1944 and 1948, working with him on the Unified Field Theory and helping him with mathematical models for his ideas. The two wrote three articles together. This letter, indicating the continuous collaboration between the two, provides an interesting peek into the process of their work.
The Jewish-German physicist Albert Einstein (1879-1955) is considered by many the greatest physicist of the 20th century. Einstein was attracted to science at a very young age, autonomously proving Pythagoras' theorem at the age of 12. In 1905, Einstein published four groundbreaking articles in the "Physics Annual" (Annalen der Physik). The articles, dealing with the photoelectric effect, the Brownian motion, special relativity and the equivalence of mass and energy, are considered the fundamental building blocks of modern physics (due to their importance, the year is known as "Einstein's Extraordinary Year"). The short popular summary of one of the four articles is the well-known equation E=mc2 (Energy = mass x the speed of light squared), an equation that has become one of the most famous physics equations and the most identified with Einstein and physics in general. In 1915, after approximately ten years of work, Einstein published the General Relativity Theory – a geometric theory about gravitation which transformed the world of physics. General relativity was initially accepted in the scientific world with much skepticism; when it was finally confirmed, it was widely publicized even in the popular press and earned Einstein his world renown. Although many supported Einstein as a Nobel Prize laureate, the awarding of the prize was postponed time and again, due to the doubts of several conservative scientists and the objections of various antisemitic scientists. Eventually, in 1922 he was retroactively awarded the 1921 Nobel Prize in Physics, not for General Relativity but rather "for his services to theoretical physics, and especially for his discovery of the law of the photoelectric effect".
Einstein dedicated the final thirty years of his life to developing the Unified Field Theory, which was supposed to unify the fundamental forces of nature within a single theoretical framework. Although eventually, he did not succeed in transforming his ideas into a solid theory, his efforts motivated other scholars to search for "a unified theory". His work in this field is one of his most important contributions to the world of science.
Ernst Gabor Straus (1922-1983), a Jewish-German mathematician, especially remembered for his contribution to the development of the Ramsey Theory. Straus was born to a Jewish Zionist family from Munich (his mother, Rachel Straus, was the first female doctor to have been trained at a German university); in 1933, the family escaped to Palestine and after a short study period at the Hebrew University, he immigrated to the USA, concluding his studies at Colombia University. During the years 1944-1948, he was Einstein's assistant and in the years that followed worked with several of the most important contemporary mathematicians (Paul Erdős, Richard Bellman, Lovász László and many others).
[1] leaf, approx. 28 cm. Good condition. Fold lines and creases.
An interesting scientific letter in which Albert Einstein responds to Ernst Gabor Straus' reservations about his work. At the time the letter was written, Einstein was working on the development of the Unified Field Theory (a unified theoretical framework describing the fundamental forces of nature). In the third edition of his famous book "The Meaning of Relativity" (Princeton, 1950), Einstein published an appendix titled "Generalization of Gravitation Theory" in which he tried to introduce a Unified Field Theory which includes the gravitational force and the electromagnetic force; the present letter presumably refers to the claims published in this article.
At the beginning of the letter, Einstein writes: " I am glad that you are vigorously dealing with the question of compatibility. Yet it seems to me that your fears are unjustified. I want to phrase the proof so that your letters will be taken into consideration". Following is a long scientific explanation – the proof Einstein phrased for Straus.
The mathematician Ernst Gabor Straus was Einstein's assistant at the Princeton's Institute for Advanced Studies between 1944 and 1948, working with him on the Unified Field Theory and helping him with mathematical models for his ideas. The two wrote three articles together. This letter, indicating the continuous collaboration between the two, provides an interesting peek into the process of their work.
The Jewish-German physicist Albert Einstein (1879-1955) is considered by many the greatest physicist of the 20th century. Einstein was attracted to science at a very young age, autonomously proving Pythagoras' theorem at the age of 12. In 1905, Einstein published four groundbreaking articles in the "Physics Annual" (Annalen der Physik). The articles, dealing with the photoelectric effect, the Brownian motion, special relativity and the equivalence of mass and energy, are considered the fundamental building blocks of modern physics (due to their importance, the year is known as "Einstein's Extraordinary Year"). The short popular summary of one of the four articles is the well-known equation E=mc2 (Energy = mass x the speed of light squared), an equation that has become one of the most famous physics equations and the most identified with Einstein and physics in general. In 1915, after approximately ten years of work, Einstein published the General Relativity Theory – a geometric theory about gravitation which transformed the world of physics. General relativity was initially accepted in the scientific world with much skepticism; when it was finally confirmed, it was widely publicized even in the popular press and earned Einstein his world renown. Although many supported Einstein as a Nobel Prize laureate, the awarding of the prize was postponed time and again, due to the doubts of several conservative scientists and the objections of various antisemitic scientists. Eventually, in 1922 he was retroactively awarded the 1921 Nobel Prize in Physics, not for General Relativity but rather "for his services to theoretical physics, and especially for his discovery of the law of the photoelectric effect".
Einstein dedicated the final thirty years of his life to developing the Unified Field Theory, which was supposed to unify the fundamental forces of nature within a single theoretical framework. Although eventually, he did not succeed in transforming his ideas into a solid theory, his efforts motivated other scholars to search for "a unified theory". His work in this field is one of his most important contributions to the world of science.
Ernst Gabor Straus (1922-1983), a Jewish-German mathematician, especially remembered for his contribution to the development of the Ramsey Theory. Straus was born to a Jewish Zionist family from Munich (his mother, Rachel Straus, was the first female doctor to have been trained at a German university); in 1933, the family escaped to Palestine and after a short study period at the Hebrew University, he immigrated to the USA, concluding his studies at Colombia University. During the years 1944-1948, he was Einstein's assistant and in the years that followed worked with several of the most important contemporary mathematicians (Paul Erdős, Richard Bellman, Lovász László and many others).
[1] leaf, approx. 28 cm. Good condition. Fold lines and creases.
Category
Zionism, Palestine and Israel;
Noted Jewish Personalities
Catalogue
![Albert Einstein's business card, from the estate of Ernst Mach. [Zurich, ca. early 20th century]. With a scientific sketch on](https://files.kedem-auctions.com/files/Sale69a-public/140_1.jpg "Albert Einstein's Business Card, from the Estate of Ernst Mach – With")
![Albert Einstein's business card, from the estate of Ernst Mach. [Zurich, ca. early 20th century]. With a scientific sketch on](https://files.kedem-auctions.com/files/Sale69a-public/140_2.jpg "Albert Einstein's Business Card, from the Estate of Ernst Mach – With")
Auction 69 - Part I -Rare and Important Items
December 3, 2019
Opening: $2,000
Estimate: $4,000 - $6,000
Unsold
Albert Einstein's business card, from the estate of Ernst Mach. [Zurich, ca. early 20th century]. With a scientific sketch on verso.
Albert Einstein's business card, which reads "Professor Dr. Albert Einstein / Zurich". On verso of the card is a scientific sketch in pencil (see picture). The card came from the estate of physicist Ernst Mach. Presumably, the sketch was made by Mach or Einstein.
Ernst Mach (1838-1916), an Austrian-Czech physicist and philosopher, noted today mostly for his studies on supersonic motion. The Mach Number (the ratio of flow velocity past a boundary to the local speed of sound) and Mach's Principle (according to which, the inertial forces experienced by a body in nonuniform motion are determined by the quantity and distribution of matter in the universe) are named after him.
Mach's ideas, and especially his objection to absolute space and absolute motion which are the foundations of Newtonian mechanics, had a profound effect on Albert Einstein when he formulated the Theory of Relativity. Einstein became familiar with Mach's work during his studies. A number of letters he sent Mach during the years 1909-1913 indicate his keen interest in Mach's ideas and his appreciation of him (Einstein signed one of these letters with the phrase "Still your student"). During those years, Mach expressed his support of the Theory of Relativity Einstein was then developing. Over the years, their views drifted apart until finally, Mach recanted his support of the Theory of Relativity. Despite their difference of opinion, Einstein continued to see Mach as one the important sources of inspirations in his work and in a letter from 1930 wrote that "Mach is justifiably considered the herald of General Relativity".
For additional information about Mach and Einstein, see "Mach, Einstein, and the Search for Reality", by Gerald Holton. In: Daedalus, volume 97, no. 2 (1968).
4.5X10.5 cm. Good condition. Stains.
Provenance: Ursula Nusser Auction House, Munich, 2019.
Albert Einstein's business card, which reads "Professor Dr. Albert Einstein / Zurich". On verso of the card is a scientific sketch in pencil (see picture). The card came from the estate of physicist Ernst Mach. Presumably, the sketch was made by Mach or Einstein.
Ernst Mach (1838-1916), an Austrian-Czech physicist and philosopher, noted today mostly for his studies on supersonic motion. The Mach Number (the ratio of flow velocity past a boundary to the local speed of sound) and Mach's Principle (according to which, the inertial forces experienced by a body in nonuniform motion are determined by the quantity and distribution of matter in the universe) are named after him.
Mach's ideas, and especially his objection to absolute space and absolute motion which are the foundations of Newtonian mechanics, had a profound effect on Albert Einstein when he formulated the Theory of Relativity. Einstein became familiar with Mach's work during his studies. A number of letters he sent Mach during the years 1909-1913 indicate his keen interest in Mach's ideas and his appreciation of him (Einstein signed one of these letters with the phrase "Still your student"). During those years, Mach expressed his support of the Theory of Relativity Einstein was then developing. Over the years, their views drifted apart until finally, Mach recanted his support of the Theory of Relativity. Despite their difference of opinion, Einstein continued to see Mach as one the important sources of inspirations in his work and in a letter from 1930 wrote that "Mach is justifiably considered the herald of General Relativity".
For additional information about Mach and Einstein, see "Mach, Einstein, and the Search for Reality", by Gerald Holton. In: Daedalus, volume 97, no. 2 (1968).
4.5X10.5 cm. Good condition. Stains.
Provenance: Ursula Nusser Auction House, Munich, 2019.
Category
Zionism, Palestine and Israel;
Noted Jewish Personalities
Catalogue
Auction 69 - Part I -Rare and Important Items
December 3, 2019
Opening: $5,000
Estimate: $7,000 - $10,000
Unsold
A leaf handwritten by Nobel Prize laureate physicist Richard Feynman – solution of differential equations using the Runge-Kutta methods.
A leaf, showing by means of flow-charts ways to solve differential equations using the Runge-Kutta methods. Possibly, the flow-charts were meant to demonstrate how the solution of differential equations can be reached by means of computer software. The leaf is written mostly in red ink, in neat hand, with several erasures and corrections, and it enables a peek into the work process of a leading physicist of the 20th century.
The physicist Richard Feynman, born in New York, received the Nobel Prize in Physics in 1965 and is considered one of the most colorful figures of the scientific world. Feynman was born to a working-class Jewish family in Queens. When he was fifteen, he taught himself trigonometry, advanced algebra, analytic geometry and infinitesimal calculus; as he was not satisfied with the standard mathematical notation, he invented one of his own.
In 1941, when he was working on his doctoral thesis, Feynman was invited to participate in the Manhattan Project and was one of the developers of the atomic bomb. In time, he said about his participation in the project: "I would go along and I would see people building a bridge, or they'd be making a new road, and I thought, they're crazy, they just don't understand, they don't understand. Why are they making new things?" Like Albert Einstein, Feynman gained fame for numerous anecdotes, quotes and amusing stories, and he is one of the most recognized physicists outside the world of science. His sense of humor and rebellious character did not skip the most important event of his life – the ceremony in which he was awarded the Nobel Prize for his contribution to Quantum Electrodynamics. During the ball held for the Nobel Prize laurates, he offered two of the attending princesses to invent a hand-shaking machine that will save the king the trouble.
Feynman died in 1988 after a long battle with cancer. Alongside his extensive work, Feynman is also remembered for his lectures, widely attended by colleagues and faculty members. His introductory lectures to modern physics were published in a three-volume edition (The Feynman Lectures on Physics), which is used to this day. The numerous anecdotes involving his name were compiled in several books, including Surely You're Joking, Mr. Feynman (1985) and What Do You Care What Other People Think? (1988); and others.
[1] leaf, written on both its sides, approx. 21 cm. Good condition.
Provenance: Sotheby's, New York, Auction no. 9886 (History of Science & Technology, Including the Nobel Prize and Papers of Richard P. Feynman), 30.11.2018. Lot no. 90.
A leaf, showing by means of flow-charts ways to solve differential equations using the Runge-Kutta methods. Possibly, the flow-charts were meant to demonstrate how the solution of differential equations can be reached by means of computer software. The leaf is written mostly in red ink, in neat hand, with several erasures and corrections, and it enables a peek into the work process of a leading physicist of the 20th century.
The physicist Richard Feynman, born in New York, received the Nobel Prize in Physics in 1965 and is considered one of the most colorful figures of the scientific world. Feynman was born to a working-class Jewish family in Queens. When he was fifteen, he taught himself trigonometry, advanced algebra, analytic geometry and infinitesimal calculus; as he was not satisfied with the standard mathematical notation, he invented one of his own.
In 1941, when he was working on his doctoral thesis, Feynman was invited to participate in the Manhattan Project and was one of the developers of the atomic bomb. In time, he said about his participation in the project: "I would go along and I would see people building a bridge, or they'd be making a new road, and I thought, they're crazy, they just don't understand, they don't understand. Why are they making new things?" Like Albert Einstein, Feynman gained fame for numerous anecdotes, quotes and amusing stories, and he is one of the most recognized physicists outside the world of science. His sense of humor and rebellious character did not skip the most important event of his life – the ceremony in which he was awarded the Nobel Prize for his contribution to Quantum Electrodynamics. During the ball held for the Nobel Prize laurates, he offered two of the attending princesses to invent a hand-shaking machine that will save the king the trouble.
Feynman died in 1988 after a long battle with cancer. Alongside his extensive work, Feynman is also remembered for his lectures, widely attended by colleagues and faculty members. His introductory lectures to modern physics were published in a three-volume edition (The Feynman Lectures on Physics), which is used to this day. The numerous anecdotes involving his name were compiled in several books, including Surely You're Joking, Mr. Feynman (1985) and What Do You Care What Other People Think? (1988); and others.
[1] leaf, written on both its sides, approx. 21 cm. Good condition.
Provenance: Sotheby's, New York, Auction no. 9886 (History of Science & Technology, Including the Nobel Prize and Papers of Richard P. Feynman), 30.11.2018. Lot no. 90.
Category
Zionism, Palestine and Israel;
Noted Jewish Personalities
Catalogue
Auction 69 - Part I -Rare and Important Items
December 3, 2019
Opening: $1,000
Estimate: $2,000 - $3,000
Unsold
Collection of "Shanah Tovah" (Happy New Year) postcards and greeting cards. Published by Tzentral, Yehudiyah, D. Marcadis, Williamsburg Art Co., Z. Resnik, Phoenix, Littauer & Boysen, and others, Poland, Germany, USA, Palestine and elsewhere, [first half of the 20th century (several later items)].
The collection contains 49 postcards and 18 greeting cards depicting Zionist and Jewish images; including postcards and greeting cards dealing with the Jewish cycle of the year, the Jewish festivals of Tishrei and their customs, greeting cards decorated with "Trees of the Holy Land", and more.
In the collection: • An undivided color postcard with the work "Passover" by E.M. Lilien – an old Jew encircled by barbed wire on the backdrop of Egyptian pyramids and the rising sun. Berlin: Phoenix, [early 20th century]. The postcard was sent to "My Friend Mr. Sapir" in Odessa in 1902, "63 to our old count; […] to our national movement". Bearing JNF "Zion" stamps and an additional handwritten greeting – "May you be inscribed and sealed to a happy New Year" (Hebrew). The addressee is presumably Dr. Yosef Sapir, chairman of the Zionist unions of Odessa. • Six postcards depicting biblical and Jewish figures, alongside prayer verses and happy New Year greetings. [Berlin]: Littauer & Boysen, [early 20th century]. • Three postcards with a folding, book-shaped flap, beneath which is an accordion-folded strip of paper bearing a series of pictures: the first, "Palestine", depicting sights of Palestine; the second, "Judishe Presse", depicting a series of tiny reproductions of the front pages of Jewish newspapers and journals in Yiddish, most of them from 1910; the third, "Hebrew Writers", depicting portraits of contemporary Hebrew writers, including Achad Ha'am, Bialik, Shaul Tchernichovsky, Z. Shneur and others. [ca. first and second decades of the 20th century]. • Six Zionist postcards depicting flags, verses about the revival of Israel, immigrant ships and more. Jerusalem: D. Marcadis, [1940s]. • A photographic "Shanah Tovah" greeting card bearing the sender's portrait. The picture was taken at the "'Israel' Photo", Tel Aviv, [ca. 1950s]. • And more.
Enclosed: The envelope in which the series of cards "Trees of the Holy Land" (11 of which are included in this collection), designed by P. Steiner, was sold (Schoen Press, Tel Aviv).
Postcards: 14X9 cm on average. Greeting cards: 7.5X6.5 cm to 10X15 cm. Good to fair overall condition. Blemishes and stains to some postcards and greeting cards. Layer separation to several postcards. Eight of the postcards and three of the greeting cards were used.
Provenance: The Uzi Agassi Collection.
The collection contains 49 postcards and 18 greeting cards depicting Zionist and Jewish images; including postcards and greeting cards dealing with the Jewish cycle of the year, the Jewish festivals of Tishrei and their customs, greeting cards decorated with "Trees of the Holy Land", and more.
In the collection: • An undivided color postcard with the work "Passover" by E.M. Lilien – an old Jew encircled by barbed wire on the backdrop of Egyptian pyramids and the rising sun. Berlin: Phoenix, [early 20th century]. The postcard was sent to "My Friend Mr. Sapir" in Odessa in 1902, "63 to our old count; […] to our national movement". Bearing JNF "Zion" stamps and an additional handwritten greeting – "May you be inscribed and sealed to a happy New Year" (Hebrew). The addressee is presumably Dr. Yosef Sapir, chairman of the Zionist unions of Odessa. • Six postcards depicting biblical and Jewish figures, alongside prayer verses and happy New Year greetings. [Berlin]: Littauer & Boysen, [early 20th century]. • Three postcards with a folding, book-shaped flap, beneath which is an accordion-folded strip of paper bearing a series of pictures: the first, "Palestine", depicting sights of Palestine; the second, "Judishe Presse", depicting a series of tiny reproductions of the front pages of Jewish newspapers and journals in Yiddish, most of them from 1910; the third, "Hebrew Writers", depicting portraits of contemporary Hebrew writers, including Achad Ha'am, Bialik, Shaul Tchernichovsky, Z. Shneur and others. [ca. first and second decades of the 20th century]. • Six Zionist postcards depicting flags, verses about the revival of Israel, immigrant ships and more. Jerusalem: D. Marcadis, [1940s]. • A photographic "Shanah Tovah" greeting card bearing the sender's portrait. The picture was taken at the "'Israel' Photo", Tel Aviv, [ca. 1950s]. • And more.
Enclosed: The envelope in which the series of cards "Trees of the Holy Land" (11 of which are included in this collection), designed by P. Steiner, was sold (Schoen Press, Tel Aviv).
Postcards: 14X9 cm on average. Greeting cards: 7.5X6.5 cm to 10X15 cm. Good to fair overall condition. Blemishes and stains to some postcards and greeting cards. Layer separation to several postcards. Eight of the postcards and three of the greeting cards were used.
Provenance: The Uzi Agassi Collection.
Category
Graphic Art and Paintings
Catalogue
Auction 69 - Part I -Rare and Important Items
December 3, 2019
Opening: $5,000
Estimate: $7,000 - $10,000
Unsold
Large, quality collection of bookplates. Europe, USA and Palestine, the 20th century (dozens of earlier bookplates).
The collection contains approx. 1800 bookplates, most of them designed by artists, and many of them prints, woodcuts and engravings. Including bookplates made by E.M. Lilien, Hermann Struck, Ilya Schor, Perec Willenberg, Jacob Stark, Joseph Budko, Moshe Sterenshuss, Ruth Tzarfati and many others. A number of bookplates were designed by Leonid Kuris.
The collection includes bookplates made for Martin Buber, Heinrich Loewe, Otto Warburg, Max Brod, Gershom Scholem, Avraham Shalom Yehuda, Simcha Asaf, and others; universities, public institutions and libraries – the Hebrew University, The Weizmann Institute of Science, the Technion, the Jewish National and University Library (now the National Library of Israel), the Ben Zvi Institute (Yad Ben Zvi), the Israel Museum, and more; hundreds of bookplates of community libraries, synagogue libraries, school libraries and more, from Jewish communities all over the USA, Canada and elsewhere; and other bookplates. In addition, the collection contains several large sub-collections of bookplates made by various artists for the libraries of bookplate collectors, including Raphael Grunzweig, Toivo Asikainen, Dr. Hermann Wiese and Mario de Filippis. Numerous duplicate copies.
Enclosed: • Exhibition catalogue "Bookplates of the Collection of Raphael Grunzweig" (Hebrew). Ra'anana: Raphael Grunzweig and the Ra'anana Municipality, Department of Culture, 1995. • List of exhibits of the exhibition "Leonid Kuris, Ex-Libris Exhibition" (Hebrew), held at the Tel Aviv University, the Sourasky Central Library. Tel Aviv, 1994. • Advertising posters of both exhibitions.
Size and condition vary. Good to fair condition. Many of the bookplates are mounted to paper leaves with tape.
Provenance: The Raphael Grunzweig Collection.
The collection contains approx. 1800 bookplates, most of them designed by artists, and many of them prints, woodcuts and engravings. Including bookplates made by E.M. Lilien, Hermann Struck, Ilya Schor, Perec Willenberg, Jacob Stark, Joseph Budko, Moshe Sterenshuss, Ruth Tzarfati and many others. A number of bookplates were designed by Leonid Kuris.
The collection includes bookplates made for Martin Buber, Heinrich Loewe, Otto Warburg, Max Brod, Gershom Scholem, Avraham Shalom Yehuda, Simcha Asaf, and others; universities, public institutions and libraries – the Hebrew University, The Weizmann Institute of Science, the Technion, the Jewish National and University Library (now the National Library of Israel), the Ben Zvi Institute (Yad Ben Zvi), the Israel Museum, and more; hundreds of bookplates of community libraries, synagogue libraries, school libraries and more, from Jewish communities all over the USA, Canada and elsewhere; and other bookplates. In addition, the collection contains several large sub-collections of bookplates made by various artists for the libraries of bookplate collectors, including Raphael Grunzweig, Toivo Asikainen, Dr. Hermann Wiese and Mario de Filippis. Numerous duplicate copies.
Enclosed: • Exhibition catalogue "Bookplates of the Collection of Raphael Grunzweig" (Hebrew). Ra'anana: Raphael Grunzweig and the Ra'anana Municipality, Department of Culture, 1995. • List of exhibits of the exhibition "Leonid Kuris, Ex-Libris Exhibition" (Hebrew), held at the Tel Aviv University, the Sourasky Central Library. Tel Aviv, 1994. • Advertising posters of both exhibitions.
Size and condition vary. Good to fair condition. Many of the bookplates are mounted to paper leaves with tape.
Provenance: The Raphael Grunzweig Collection.
Category
Graphic Art and Paintings
Catalogue
Auction 69 - Part I -Rare and Important Items
December 3, 2019
Opening: $3,000
Estimate: $5,000 - $8,000
Unsold
"The Destruction of Jerusalem by the Romans, Under the Command of Titus, A.D. 70". A monumental chromolithograph, made by Louis Haghe, after a painting by David Roberts. London: Herling & Remington, Day & Son Press, 1851.
A large lithograph, after an oil painting by David Roberts. The lithograph depicts Jerusalem from the direction of Mount Scopus – the Roman army storming the eastern wall of the city, and inside the city fires are burning in several places. The view of Jerusalem as a Roman city full of impressive Roman and Greek public buildings reflects Roberts' love for elaborate depiction of architectural structures and elements. The painting after which the lithograph was made, painted for the British Academy of Arts in 1849, is one of Roberts' only paintings dealing with historical themes. The description of the Roman attack on Jerusalem is based mainly on the description of the siege of Jerusalem in Josephus Flavius' writings and on the drawings of the city made by Roberts during his only visit to Palestine in 1838-1839.
The lithograph is on lettered heavy paper mount, with artist's and lithographer's names, publisher's and other information and printed inscription: "To the Right Honorable the Earl of Ellesmere, this plate from the original picture is by special permission most respectfully dedicated by his obliged and obedient servants, David Roberts, R.A. and Louis Haghe". Lord Francis Egerton, the First Earl of Ellesmere, was a prominent patron of art in contemporary England and collected many works by Roberts, which he purchased directly from the artist.
Lithograph: approx. 69X107 cm. Mount: 84X115 cm. Framed. Good condition. A small tear to right edge of lithograph. Tears and minor blemishes to edges of mount. A restored tear to left edge of mount. Stains. Minor blemishes to frame.
Literature: The Painters and Paintings of Palestine in the 19th Century (Hebrew), by Yehoshua Ben-Aryeh. Jerusalem: Yad Ben Zvi / Tel Aviv: Yediot Acharonot and Sifrei Chemed, 1992. pp. 98-102.
A large lithograph, after an oil painting by David Roberts. The lithograph depicts Jerusalem from the direction of Mount Scopus – the Roman army storming the eastern wall of the city, and inside the city fires are burning in several places. The view of Jerusalem as a Roman city full of impressive Roman and Greek public buildings reflects Roberts' love for elaborate depiction of architectural structures and elements. The painting after which the lithograph was made, painted for the British Academy of Arts in 1849, is one of Roberts' only paintings dealing with historical themes. The description of the Roman attack on Jerusalem is based mainly on the description of the siege of Jerusalem in Josephus Flavius' writings and on the drawings of the city made by Roberts during his only visit to Palestine in 1838-1839.
The lithograph is on lettered heavy paper mount, with artist's and lithographer's names, publisher's and other information and printed inscription: "To the Right Honorable the Earl of Ellesmere, this plate from the original picture is by special permission most respectfully dedicated by his obliged and obedient servants, David Roberts, R.A. and Louis Haghe". Lord Francis Egerton, the First Earl of Ellesmere, was a prominent patron of art in contemporary England and collected many works by Roberts, which he purchased directly from the artist.
Lithograph: approx. 69X107 cm. Mount: 84X115 cm. Framed. Good condition. A small tear to right edge of lithograph. Tears and minor blemishes to edges of mount. A restored tear to left edge of mount. Stains. Minor blemishes to frame.
Literature: The Painters and Paintings of Palestine in the 19th Century (Hebrew), by Yehoshua Ben-Aryeh. Jerusalem: Yad Ben Zvi / Tel Aviv: Yediot Acharonot and Sifrei Chemed, 1992. pp. 98-102.
Category
Graphic Art and Paintings
Catalogue
![Two portrait miniatures – Moses Mendelssohn and Gotthold Ephraim Lessing. [Germany?, ca. late 18th century].
The portraits](https://files.kedem-auctions.com/files/Sale69a-public/145_1.jpg "Two Portrait Miniatures – Moses Mendelssohn and Gotthold Ephraim Lessi")
![Two portrait miniatures – Moses Mendelssohn and Gotthold Ephraim Lessing. [Germany?, ca. late 18th century].
The portraits](https://files.kedem-auctions.com/files/Sale69a-public/145_2.jpg "Two Portrait Miniatures – Moses Mendelssohn and Gotthold Ephraim Lessi")
![Two portrait miniatures – Moses Mendelssohn and Gotthold Ephraim Lessing. [Germany?, ca. late 18th century].
The portraits](https://files.kedem-auctions.com/files/Sale69a-public/145_3.jpg "Two Portrait Miniatures – Moses Mendelssohn and Gotthold Ephraim Lessi")
![Two portrait miniatures – Moses Mendelssohn and Gotthold Ephraim Lessing. [Germany?, ca. late 18th century].
The portraits](https://files.kedem-auctions.com/files/Sale69a-public/145_4.jpg "Two Portrait Miniatures – Moses Mendelssohn and Gotthold Ephraim Lessi")
Auction 69 - Part I -Rare and Important Items
December 3, 2019
Opening: $1,000
Estimate: $2,000 - $4,000
Sold for: $2,750
Including buyer's premium
Two portrait miniatures – Moses Mendelssohn and Gotthold Ephraim Lessing. [Germany?, ca. late 18th century].
The portraits were painted in gouache, after engravings by Johann Friedrich Bause, printed in 1772 (engravings after oil paintings by Anton Graff). Lessing and Mendelssohn's names are handwritten on verso of the portrait's frames; beneath Mendelssohn's name is a short biography (German).
A strong, long-standing friendship prevailed between Moses Mendelssohn (1729-1786), a pioneer of the Haskalah [Enlightenment] movement, and Gotthold Ephraim Lessing (1729-1781), one of the most important German playwrights of the Enlightenment era. Lessing introduced Mendelssohn to his circle of intellectuals, their discourse initially yielding the joint composition "Pope a Metaphysician" ("Pope ein Metaphysiker!", 1755) and soon motivating Mendelssohn to start publishing his philosophical work. In his writings, Lessing argued against prejudice and for religious tolerance and the reign of reason, and through his close friendship with Mendelssohn practiced what he preached, unlike many of his contemporaries. Lessing wished to undermine the popular negative image of the Jews and put in the center of one of his first plays, "The Jews", a character of a decent, exemplary and moral Jew. His later play "Nathan the Wise", inspired by Mendelssohn, likewise depicts the character of a Jewish merchant as an intelligent and noble person.
Portrait miniatures originated in illuminated manuscripts. In the 15th century, artists started producing miniature portraits as independent items. Initially, these artists worked in royal courts, yet soon the custom of commissioning miniature portraits of family members and kings, politicians and intellectuals spread to the upper and lower nobility and eventually to the bourgeoisie as well. Miniature portraits of family members and loved ones were set in lockets and watches to be cherished and remembered; portraits of dignitaries and famous persons were elaborately framed and prominently displayed. The 18th century was the golden age of the portrait miniatures. Many miniature artists continued to work in Europe and its colonies during the first half of the 19th century; however, with the invention of photography in the mid-19th century, the demand for them ebbed and eventually stopped altogether.
Portraits: approx. 11X10 cm, in approx. 13.5X15.5 cm frames. Good overall condition. Minor blemishes to portraits. Dampstain to Mendelssohn's portrait. Damaged frames, with fractures and losses (in the wood and the glass) and glue repairs. The paper on verso of Lessing's portrait is torn and partly detached. Mendelssohn's portrait has not been examined outside the frame.
The portraits were painted in gouache, after engravings by Johann Friedrich Bause, printed in 1772 (engravings after oil paintings by Anton Graff). Lessing and Mendelssohn's names are handwritten on verso of the portrait's frames; beneath Mendelssohn's name is a short biography (German).
A strong, long-standing friendship prevailed between Moses Mendelssohn (1729-1786), a pioneer of the Haskalah [Enlightenment] movement, and Gotthold Ephraim Lessing (1729-1781), one of the most important German playwrights of the Enlightenment era. Lessing introduced Mendelssohn to his circle of intellectuals, their discourse initially yielding the joint composition "Pope a Metaphysician" ("Pope ein Metaphysiker!", 1755) and soon motivating Mendelssohn to start publishing his philosophical work. In his writings, Lessing argued against prejudice and for religious tolerance and the reign of reason, and through his close friendship with Mendelssohn practiced what he preached, unlike many of his contemporaries. Lessing wished to undermine the popular negative image of the Jews and put in the center of one of his first plays, "The Jews", a character of a decent, exemplary and moral Jew. His later play "Nathan the Wise", inspired by Mendelssohn, likewise depicts the character of a Jewish merchant as an intelligent and noble person.
Portrait miniatures originated in illuminated manuscripts. In the 15th century, artists started producing miniature portraits as independent items. Initially, these artists worked in royal courts, yet soon the custom of commissioning miniature portraits of family members and kings, politicians and intellectuals spread to the upper and lower nobility and eventually to the bourgeoisie as well. Miniature portraits of family members and loved ones were set in lockets and watches to be cherished and remembered; portraits of dignitaries and famous persons were elaborately framed and prominently displayed. The 18th century was the golden age of the portrait miniatures. Many miniature artists continued to work in Europe and its colonies during the first half of the 19th century; however, with the invention of photography in the mid-19th century, the demand for them ebbed and eventually stopped altogether.
Portraits: approx. 11X10 cm, in approx. 13.5X15.5 cm frames. Good overall condition. Minor blemishes to portraits. Dampstain to Mendelssohn's portrait. Damaged frames, with fractures and losses (in the wood and the glass) and glue repairs. The paper on verso of Lessing's portrait is torn and partly detached. Mendelssohn's portrait has not been examined outside the frame.
Category
Graphic Art and Paintings
Catalogue
Auction 69 - Part I -Rare and Important Items
December 3, 2019
Opening: $5,000
Estimate: $10,000 - $15,000
Sold for: $6,250
Including buyer's premium
The Temple Mount Viewed from the East, a painting by Jacob Steinhardt (1887-1968). 1946.
Oil on canvas. Signed and dated.
Jacob Steinhardt (1887-1968) was born in Zerkow, Prussia. In 1906, with the financial support of his townspeople, he started studying painting in Berlin under Lovis Corinth and etching with Hermann Struck. After a long stay in France and Italy, Steinhardt returned to Germany, where he co-founded with the artists Ludwig Meidner and Richard Janthur the expressionist group "Die Pathetiker". With the outbreak of World War I, Steinhardt enlisted in the German army and was positioned in Lithuania, where he became familiar with the traditional lifestyle of local Jews. His portrait sketches of Lithuanian Jews were exhibited in an exhibition of the Berlin Sezession group in 1917, and due to them, Steinhardt was accepted as a member of the group. After the war, he started making woodcuts inspired by the images of the war and his awakened Jewish identity. In 1933, he was arrested by the Germans for allegedly disturbing the Führer's speeches, yet was released due to his being a well-known artist. Several days later, he immigrated Palestine with his wife and daughter and after several months in Tel Aviv, settled in Jerusalem and opened an art school. In 1949, Steinhardt closed his school and was appointed the director of the graphics department of New Bezalel. Between 1953 and 1957, he headed the school (a position he was promised much earlier but was given first to Joseph Budko). In 1955, he was awarded an international prize in graphic art at the Sau Paulo Biennale in Brazil. Steinhardt, a prominent artist of German Expressionism, was famous mainly for his woodcuts; however, he never abandoned the easel. His work manifests humane protest alongside nostalgia for biblical times and for the Shtetl. He established a generation of students who continued his expressionist style.
84X69 cm. Framed: 88.5X104 cm. Good condition. Minor cracks to paint. Minor blemishes to frame.
Literature: The Woodcuts of Jakob Steinhardt, by Leon Kolb. San Francisco: Genuart Co., 1959.
Oil on canvas. Signed and dated.
Jacob Steinhardt (1887-1968) was born in Zerkow, Prussia. In 1906, with the financial support of his townspeople, he started studying painting in Berlin under Lovis Corinth and etching with Hermann Struck. After a long stay in France and Italy, Steinhardt returned to Germany, where he co-founded with the artists Ludwig Meidner and Richard Janthur the expressionist group "Die Pathetiker". With the outbreak of World War I, Steinhardt enlisted in the German army and was positioned in Lithuania, where he became familiar with the traditional lifestyle of local Jews. His portrait sketches of Lithuanian Jews were exhibited in an exhibition of the Berlin Sezession group in 1917, and due to them, Steinhardt was accepted as a member of the group. After the war, he started making woodcuts inspired by the images of the war and his awakened Jewish identity. In 1933, he was arrested by the Germans for allegedly disturbing the Führer's speeches, yet was released due to his being a well-known artist. Several days later, he immigrated Palestine with his wife and daughter and after several months in Tel Aviv, settled in Jerusalem and opened an art school. In 1949, Steinhardt closed his school and was appointed the director of the graphics department of New Bezalel. Between 1953 and 1957, he headed the school (a position he was promised much earlier but was given first to Joseph Budko). In 1955, he was awarded an international prize in graphic art at the Sau Paulo Biennale in Brazil. Steinhardt, a prominent artist of German Expressionism, was famous mainly for his woodcuts; however, he never abandoned the easel. His work manifests humane protest alongside nostalgia for biblical times and for the Shtetl. He established a generation of students who continued his expressionist style.
84X69 cm. Framed: 88.5X104 cm. Good condition. Minor cracks to paint. Minor blemishes to frame.
Literature: The Woodcuts of Jakob Steinhardt, by Leon Kolb. San Francisco: Genuart Co., 1959.
Category
Graphic Art and Paintings
Catalogue
Auction 69 - Part I -Rare and Important Items
December 3, 2019
Opening: $1,000
Estimate: $2,000 - $3,000
Unsold
Two Women, a painting by Artur Markowicz (1872-1934).
Pastel on paper mounted on cardboard. Signed: "Artur Markowicz, Krakow".
Artur Markowicz (1872-1934) was born in Krakow. He studied at the Krakow Academy of Fine Arts as the student of Leopold Leffler, Jan Matejko and others and during the years 1896-1903 continued his studies in Munich and at the École des Beaux-Art in Paris, where he also exhibited his work. In 1904, he returned to Krakow and opened a studio in the Jewish district, Kazimierz. During the years 1907-1908, he visited Jerusalem. He continued to work in Krakow, while touring Europe and displaying his works. Like other Polish-Jewish artists, he was a member of the "Jewish Society for the Encouragement of Fine Arts". His works are mostly realistic with visible symbolist and expressionist influence; one of his prevalent subjects is the Jews of Krakow, depicted time and again in his work.
26.5X34 cm. Framed: 48.5X42.5 cm. Good condition. Minor blemishes to margins. Fractures and blemishes to frame.
Provenance: The Uzi Agassi Collection.
Pastel on paper mounted on cardboard. Signed: "Artur Markowicz, Krakow".
Artur Markowicz (1872-1934) was born in Krakow. He studied at the Krakow Academy of Fine Arts as the student of Leopold Leffler, Jan Matejko and others and during the years 1896-1903 continued his studies in Munich and at the École des Beaux-Art in Paris, where he also exhibited his work. In 1904, he returned to Krakow and opened a studio in the Jewish district, Kazimierz. During the years 1907-1908, he visited Jerusalem. He continued to work in Krakow, while touring Europe and displaying his works. Like other Polish-Jewish artists, he was a member of the "Jewish Society for the Encouragement of Fine Arts". His works are mostly realistic with visible symbolist and expressionist influence; one of his prevalent subjects is the Jews of Krakow, depicted time and again in his work.
26.5X34 cm. Framed: 48.5X42.5 cm. Good condition. Minor blemishes to margins. Fractures and blemishes to frame.
Provenance: The Uzi Agassi Collection.
Category
Graphic Art and Paintings
Catalogue
Auction 69 - Part I -Rare and Important Items
December 3, 2019
Opening: $2,000
Estimate: $4,000 - $6,000
Sold for: $2,500
Including buyer's premium
Two Boys, a painting by Mané Katz (1894-1962).
Gouache on cardboard. Signed.
Emanuel Mané Katz (1894-1962) was born in Kremenchuk, Ukraine. As the son of a synagogue attendant (shamash), he received traditional education; yet at the age of 16, moved to Vilnius to study art. Katz did not find his place in Vilnius, and after a while, moved to Kiev, where during the years 1911-1913, he studied at the school of fine arts. Later, he headed for Paris where he studied at the studio of Fernand Cormon at the Académie des Beaux-Arts. When World War I broke out, he wanted to join the French Foreign Legion, but was rejected due to his short stature and returned to Russia. After the war, he taught at the Kharkiv school of art and was one of the members of the avant-garde "Group of Three". In 1921, he returned to Paris and in the following years, visited Palestine several times, painting its views. At the beginning of World War II, he was drafted and taken prisoner by the Germans then released, escaping immediately to the USA. After the war, he returned to Paris for the third time.
Katz visited Israel several times, while continuing to travel and exhibit around the world. In 1958, he immigrated to Israel and settled in Haifa, where the municipality gave him a house. In an agreement signed by the artist and the city, Katz made a commitment to donate his entire collection to the city in exchange for the establishment of a museum that will preserve his artistic legacy. Katz belonged to the School of Paris; in his early days as an artist, he was influenced by Cubism, then by Fauvism, later turning to the works of Rembrandt, which accounts for the sympathy with which he sees his subjects and his compassion to those on the fringes of society.
31X43.5 cm. Good condition. The signature is partly erased; appearing alongside it is a date, mostly illegible. Framed: 78X63 cm. Blemishes and minor fractures to frame.
Gouache on cardboard. Signed.
Emanuel Mané Katz (1894-1962) was born in Kremenchuk, Ukraine. As the son of a synagogue attendant (shamash), he received traditional education; yet at the age of 16, moved to Vilnius to study art. Katz did not find his place in Vilnius, and after a while, moved to Kiev, where during the years 1911-1913, he studied at the school of fine arts. Later, he headed for Paris where he studied at the studio of Fernand Cormon at the Académie des Beaux-Arts. When World War I broke out, he wanted to join the French Foreign Legion, but was rejected due to his short stature and returned to Russia. After the war, he taught at the Kharkiv school of art and was one of the members of the avant-garde "Group of Three". In 1921, he returned to Paris and in the following years, visited Palestine several times, painting its views. At the beginning of World War II, he was drafted and taken prisoner by the Germans then released, escaping immediately to the USA. After the war, he returned to Paris for the third time.
Katz visited Israel several times, while continuing to travel and exhibit around the world. In 1958, he immigrated to Israel and settled in Haifa, where the municipality gave him a house. In an agreement signed by the artist and the city, Katz made a commitment to donate his entire collection to the city in exchange for the establishment of a museum that will preserve his artistic legacy. Katz belonged to the School of Paris; in his early days as an artist, he was influenced by Cubism, then by Fauvism, later turning to the works of Rembrandt, which accounts for the sympathy with which he sees his subjects and his compassion to those on the fringes of society.
31X43.5 cm. Good condition. The signature is partly erased; appearing alongside it is a date, mostly illegible. Framed: 78X63 cm. Blemishes and minor fractures to frame.
Category
Graphic Art and Paintings
Catalogue
![Reizele, a painting by Chaim Gliksberg (1904-1970), [1948].
Oil on Masonite. Signed.
In the painting, the artist depicts](https://files.kedem-auctions.com/files/Sale69a-public/149.jpg "Chaim Gliksberg (1904-1970) – \"Reizele\" – Oil on Masonite")
Auction 69 - Part I -Rare and Important Items
December 3, 2019
Opening: $1,000
Estimate: $2,000 - $3,000
Sold for: $1,250
Including buyer's premium
Reizele, a painting by Chaim Gliksberg (1904-1970), [1948].
Oil on Masonite. Signed.
In the painting, the artist depicts Reizele, the woman who helped his grandmother, the Rebbetzin of Svislach, with the cooking.
Chaim Gliksberg (1904-1970), born in Pinsk, studied art in Odessa, and in 1925, immigrated to Palestine. After his arrival, he worked for a while as a guide at the Bezalel museum and later worked in road paving. During this period, he became acquainted with the painter Joseph Zaritsky and his aquarelles of landscapes in Palestine, and under his influence created himself a series of landscape aquarelles. In 1927, he displayed his works in an exhibition at the Lemel school, where he met Bialik (who even purchased some of his works), and a close friendship developed between them. In 1929, Gliksberg moved to Tel Aviv. He was an outstanding and active figure in the field of Israeli art; a founder of The Israel Painters and Sculptors Association and an art teacher, he exhibited his works in museums across the country and was awarded the Dizengoff Prize three times.
33.5X24 cm. Framed: 54X44 cm. Good condition.
Provenance: The Uzi Agassi Collection.
Oil on Masonite. Signed.
In the painting, the artist depicts Reizele, the woman who helped his grandmother, the Rebbetzin of Svislach, with the cooking.
Chaim Gliksberg (1904-1970), born in Pinsk, studied art in Odessa, and in 1925, immigrated to Palestine. After his arrival, he worked for a while as a guide at the Bezalel museum and later worked in road paving. During this period, he became acquainted with the painter Joseph Zaritsky and his aquarelles of landscapes in Palestine, and under his influence created himself a series of landscape aquarelles. In 1927, he displayed his works in an exhibition at the Lemel school, where he met Bialik (who even purchased some of his works), and a close friendship developed between them. In 1929, Gliksberg moved to Tel Aviv. He was an outstanding and active figure in the field of Israeli art; a founder of The Israel Painters and Sculptors Association and an art teacher, he exhibited his works in museums across the country and was awarded the Dizengoff Prize three times.
33.5X24 cm. Framed: 54X44 cm. Good condition.
Provenance: The Uzi Agassi Collection.
Category
Graphic Art and Paintings
Catalogue
Auction 69 - Part I -Rare and Important Items
December 3, 2019
Opening: $1,000
Estimate: $2,000 - $3,000
Sold for: $4,500
Including buyer's premium
Portrait of a Girl, a painting by Chaim Atar (1902-1953).
Oil on panel. Signed.
Chaim Atar (Apteker, 1902-1953) was born in Zlatopol, Ukraine. In his youth he was a member of the "Pirchei Zion" organization in his town and during the 1919 pogroms in Ukraine, joined a Jewish self-defense group. In 1922 he immigrated to Palestine and was one of the founders of Kibbutz Ein Harod. Atar, one of the leading artists of Palestine who was awarded the 1943 Dizengoff Prize, was an autodidact. Over the years, he had spent long periods of time in Paris, where he was influenced by Eastern European artists of the School of Paris, and especially by Chaim Soutine. Atar mostly created portraits and expressionist still-life paintings. He took on himself the care for the artistic aspect of the Kibbutz life. The paintings he created for his kibbutz decorated the dining room during the Jewish holidays for many years. In 1937, he founded the Mishkan Museum of Art in Ein-Harod, which at first was located in a small wooden cabin, and in which he collected works of art by Jewish and Israeli artists alongside reproductions of masterpieces. He also built a collection of Judaica artifacts in order to preserve the traditions of Jewish art. In 1948, the cornerstone of the permanent building of the museum was laid, with Atar serving as its first director until his death (see: website of the Mishkan Museum of Art, Ein Harod).
49X39 cm. Good condition. A minor fracture at the edge of the panel. Framed: 71X60 cm. Minor fractures in the frame.
Provenance: The Uzi Agassi Collection.
Oil on panel. Signed.
Chaim Atar (Apteker, 1902-1953) was born in Zlatopol, Ukraine. In his youth he was a member of the "Pirchei Zion" organization in his town and during the 1919 pogroms in Ukraine, joined a Jewish self-defense group. In 1922 he immigrated to Palestine and was one of the founders of Kibbutz Ein Harod. Atar, one of the leading artists of Palestine who was awarded the 1943 Dizengoff Prize, was an autodidact. Over the years, he had spent long periods of time in Paris, where he was influenced by Eastern European artists of the School of Paris, and especially by Chaim Soutine. Atar mostly created portraits and expressionist still-life paintings. He took on himself the care for the artistic aspect of the Kibbutz life. The paintings he created for his kibbutz decorated the dining room during the Jewish holidays for many years. In 1937, he founded the Mishkan Museum of Art in Ein-Harod, which at first was located in a small wooden cabin, and in which he collected works of art by Jewish and Israeli artists alongside reproductions of masterpieces. He also built a collection of Judaica artifacts in order to preserve the traditions of Jewish art. In 1948, the cornerstone of the permanent building of the museum was laid, with Atar serving as its first director until his death (see: website of the Mishkan Museum of Art, Ein Harod).
49X39 cm. Good condition. A minor fracture at the edge of the panel. Framed: 71X60 cm. Minor fractures in the frame.
Provenance: The Uzi Agassi Collection.
Category
Graphic Art and Paintings
Catalogue