Hagadah shel Pesah im pituhe-ets Yakov Steinhardt/ The Pessach Haggadah.
by Steinhardt, Jacob, Woodcuts by.
The Dvir Publishing House
Quarto, off-white cloth covers with gold lettering, mild soiling to the boards, short tear to the spine near the top, 50 pp., b/w woodcuts throughout.
In Hebrew. Lettering by Franzisca Baruch. With a brief introduction in English and Hebrew by Z. Zmishai-Maisels language. In an edition of 1000 copies which was published together with an edition of 50 De Luxe Numbered Copies on Arches “The original limited edition of 200 copies was immediately sold out and was so well received that in 1923 a publisher decided to reprint a smaller, more popular version. The present facsimile edition is based on Eric Goeritz’s original publication and preserves both its size (with slightly smaller margins) and the quality of its execution." “Jakob Steinhardt (1887 - 1968), a major figure in modern Jewish art, is best known for his expressive use of the woodcut. He worked from 1912 on in the German Expressionist style he had begun to use in Berlin, refining it with technical innovations after settling in Jerusalem in 1934. The [Steinhardt] Hagadah, which he produced swith Franzisca Baruch at the peak of the renaissance of Jewish art and culture in Berlin in the early 1920s, has long been one of his most popular works. . . “Steinhardt [originally] decided to decorate the Hagadah with etchings, his preferred medium at this time. . . “ After examining the etchings, Franzisca Baruch, a young art student who was to execute the Hebrew lettering and design, convinced Steinhardt that woodcuts would be a better medium, and he created a striking group iof damatic woodcuts, “creating a compellingly moden interpretation of the scenes, whose intense play of flickering lights shooting across the dark backgrounds differentiate them from the long tradition of woodcut illustrations to the Hagada. “Baruch then began months of study of medieval Hebrew lettering types, finally selecting a bold style which perfectly balanced the dark woodcuts. She hand-lettered the entire book, arranging the layout of each page to preserve the compositional tension and expressiveness of the woodcuts. The result is a book seemingly executed by a single hand, and united in a style of its own to the point that the spectator is unaware that Steinhardt’s woodcuts have been set beside Baruch’s lettering. . .” (Quoted remarks from the introduction.)
Language: Hebrew language
Condition: Very Good
Book Id: 20566