1950 Hebrew GRAPHIC POSTER Israel POST Stamp SHANA TOVA Jewish JUDAICA Narkiss

Description

DESCRIPTION
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Up for auction is a rare ORIGINAL VINTAGE israeli LITHOGRAPHIC POSTER of exceptional BEAUTY and IMPORTANCE . It was issued in the mid 1950's or maybe even the early 1960's by the Israeli POST AUTHORITIES to advertise and promote the expedite sending the Holidays blessings ( Namely the SHANA TOVA CARDS and POSTCARDS ). The POSTER was designed by
TZVI NARKISS
, One of the more important and influential GRAPHIC DESIGNERS of Israel , Who stands in the 1st row of Israel GRAPHIC ARTISTS together with FRANZ KRAUS , OTTE WALLISH and the SHAMIR BROTHERS . The LITHOGRAPHIC POSTER which is written in Hebrew depicts A SPLENDID and MOST COLORFUL GRAPHIC DESIGN of a typical Israeli street RED MAIL BOX , On top of which , Under a blazing SUNSHINE , A BIRD is standing with a GREETING CARD saying " HAPPY     HOLYDAYS " in its beak . Also depicted is the LOGO of ISRAEL POST . The Hebrew text is " SEND YOUR HOLIDAY GRETINGS SOON" . A LITHOGRAPHIC PRINTING  . The DESIGNER signed in the plate NARKISS .
Very RARE and SOUGHT AFTER
. A LITHOGRAPHIC PRINTING made by the Governmental Printer at "PHOTO OFFSET UNITED ARTISTS LTD. TEL AVIV" ( Inspite the printer name , The POSTER looks LITHOGRAPHIC or Zincography ). Size around 13.5" x 18.5" . Colorful LITHOGRAPH . The condition is very good . No tears. No folds. No creases. Fresh and flexible. A few small imperfections in upper rims were professionaly mended and can hardly be noticed.
Suitable for immediate framing or display . (
An excellent framin
g - Buyer's choice is possible for extra $ 85
)
( Pls look at scan for accurate AS IS images ) Poster will be sent rolled in a special protective rigid sealed tube.
PAYMENTS
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P
ayment method accepted : Paypal
& All credit cards
.
SHIPPMENT
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Shipp worldwide via registered airmail is $ 25 .
Will be sent inside a protective tube .
Will be sent around 5 days after payment .
Rosh Hashanah cards, those annual holiday greetings sent each September to friends and family, are pretty much obsolete. Get The Times of Israel's Daily Edition by email and never miss our top stories Free Sign up!But until recently, sending greeting cards were as elemental to Rosh Hashanah preparations as hearing the call of the shofar or eating honey cake. In fact, people sent New Year’s greeting cards for more than a century, said Israel Museum curator Rachel Sarfati, reflecting on “Each Year Anew: A Century of Shanah Tovah Cards,” a new exhibit curated on the subject. “It was a time when this was the form of communication between people,” said Sarfati. “Our collection ends with the other forms of communication that exist now.” The exhibit is based on the Haim Stayer collection of greeting cards, which tripled the museum’s original collection to more than 3,000 cards, said Sarfati. The museum’s first collection of New Year’s cards was based on what it initially received from the Bezalel National Museum, the art museum that formed the core of the Israel Museum’s original collection. Three-dimensional Shanah Tovah cards, 1910–19. Printed in Germany for the American Jewish market (Courtesy Israel Museum) In its heyday, New Year’s cards offered iconic snapshots of graphic design styles and images that harkened to the relevant moments of the previous year. It was a custom first popularized in Germany, wrote Sarfati in the catalog accompanying the exhibit, where the printing press industry first flourished. The German printing companies also exported cards to the American Jewish market at the turn of the 20th century. Yet the tradition of sending New Year’s greeting cards had its roots in Jewish law, noted Sarfati. Talmudist Yaakov ben Moshe Levi Moelin, also known as Maharil, the Hebrew acronym for “Our Teacher, the Rabbi, Yaakov Levi,” was a leading German rabbinic authority in the 14th century who wrote about sending Rosh Hashanah greetings, wishing one’s friends and loved ones to be inscribed in the book of good life, one of the major themes of the holiday liturgy. Romantic greetings for the New Year, 1928, printed in Germany for Verlag Central Company, Warsaw (Courtesy Israel Museum) It was a custom that ended up being carried into the Old Yishuv, the early community of pre-state Palestine, wrote Sarfati, and eventually was adapted by new immigrants to Israel, even by those who didn’t recognize the ritual from their own home countries. The Israeli printing industry eventually became a leader in the creation of New Year’s cards and calendars, and the business reached an all-time high in the 1950s and 1960s, when vendors would appear before the holiday selling stacks of cards from sidewalk stall. The Israel Postal Service would hire extra workers to help sort and deliver the ten million sacks of mail that piled up before the holiday. The cards also offered a form of anonymous folk art, said Sarfati. Graphic artists would create the cards, decorated with iconic images of Israel, creating a kind of “creative outlet on a wide spectrum of subjects,” she said. The cards were a method of expressing Israelis’ feelings “about everything,” she added, from joy over the creation of the state of Israel and belief in its leaders to statements of satire and caricatures of political leaders in later years. A Rosh Hashanah greeting featuring Elvis Presley in a photo from the 1960s, made in Israel in the 1970s (Courtesy Israel Museum) In the earlier years, there were images of the Israeli landscape, pioneering kibbutz farmers, and later, portraits of Madonna, Michael Jackson and Elvis. Cards from the early 1950s expressed wishes for proper housing for new immigrants or an earlier version of the selfie, with self-portraits of the well-wisher portrayed against the Western Wall or Tel Aviv beach. Now that email and social media reign, the annual greeting cards are often relegated to e-cards, and often don’t get sent at all, as people instead wish each other a happy new Year in a Facebook thread or with a selection of emojii in a Whatsapp text message. But whatever the method of communication, it’s the message that counts. Happy New Year. “Each Year Anew” opened on August 19 and is located in the library reading room of the museum.The widespread custom of sending Jewish New Year's cards dates to the Middle Ages, thus predating by centuries Christian New Year's cards, popular in Europe and the United States only since the 19 century. The custom is first mentioned in the Book of Customs of Rabbi Jacob, son of Moses *Moellin (1360–1427), the spiritual leader of German Jewry in the 14 century (Minhagei Maharil, first ed. Sabionetta, 1556). Based on the familiar talmudic dictum in tractate Rosh ha-Shanah 16b concerning the "setting down" of one's fate in one of the three Heavenly books that are opened on the Jewish New Year, the Maharil and other German rabbis recommended that letters sent during the month of Elul should open with the blessing "May you be inscribed and sealed for a good year." Outside of Germany and Austria, other Jewish communities, such as the Sephardi and Oriental Jews, only adopted this custom in recent generations. The German-Jewish custom reached widespread popularity with the invention – in Vienna, 1869 – of the postal card. The peak period of the illustrated postcard, called in the literature "The Postal Card Craze" (1898–1918), also marks the flourishing of the Jewish New Year's card, produced in three major centers: Germany, Poland, and the U.S. (chiefly in New York). The German cards are frequently illustrated with biblical themes. The makers of Jewish cards in Warsaw, on the other hand, preferred to depict the religious life of East European Jewry in a nostalgic manner. Though the images on their cards were often theatrically staged in a studio with amateur actors, they preserve views and customs lost in the Holocaust. The mass immigration of the Jews from Eastern Europe to the United States in the first decades of the 20 century gave a new boost to the production of the cards. Some depicted America as the new homeland, opening her arms to the new immigrants, others emphasized Zionist ideology and depicted contemporary views of Ereẓ Israel. The Jews of 19 c. Ereẓ Israel ("the old yishuv"), even prior to the invention of the postal card, sent tablets of varying sizes with wishes and images for the New Year, often sent abroad for fundraising purposes. These tablets depicted the "Four Holy Cities" as well as holy sites in and around Jerusalem. A popular biblical motif was the Binding of Isaac, often taking place against the background of the Temple Mount and accompanied by the appropriate prayer for Rosh ha-Shanah. Also common were views of the yeshivot or buildings of the organizations which produced these tablets. In the 1920s and 1930s the cards highlighted the acquisition of the land and the toil on it as well as "secular" views of the proud new pioneers. Not only did this basically religious custom continue and become more popular, but the new cards attest to a burst of creativity and originality on the subject matter as well as in design and the selection of accompanying text. Over the years, since the establishment of the State of Israel, the custom has continued to flourish, with the scenes and wishes on the cards developing as social needs and situations changed. The last two decades of the 20 century have seen a decline in the mailing of New Year's cards in Israel, superseded by phone calls or internet messages. In other countries, especially the U.S., cards with traditional symbols are still commonly sent by mail, more elaborately designed than in the past. Thus, the simple and naïve New Year's card vividly reflects the dramatic changes in the life of the Jewish people over the last generations
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Zvi Narkis, Designer of Hebrew Fonts, Dies at 89 Fonts considered revolutionary for their contemporary appearance. Yuval Saar Aug 09, 2010 2:35 AM  0comments     Zen  Subscribe now  9share on facebook   Tweet  send via email  reddit  stumbleupon Zvi Narkis, one of the most prominent designers of Hebrew fonts, died yesterday at the age of 89. He will be buried Monday at 5 P.M. at the Kibbutz Nahshon cemetery. The font that bears his name is the most popular sans-serif Hebrew font, and is part of a larger family of fonts that he designed, considered revolutionary for their contemporary appearance. Narkis, who was born in Romania, settled in Jerusalem in 1944 where he began to study painting with Jacob Steinhardt and Mordechai Ardon. He later studied graphics at the Bezalal Academy of Art and Design. From 1950 to 1955 he was the chief designer of instruction books for the Israel Defense Forces. For over 50 years he designed books, displays, stamps, paper currency, coins, posters, and logos. He also designed the Hebrew University Bible, which is also the official Bible of the Knesset, on which Israel's presidents take their oath of office and for which he developed a unique typeface modeled after the Aleppo Codex. In 2006 he was awarded the Emet Prize, given by the Prime Minister's Office for excellence in academic and professional achievements. ****  Zvi Narkiss Follow Since 1950, freelance designer of books, posters, bank notes, postage stamps, etc. Designed 16 Hebrew typeface families, manufactured in all typesetting technologies available in Israel, including exclusive typefaces for two newly revised Bible editions. Served as academic consultant to the graphic design course of the Technion, Israel’s Institute of Technology, and as lecturer in Graphic Design and Typography. Served as member of the academic promotion committee at Bezalel, Israel’s major academy of Art and Design, and as a member of the national advisory committee to the Bank of Israel, for the design of new banknotes and coins. “The first and foremost value for Zvi Narkiss is integrity — artistic honesty in design — and he feels that here he has achieved it.” — writes Misha Beletsky in an essay about Narkiss’ work. The essay is included in the book “Language Culture Type” published 2002 by ATypI and Graphis.  ****
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