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Israeli & International

Israeli & International

K e s t e n b au m & C om pa n y ...... Israeli & International Art Wednesday, December 14th 2016

Lot 17 Catalogue of I s r a e l i & I n t e r n at i o n a l A rt ...... Highlights from the Collection of the late Stanley I. Batkin ——— And: Important Soviet, Early Zionist & American Yiddish Theater Posters The Property of a Gentleman

To be Offered for Sale by Auction, Wednesday, 14th December, 2016 at 3:00 pm precisely

242 West 30th Street, 12th Floor (Between Seventh & Eighth Avenues) New York, NY 10001

Viewing Beforehand: Sunday, 11th December - 12:00 pm - 4:00 pm Monday, 12th December - 10:00 am - 7:00 pm Tuesday, 13th December - 10:00 am - 7:00 pm And by Appointment No Viewing on the Day of Sale

This Sale may be referred to as: “Scarsdale” Sale Number Seventy-One Illustrated Catalogues: $38 (US) * $45 (Overseas)

KESTENBAUM & COMPANY Auctioneers of Rare Books, Manuscripts and Fine Art ...... 242 West 30th Street, 12th Floor, New York, NY 10001 • Tel: 212 366-1197 • Fax: 212 366-1368 E-mail: [email protected] • World Wide Web Site: www.Kestenbaum.net K est e n bau m & C o m pa ny  ......

Chairman: Daniel E. Kestenbaum

Operations Manager: Jackie S. Insel

Client Relations: Sandra E. Rapoport, Esq.

Printed Books & Manuscripts: Rabbi Eliezer Katzman Rabbi Dovid Kamenetsky (Consultant)

Ceremonial & Graphic Art: Abigail H. Meyer

Catalogue Art Director and Photographer: Anthony Leonardo

Auctioneer: Zushye L. J. Kestenbaum (NYCDCA License no: 2044881)

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For all inquiries relating to this sale please contact: Abigail H. Meyer

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Order of Sale: Israeli & International Art: Lots 1 - 42 Soviet and Zionist Posters: Lots 43 - 64

Front Cover Illustration: Lot 8 Back Cover Illustration: Lot 22 Inside Pages (front): Lot 13 Inside Pages (rear): Lot 1

List of prices realized will be posted on our website following the sale www. kestenbaum. net — FOREWORD —

ollowing Kestenbaum & Company’s auction “One Hundred and Fifty Years of Jewish Art” successfully held twelve months ago, we are now honored to present “Israeli & International Art: Highlights from the Collection of the late Stanley I. Batkin.” F Batkin, who passed away a year ago aged 101, was a life-long New Yorker, who, along with his wife Selma, was passionate about documenting the history of the Fine Arts in the State of . This pursuit began in the 1950’s with twice-yearly visits to Israel where the Batkins formed deep and long- standing friendships with a great many of the dozens of artists represented in their collection. Developing such a collection was Batkin’s way of demonstrating his commitment to the nascent and growing State of Israel and its community of artists. In addition to serving with distinction on the board of many Israeli cultural organizations, collecting provided Batkin with the means of becoming deeply involved with the development of the State of Israel. His regular visits afforded him the opportunity to provide direct patronage and close personal contact with his favored artists. The extensive range of works collected by Batkin provides a highly personal choice and the offerings in this catalogue present a selective survey of artists and artistic styles that have emerged over almost a century of Israel’s growth. More broadly, Batkin sought to acquire artwork from each and every Israeli artist of note - even if he was not entirely enthusiastic about the artist’s particular style. Included in his collection are works from every juncture in the timeline of Israel’s art history - from the early 1920’s to the close of the 20th-century. A great many of the artists represented in the collection have experienced national fame, indeed many are internationally celebrated, such as Yaakov Agam, , , , Reuven Rubin, etc. In 1985 the Jewish Museum of New York exhibited highlights of the Batkin collection in a Israeli Ambassador to UN Dan Gillerman rests on the lap of singular exhibition, which was accompanied by a detailed illustrated shipping magnate Sammy Ofer to the delight of Stanley Batkin and Museum director/chief curator Mordechai Omer catalogue. Those paintings that were included in that exhibition are individually referenced in the present auction-catalogue. Tangentially, Batkin was also a talented photographer. He photographed some 200 Israeli artists (the collector becoming the artist) and thus became well acquainted with each individual artist on a level quite atypical from his collecting peers. In 2005 the held an exhibition of Batkin’s photographs, curated by director Mordechai Omer. Many of these artist portraits are incorporated throughout the present auction-catalogue. We invite you to enjoy the Batkin Collection offered at Kestenbaum & Company, and appreciate one man’s personal mission in documenting the 20th century history of the Fine Arts in the State of Israel. DEK — INTRODUCTION —

o better understand the historical context of the art that comprises the Batkin Collection, it is necessary to familiarize ourselves with the timeline of Israeli art history. The emergence of what has come to be known as “Israeli Art” dates to 1906 when Lithuanian- T Jewish artist and sculptor Boris Schatz established in the city of the Bezalel School of Art. Schatz sought to create an ‘Arts & Crafts’ movement inspired by Jewish Biblical symbolism within the context of modern style. The first generation of great Israeli artists – many of who emigrated from - expressed in their art their wonder at the experience of living in the . Works by artists including Mordecai Ardon (lot 23), Anna Ticho (lots 6 & 7), Leopold Krakauer (lot 31) and Jacob Steinhardt (lot 5) illustrate the spiritual encounter with the Land of Israel in various degrees of expressionistic styles. Additionally, while combining a romanticized view of the ancient landscape, this era saw the works of Ludwig Blum (lot 1) and Arieh Lubin (lot 32): Local landscapes and panoramic views, executed in an Orientalist motif. The art of Anna Ticho expresses an almost maternal relationship with the land, viz. the shading, delicate line and gentle use of watercolor. In 1920, the Hebrew Artists’ Association was formed, the members of which explored landscape through a modern and secular lens, creating what became to be known as Eretz Israel-style. This was especially popularized by pioneer artist Reuven Rubin (lot 8). The directness of Rubin’s work, whose technique, clearly influenced by Henri Rousseau, bordered on the naïve and utilized an approach associated with the Ecole de . (lot 10) shared this perspective, while Nahum Gutman (lot 19) took the genre one step farther and celebrated the local Arab aesthetic. Another approach to the arts in Israel was expressed by the Canaanite School, who rebelled against both traditional Jewish identity and current European artistic trends, favoring instead the animist dimensions of the ancient Canaanite world. They created a political fusion of art and nature, referencing primitive Assyria or Mesopotamia. This was part of a cultural philosophy and ideology of Israel, connecting with its archeological roots. An altogether different artistic pioneer was Yohanan Simon (lots 13 & 14) who expressed in his art an ecstatic enthusiasm for the lifestyle that was developed and subsequently flourished in the kibbutzim - the collective communities, mostly governed by the strictest rules of socialism. Simon himself was a member of such a kibbutz. Following the establishment of the State of Israel, the New Horizons (“Ofakim Hadashim”) evolved into a coherent artistic movement. It was formed by pioneering abstractionists who incorporated European avant-garde influences into their semi-abstract figure and landscape paintings. Members of this group include (lot 12), (lot 25), and Joseph Zaritzky (lot 24). A particularly individualistic member of this movement, Mordecai Ardon (lot 23), focused less on the present, but rather on the mystical aspects of past Jewish historiography.

The 1950’s and 60’s saw many milestones in the development of Israel’s art narrative: The development of artists’ colonies in the northern part of the country, the establishment of Omanut L’Am (“Art for the People”), the Contemporary Art exhibition space added to the Tel Aviv Museum of Art in 1959, the founding of the as the national museum in 1965, and the endowment of public prizes such as the Dizengoff and Young Artist awards. Indeed art had become so respected by Israeli society that in 1968 the Kibbutz Art Gallery founded by the Kibbutz Movement in Tel Aviv, viewed artists as equal laborers on the kibbutzim, permitting them to maintain their craft full-time. The disbandment of the New Horizon group led to the rise of abstract expressionism as seen in the work of Avigdor Arikha (lot 26). This was soon countered by Pop Art – as American and British artistic influences reached Israel. The rise of Conceptual Art combined with a changing political atmosphere in the country, as the Six Day War of 1967 led to the of 1973, and politically-charged art and the art of protest became far more present. By the 1980’s there was a shift from the conceptual to the narrative image by such artists as Menashe Kadishman (lot 28), Ivan Schwebel (lot 29) and Moshe Gershuni (lot 27), the latter often using everyday materials in his work and whose career spanned several artistic styles over the decades. Finally, the pure “timeless” abstraction of kinetic artist Yaakov Agam (lot 22) rounds out this most abbreviated historical survey of modern art in Israel. The primary criteria that inspired the development of the Stanley Batkin Collection was the importance of each particular artist within the context of the history of Israeli art. Batkin’s collection reflects a wide diversity of artist and style and goes far in providing a comprehensive impression of the artistic development of 20th century Israel.

Adapted from the foreword by Susan Tumarkin Goodman, Chief Curator at the Jewish Museum, New York. See Jewish Museum New York, Exhibition Catalogue: “Personal Vision: The Batkin Collection of Israeli Art” (1985).

❧ “I was always impressed by my father’s great energy, varied interests, and the scope of his activities…” - (Alan Batkin, son.)

“When I was eight years old I was sitting with him while he was tallying the votes from the UN regarding Israel’s statehood status. From that day forward he was dedicated to developing the state of Israel” - (Gloria Batkin Kahn, daughter.) 1 BLUM, LUDWIG. Judean Hills. Oil on canvas. Signed by the artist and titled in Hebrew lower right and in English lower left. Framed. 13 x 22.75 inches; 33 x 57.75 cm. Jerusalem, 1949. $12,000-18,000 ❧ Ludwig Blum’s views and panoramas are among the most memorable and striking images of the Holy Land. An immigrant from , Blum (1891-1974) settled in Jerusalem in 1923, where he was strongly attracted by the warm colors, unique light and oriental atmosphere of the holy city, its people and environs. Blum rose to became Eretz Israel’s most prominent artist and was honored with the “Yakir Yerushalayim” award for artistic contributions to the country. PROVENANCE: Acquired from Devora Hermon, daughter of the artist, 1984. Previously, gifted by the artist to his daughter upon her marriage. EXHIBITED: Artist’s House, Jerusalem (1973). The President’s House, Jerusalem, Landscapes in Israeli Art (1982). Mayanot Gallery, Jerusalem, Blum Retrospective (1988).

1 2 RABAN, ZE’EV. Had Gadya. Bronze cast and plaster mold. Bezalel mark and signed by the artist with initials ‘Z.R.’ lower center (on plaster) in Hebrew. Framed. 8.25 x 3.5 inches; 21 x 9 cm. Jerusalem, c. 1920. $2000-3000 ❧ Designed by Raban for the Sharar Workshop, Bezalel School of Art, Jerusalem. PROVENANCE: Mayanot Gallery, Jerusalem. EXHIBITED: Yeshiva University Museum, New York, ‘Raban Remembered’ (1982).

3 RABAN, ZE’EV. Judith and the Head of Holofernes. Watercolor and pen-and-ink. Signed in Hebrew by the artist lower left. Framed. 14.5 x 10.5 inches; 37 x 27 cm. $1200-1800 ❧ Ze’ev Raban (1890-1970), a leading decorative artist and industrial designer, was above all, the pioneer of the Bezalel- Art style, which portrayed both Biblical and Zionist themes in a manner influenced by the European Jugendstil, alongside traditional Oriental styles. Like other European art nouveau artists of the period such as Alphonse Mucha, Raban combined Fine Art with commissioned works. Raban designed the decorative elements of such important Jerusalem buildings as the King David Hotel, the Jerusalem YMCA and the Bikkur-Cholim Hospital. See Tel Aviv Museum Catalogue, Ze’ev Raban: A Hebrew Symbolist (2001).

2 3 4 STRUCK, HERMANN. Sephardic Elder. Pastel on paper. Signed and dated by the artist lower right. Framed. 12 x 10 inches; 30 x 26 cm. , 1927. $2000-3000

❧ PROVENANCE: Acquired from the artist’s widow, 1981. EXHIBITED: The Jewish Museum, New York, The Batkin Collection of Israeli Art (1985). See Catalogue p. 33.

5 STEINHARDT, JAKOB. Street in Jerusalem. Watercolor. Signed by the artist in Hebrew lower right and in English lower left. Framed. 13.5 x 18 inches; 34 x 46 cm. Jerusalem, 1938. $1500-2000

4 6 TICHO, ANNA. Native Woman. Watercolor and pen-and-ink on paper. Signed by the artist lower right. Framed. 13 x 10 inches; 33 x 25 cm. $1500-2500

7 TICHO, ANNA. Jerusalem Hills. Watercolor and pen-and-ink on paper. Signed by the artist lower left. Framed. 11 x 9 inches; 28 x 22 cm. Jerusalem, 1936. $2000-3000 ❧ Anna Ticho (1894-1980) arrived in Eretz Israel from in 1912. Married to the ophthalmologist Abraham Albert Ticho, she and her husband hosted numerous artists and public figures in their beloved Jerusalem home, later bequeathed to the city following their deaths. Created in the romantic tradition, Anna Ticho’s art is especially celebrated for her distinctive drawings of the Jerusalem hills and portraits of local natives.

5 8 RUBIN, REUVEN. The Goldfish Vendor. Oil on canvas. Signed by the artist in Hebrew and English lower right. Signed and dated on reverse. Finely framed. 36 x 28.5 inches; 91 x 72 cm. Tel Aviv, 1972. $30,000-50,000 ❧ Perhaps the most iconic of Israeli artists, Reuven Rubin (born Reuven Zelicovici to a hasidic family in Galatz, ) attended Jerusalem’s Bezalel School of Arts and Crafts in 1912. Finding the school’s approach too rigid, he subsequently studied in Paris at the Ecole des Beaux-Arts and the Académie Colarossi. A pioneer of Israeli art, Rubin’s work is characterized by radiant colors, naive proportions and youthful spirit capturing both Jewish and Israeli folkloric themes. In 1932, the Tel Aviv Museum was opened with a solo exhibition of his paintings. Rubin was the first Israeli artist to win broad, international recognition. An oft-seen motif in Rubin’s work from the 1920’s and on, is that of the fish and fisherman, depicted alongside the or the shores of the Mediterranean. The artist’s daughter, Carmela Rubin, has suggested that this theme alludes to Alexander Pushkin’s fairy tale in verse ‘The Tale of the Fisherman and the Fish’ wherein a golden fish is caught by a fisherman and promises to fulfill any wish in exchange for its freedom. The fish theme is also a traditional symbol of fertility and abundance, and a metaphor of the eternality of the Jewish People. Rubin’s prolific career was similarly abundant - the ongoing catalogue raisonne project undertaken by the Rubin Museum, Tel Aviv, documents an estimated 1,800 oil paintings and . PROVENANCE: Acquired from the artist’s widow, 1983. EXHIBITED: The Jewish Museum, New York, The Batkin Collection of Israeli Art (1985). Catalogue p. 27.

6 7 9 JANCO, MARCEL. The Sheik. Oil on panel. Signed by the artist lower right. Framed. 21.25 x 17.5 inches; 54 x 44 cm. Tel Aviv, 1940. $10,000-15,000 ❧ Co-founder of Dadaism and a leading exponent of Constructivism, Bucharest- born Marcel Janco (1895-1984) was strongly associated with Surrealism via the close collaboration with his fellow Rumanian-Jewish artist, Tristan Tzara. Anti-Semitic persecution forced Janco to leave Rumania and upon his arrival to the Land of Israel he founded the utopian art colony of Ein Hod. At this stage of his career, Janco abandoned pure abstraction and favored the bold, angular, linear abstract mode of Expressionism, evident in the present lot - a stylized figure of a local notable. PROVENANCE: Engel Gallery, Jerusalem, 1977. EXHIBITED: The Jewish Museum, New York, The Batkin Collection of Israeli Art (1985). Catalogue p. 19.

8 10 CASTEL, MOSHE. Shabbat in . Oil on canvas. Signed by the artist lower right. Finely framed. 25 x 19 inches; 64 x 48 cm. 1940. $10,000-15,000 ❧ Born into a distinguished rabbinic family of Spanish-Castillian origin resident for generations in , Moshe Elazar Castel was born in Jerusalem in 1909 and studied in his father’s yeshiva before attending the Bezalel School of Art. His teacher, Shmuel Ben- David, encouraged Castel to study art in Paris where he arrived in 1927 and stayed for more than a decade before returning to Eretz Israel and settling in the historic town of Safed. Castel’s artistic style combines European Expressionism with Eastern motifs that developed into ‘Canaanite art,’ often incorporating ancient scripts. The interior scene of the present lot is typical of Castel’s Safed period, utilizing thick impasto to echo the dark cavernous Sabbath dining area. Castel later co-founded the New Horizons group (Ofakim Hadashim) along with many of the artists featured in this auction, including: Yosef Zaritsky, Yehezkel Streichman and Marcel Janco. PROVENANCE: Commissioned by Mrs. Esther Sincoff and gifted to B’nai Jeshurun Synagogue, New York, 1940. Purchased from BJS by Stanley I. Batkin, 1987.

9 11 BERGNER, YOSL. Young Girl from Jaffa. Oil on canvas. Signed by the artist in Hebrew and English lower left. Also signed and dedicated on reverse: ‘Little Girl from Jaffa, for Hinda with Love.’ Framed. 18 x 14.75 inches; 45.5 x 37.5 cm. Tel Aviv, 1996. $3000-5000

10 12 STEMATSKY, AVIGDOR Woman with Cup of Tea. Oil on canvas. Signed by the artist in Hebrew lower right. Framed. 23.5 x 17.5 inches; 59.5 x 44.5 cm. Paris, 1950. $8000-12,000 ❧ Born in in 1908, Avigdor Stematsky emigrated to in 1920 whereafter he studied at the Haifa Technion and the Bezalel School of Art. In 1930 he spent a year in Paris studying at the Académie de la Grande Chaumière and Académie Colarossi. Initially influenced by the Ecole de Paris Stematsky turned primarily to late-Cubist abstraction, the present lot of course being an exception. One of the founding father of the Massad art group, he was later affiliated with the “New Horizons” (Ofakim Hadashim) movement which adopted the Lyrical Abstraction style, creating vibrant compositions in bold colors. PROVENANCE: Acquired directly from the artist, 1980. EXHIBITED: Tel Aviv Museum of Art, 1958. The Jewish Museum, New York, The Batkin Collection of Israeli Art (1985). Catalogue p. 31.

11 13 SIMON, YOHANAN Luscious Landscape. Oil on canvas. Signed by the artist in Hebrew and dated lower right, in English lower left. Framed. 14.5 x 21 inches; 36 x 54 cm. Kfar Shmaryahu, 1973. $5000-7000

❧ PROVENANCE: Acquired directly from the artist, 1973.

14 SIMON, YOHANAN. Kibbutz Life. Oil on canvas. Signed by the artist in Hebrew and dated lower right and in English lower left. Framed. 10.5 x 13.5 inches; 27 x 34 cm. Tel Aviv, 1950. $12,000-18,000 ❧ born, Yohanan Simon (1905-76) studied at the School of Art in Frankfurt and the Academy of Fine Arts in Munich. He then moved to Paris where he studied at the École des Beaux-Arts, before spending time in New York. Simon immigrated to Palestine in 1936, becoming a member of Kibbutz Gan Shmuel. He executed a number of murals for public buildings and hotels; he also illustrated books and designed stage sets. His later work became more abstract and colorful (see previous lot), seemingly influenced by Fauvism. PROVENANCE: Sotheby’s New York, Judaica, April 14th, 1998, lot 92.

12 13 15 TAGGER (TAJAR), ZIONA. Dancers. Oil on canvas. Signed by the artist in Hebrew lower right. Framed. 17.5 x 22.5 inches; 44.5 x 57 cm. 1963. $7000-10,000

❧ PROVENANCE: Acquired from the artist’s son, 1988.

16 TAGGER (TAJAR), ZIONA. Flowers. Oil on canvas. Signed by the artist lower right, and title and date on reverse. Finely framed. 21.25 x 15 inches; 54 x 37cm. $5000-7000

17 TAGGER (TAJAR), ZIONA. Harlequin. Oil on canvas. Signed by the artist in Hebrew and dated lower right. Framed. 36 x 23.25 inches; 90.5 x 59 cm. Paris, 1925. $20,000-30,000 ❧ The first Israeli-born female artist, Tziona Tagger was born in Jaffa in 1900. She studied at the Bezalel School of Art in Jerusalem, later moving to Paris to attend the Académie de la Grande Chaumière and the Académie Colarossi. Tagger helped establish the Hebrew Artists’ Association in 1920 which was composed of artists who sought an alternative approach to modern art, abandoning the sinuous, art nouveau, ‘Oriental’ approach of Boris Schatz and the early Bezalel School approach. Tagger’s style combined Cubist and Naive art as seen in the present lot - the flat planes of bright color comprising the human face. EXHIBITED: The Jewish Museum, New York, The Batkin Collection of Israeli Art (1985). Catalogue p. 34. Tel Aviv Museum of Art, Sionah Tagger Retrospective (2003).

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18 MANE-KATZ. Klezmer Musicians. Oil on canvas. Signed by the artist lower right. Finely framed. 21 x 17 inches; 53.5 x 43.5 cm. $8000-12,000

❧ PROVENANCE: Engel Gallery, Jerusalem, 1979.

19 GUTMAN, NAHUM. The Yellow Coachman. Oil on canvas. Signed by the artist in Hebrew and English lower right. Framed. 31.5 x 23.25 inches; 80 x 59 cm. Tel Aviv, 1927. $20,000-30,000 ❧ Nachum Gutman (1898-1978) was born in Telenesty, Bessarabia (today, Moldova) and immigrated to Eretz Israel as a young child. He served in the during the First World War, after which he studied at the Bezalel School in Jerusalem. His time there was brief as he rebelled against the old school manner of instruction. Instead he developed his own artistic approach that combined direct experience of building a new Jewish life in Palestine, which contrasted with his adoption of the modernist trends prevalent within the arts in . Gutman’s sense of style was particularly found in his exotic images of the local Palestinian Arab community, in which he depicted its people in such a way that captured the instinctual and sensuous atmosphere of the . Gutman was truly a product of his environment and his body of art was most broad, working in a variety of media, as well as making a name for himself as a prolific and renowned writer, especially of children’s literature. PROVENANCE: Acquired from the artist’s widow, 1982. EXHIBITED: The Jewish Museum, New York, The Batkin Collection of Israeli Art (1985). Catalogue p. 18. LITERATURE: Five Beloved Cities. Paris, Mourlot, (1978).

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20 SHEMI (SCHMIDT), MENAHEM. Courtyard in Safed. Oil on canvas. Signed by the artist lower right and on reverse. Framed. 28 x 20.75 inches; 71.5 x 53 cm. Haifa, 1949. $10,000-15,000 ❧ Russian born Menahem Shemi (1897-1951) studied art at the Odessa Academy of Arts before emigrating to Palestine in 1913 when he joined the Bezalel School. After a rebellion against the school’s management and cutting ties, he sought to discover for himself an artistic course in the spirit of the East, seeking to portray the art of the Jewish-Israeli painter in his new homeland: Eretz Israel. A founder of the artist colony of Safed, Shemi was principally a landscapist. His palette, originally somber, became bright in his later years; his mystic, dreamlike canvases of Safed are considered his best works. PROVENANCE: Givon Gallery, Tel Aviv, 1985. EXHIBITED: 1950. LITERATURE: Daliah Belkine, Menachem Shemi: Man and Artist, Zohar Tsvaim Association (2009).

18 21 GLIKSBERG, HAIM. The Holy Ari Synagogue, Safed. Oil on canvas. Signed by the artist in Hebrew and dated lower right. Framed. 36 x 28.75 inches; 92 x 73 cm. 1965. $10,000-15,000 ❧ Son of Rabbi Shimon Ya’akov Gliksberg, one of the founding members of the Mizrachi Zionist movement, Haim Gliksberg (1904-70) was born in Pinsk, Russia, emigrating to Palestine in 1925, where he attended the Bezalel School of Art. He later settled in Tel Aviv founded the Painters and Sculptors Association and became close with national poet, . Gliksberg’s art is associated with subtle tones and atmospheric intimacy as seen in the present example of the devout deep in prayer. PROVENANCE: Acquired from the Givon Gallery, Tel Aviv, 1980. EXHIBITED: The Jewish Museum, New York, The Batkin Collection of Israeli Art (1985). Catalogue p. 17.

19 20 22 AGAM, YAACOV. From Birth to Eternity. Oil on angled aluminum on wood. Signed by the artist on reverse. 32 x 36.75 inches; 82 x 93 cm. Paris, 1969-72. $30,000-40,000 ❧ Israeli-born sculptor and experimental artist, Yaacov Agam is best known for his extensive and innovative contributions to optical and . After early studies in Bezalel, it was in Paris where he developed an artistic style known as Op-Art and began utilizing optical illusions and kinetic effects which alter the viewer’s perspective as they in turn alter their physical position while viewing the given artwork. A large scale example of this is the iconic Fire and Water Fountain (1986) in Tel Aviv’s Dizengoff Square. The present lot similarly shows continuous transformation as one views the piece in a 180-degree arc: The right side starts in solid vertical lines, this changes to individualized colored squares and then to horizontal solids. PROVENANCE: Commissioned directly from the artist, 1972. EXHIBITED: The Jewish Museum, New York, The Batkin Collection of Israeli Art (1985). Catalogue p. 9.

21 23 ARDON, MORDECAI. Jerusalem Landscape. Oil on canvas. Signed by the artist lower right. Framed. 21 x 28.5 inches; 53 x 72.5 cm. Jerusalem, 1977. $40,000-60,000 ❧ Born Mordechai Eliezer Bronstein in 1896 to Orthodox parents in Tuchow, , Ardon displayed an early interest in the arts. In 1919 he traveled to Berlin where he pursued a career in acting, but soon changed direction and from 1921 studied at the avant-garde Bauhaus, under Klee and Kandinsky until its closing in 1924. In 1926 he studied the Old Masters at the Munich Academy and in 1928 joined the Berlin ‘November Group’ where he was introduced to artistic abstraction and with whom he exhibited his art. Ardon emigrated to Palestine in 1933 and joined the faculty of the New Bezalel School of Arts and Crafts which included at that time Jakob Steinhardt, Anna Ticho, and Leopold Krakauer - eventually becoming the school’s director. Ardon’s early work focused on landscapes and expressive depictions of figures. Later, his art is characterized by an abstract style combined with a classic painting technique, demonstrated by rich vibrant colors and a complex system of imagery, i. e. shapes and forms based upon the Kabbalistic mystical tradition, often assimilated within a historical-Zionist framework. PROVENANCE: Commissioned directly from the artist, 1977. EXHIBITED: The Jewish Museum, New York, The Batkin Collection of Israeli Art (1985). Catalogue p. 12.

22 23 24 ZARITSKY, JOSEPH. Tsova (Tzuba). Oil on canvas. Signed by the artist in Hebrew lower left. Framed. 39.5 x 39 inches; 101 x 99 cm. Kibbutz Tzuba, 1970. $12,000-18,000 ❧ Yoseph Zaritsky (1891-1985) was one of the most influential artists of the modern State of Israel, a founder of the New Horizons movement, through which he sought to support and encourage abstract painting. By the 1950’s Zaritsky had entirely abandoned representational art in favor of lyrical abstraction, his canvases displaying thick splashes of color in large balanced compositions - as seen in the present example. PROVENANCE: Acquired directly from the artist.

24 25 STREICHMAN, YEHEZKEL. Cilla. Oil on canvas. Signed by the artist in Hebrew and dated lower right. Framed. 40 x 40 inches; 100 x 100 cm. Tel Aviv, 1965. $15,000-20,000 ❧ Yehezkel Streichman (1906-93) emigrated to Palestine from Kovno, in 1924 and studied at Bezalel, followed by time in Paris and Florence, before returning to Eretz Israel where he joined Kibbutz Ashdot. Streichman’s abstract style is innovative, characterized by fierce brush strokes and dark colors. One can detect the French influence of Picasso’s geometry and Matisse’s color palette in his style of lyrical abstraction. The present work is a portrait of Streichman’s muse, his wife Cilla, who appears in many of his portraits. PROVENANCE: Acquired from the Hillel Gallery, Jerusalem, 1979. EXHIBITED: The Israel Museum, Jerusalem, 1974. The Tel Aviv Museum of Art, 1975. The Jewish Museum, New York, Artists of Israel 1920-1980, 1981. The Jewish Museum, New York, The Batkin Collection of Israeli Art, 1985. Catalogue p. 27.

25 26 ARIKHA, AVIGDOR. Adam and Eve. Oil on canvas. Signed by the artist in Hebrew and English and dated lower left. Framed. 23.5 x 19 inches; 59.5 x 48.5 cm. 1956. $5000-7000 ❧ Raised in , Arikha and his family were deported to the Romanian-run concentration camps of Transnistria where his father died. In 1944 safety was found in British-Mandate Palestine although Arikha was severely wounded fighting in Israel’s War of Independence. In 1949 he attended the Bezalel School of Art in Jerusalem, after which Arikha won a scholarship to study at the Ecole des Beaux Arts in Paris, a city he settled in permanently from 1954. It was in Paris that Arikha developed close and lengthy friendships with such luminaries as the photographer Henri Cartier-Bresson and the Irish writer Samuel Beckett. An abstract-turned-realist artist, Arikha uses a minimal number of tones to express shade and texture and the intrinsic attempt to capture the spirit of the subject matter. His work is reminiscent of other abstract- expressionists such as Willem de Kooning and Arshile Gorky. PROVENANCE: Acquired from the Arta Gallery, Jerusalem.

26 27 GERSHUNI, MOSHE. El Male Rahamim [‘God, Full of Mercy’] Oil on canvas. Signed by the artist and dated on reverse. Framed. 23.75 x 23.75 inches; 60 x 60 cm. Tel Aviv, 1996. $10,000-15,000 ❧ As both artist and teacher, Moshe Gershuni (b. 1936) has been a highly visible force expressing his identity as an Israeli and a Jew in a way that no other artist before him has done. Gershuni was one of the first artists in Israel at the end of the 1960’s to explore highly modernistic, iconoclastic possibilities, creating works which were paradigms of Conceptual art and in the 1970’s extending his art to public performance. As a stimulating teacher in Bezalel, he fueled the imagination of many young artists, especially towards political involvement. In 1996 Gershuni held a joint exhibition with in the Givon Gallery in Tel Aviv. The exhibition was highly regarded, not only because it presented a body of work of two canonical figures in Israeli art, or as it was defined, of ‘local masters turning 60,’ but primarily because of its relationship to Israeli public space. Gershuni’s works, which included the present canvas with the caption ‘El Male Rachamim,’ feature large, dark, paint stains, similar to eyes, making use of thick impasto, and is interpreted as a reaction to the assassination of Prime Minister . The ‘eyes’ motif, creating a basic facial form, possesses a rich iconography. Along with literary references such as Hayim Nahman Bialik’s poem, ‘These hungry eyes that so earnestly seek,’ or the poetry of Avraham Ben-Yitzhak, Gershuni testified that the eyes came from “there”. ’’Sometimes I think of the picture of my family from Poland as the source of those eyes. I have in my head a picture of a moving train, and from between the slats, a pair of dark eyes of a little girl or little boy peeps out. The empty eyes followed me around long before I painted them.” PROVENANCE: Acquired from Givon Gallery, Tel Aviv, 1996. EXHIBITED: Jewish Museum, New York, After Rabin: New Works in Israeli Art (1998).

27 28 KADISHMAN, MENASHE. Messages (, Jerusalem). Silkscreen with oil. Signed by the artist lower right. Framed. 21 x 26 inches; 54 x 66 cm. Tel Aviv, 1980. $2000-3000 ❧ The art of Menashe Kadishman (1932-2015) is one of eclectic style with colorful and expressively passionate tones. The consignor shared a close friendship with Kadishman and related that upon being gifted this silkscreen teasingly complained to the artist that he would have preferred to have received a painting - whereupon Kadishman immediately took the lithograph in hand and painted on it additional squares, thus, making for an unusual, multi-media piece. PROVENANCE: Gift of the artist, 1980.

28 29 SCHWEBEL, IVAN. Samuel 6:14 - King George Street, Jerusalem. Oil on canvas. Titled and signed by the artist upper and lower right. Framed. 39 x 34.5 inches; 99 x 88 cm. Jerusalem, 1980. $4000-6000 ❧ Born in West Virginia, Schwebel (1932-2011) studied at the Institute of Fine Arts of New York University. He spent a year traveling through Europe and in 1963 permanently settled in the village of Ein Karem near Jerusalem. The present painting was commissioned directly from the artist by the consignor and features the later’s Jerusalem residence. The association with the Book of Samuel as titled on the canvas, relates to the patron’s Hebrew name and date of birth. For further discussion of this painting, see Milly Heyd, King David Modernized: Ivan Schwebel and Contemporary Sources, in: Jewish Art, Vol. 12-13, (1987) pp. 337-48. PROVENANCE: Commissioned directly from the artist, 1980. EXHIBITED: The Jewish Museum, New York, The Batkin Collection of Israeli Art (1985). Catalogue p. 28.

29 30 REEB, DAVID. Old Tel Aviv. Acrylic. Signed by the artist in Hebrew and English lower right. Framed. 35 x 27 inches; 88 x 68 cm. 1982. $2000-3000

❧ PROVENANCE: Gift of the artist, 1987.

31 KRAKAUER, LEOPOLD. Jerusalem Landscape. Charcoal on paper. Signed by the artist in Hebrew lower left. Framed. 21 x 29 inches; 53 x 74 cm. Jerusalem, 1946. $1000-1500 ❧ Viennese born Leopold Krakauer (1890- 1954) was one of the finest architects of his time working in the International Style. He immigrated to Palestine in 1924. PROVENANCE: Acquired from the artist’s daughter, 1983. EXHIBITED: The Jewish Museum, New York, The Batkin Collection of Israeli Art (1985). Catalogue p. 22.

30 32 LUBIN, ARIEH. Jaffa. Oil on canvas. Signed by the artist lower left. Framed. 23.25 x 28.5 inches; 59 x 72 cm. Tel Aviv, 1977. $4000-6000 ❧ American-born Arieh Lubin (1897- 1980) studied art in Chicago, before enlisting in the Jewish Legion in World War I. He immigrated to Eretz Israel in 1922, later he was one of the founding artists of the creative colony developed in the ancient city of Safed. PROVENANCE: Sotheby’s Tel Aviv, Judaica, May 30th, 1989, lot 97.

33 NEWMAN, ELIAS. Safed in the Galilee. Encaustic on canvas. Signed by the artist lower right. Framed. 19.5 x 23.5 inches; 51 x 60 cm. $3000-5000

❧ PROVENANCE: Acquired directly from the artist, 1982. EXHIBITED: The Jewish Museum, New York, The Batkin Collection of Israeli Art (1985). Catalogue p. 24.

31 34 ZOHAR, ISRAEL. Seated Woman. Oil on canvas. Finely framed. 23.5 x 28.5 inches; 60 x 72 cm. Jerusalem, 1983. $2000-3000 ❧ Born in Kazakhstan to Russian refugees fleeing Hitler, Zohar eventually immigrated to Eretz Israel. In later years he settled in England where he was famously commissioned by the Royal Hussars military regiment to paint the official portrait of their patron, Diana, Princess of Wales. PROVENANCE: Commissioned directly from the artist, 1983.

35 KAISH, LUISE. Wall of the Martyrs. Bronze maquette. Signed by the artist and dated lower left. 12 x 33 inches; 30 x 84 cm. 1970. $1000-1500 ❧ Maquette for bronze (17 x 7. 5 ft) commissioned by Stanley Batkin for the Beth El Synagogue, New Rochelle, New York. PROVENANCE: Acquired directly from the artist, 1974.

32 36 CHARUVI, SHMUEL. The Artists’ Garden. Oil on canvas. Signed by the artist in Hebrew lower right. Framed. 8 x 13 inches; 20 x 33 cm. Jerusalem, 1941. $2000-3000 ❧ Ukraininan born Shmuel Charuvi (1897-1965) studied art in Odessa where he met the founding inspiration of the Bezalel School, Professor Boris Schatz. Under Schatz’s influence Charuvi subsequently moved to Jerusalem. There, the Mediterranean sunlight encouraged Charuvi’s romantic use of warm colors, producing delicate Eretz Israel scenes in a style that became known as ‘Jerusalem realism. ’ PROVENANCE: Mayanot Gallery, Jerusalem, 1993, who acquired it from the artist’s family.

37 SHALOM OF SAFED (MOSKOWITZ, SHOLOM). King Solomon Builds the Temple. Oil with pen-and-ink on canvas. Signed by the artist in Hebrew lower right. Framed. 19.5 x 15.5 inches; 50 x 39 cm. Safed, 1964. $2000-3000

❧ PROVENANCE: Engel Gallery, Jerusalem, 1979. EXHIBITED: The Jewish Museum, New York, The Batkin Collection of Israeli Art (1985). Catalogue p. 29.

33 38 SCHOR, ILYA. The Crown of Torah. Gouache. Signed by the artist lower right. Framed. 8 x 6 inches; 20.5 x 15.5 cm. New York, 1950. $1200-1800

❧ PROVENANCE: Acquired from the artist’s widow, 1975.

39 AGADATI, BARUCH. King David. Watercolor on silk. Signed by the artist lower left. Framed. 10.5 x 7 inches; 27 x 18 cm. 1957. $1000-1500 ❧ Agadati (1895-1976) was a legendary figure of modern Israeli culture. Born Baruch Kaushansky in Bessarabia, he grew up in Odessa. After moving to Palestine and initial studies at Bezalel, he was active in the worlds of both dance and of film. In the 1920’s and 30’s Agadati was the organizing spirit behind Tel Aviv’s legendary Purim carnival ‘Ade-lo-yada. ’ PROVENANCE: Acquired from Elias Newman, 1987. EXHIBITED: Tel Aviv Museum of Art, 1961.

34 40 SCHUR, AARON. (1864-1945). Seated Yemenite. Watercolor and gouache on paper. Signed by the artist in Hebrew lower left. Framed. 13 x 8.75 inches; 33 x 22 cm. Jerusalem, 1929. $4000-6000

❧ PROVENANCE: Mayanot Gallery, Jerusalem, 1993, who acquired it from the artist’s family.

35 41 GERSTEIN, DAVID (DUDU). Gortex (Mailboxes). Oil on canvas. Signed by the artist lower left. Framed. 27 x 30.5 inches; 69 x 78 cm. Jerusalem, 1993. $4000-6000 ❧ From Gerstein’s mailbox series of Old Tel Aviv.

42 YANAI, MAREK. Derech Hebron. Oil on canvas. Signed by the artist lower left. Framed. 49 x 37 inches; 125 x 94 cm. Jerusalem, 1989. $4000-6000

❧ PROVENANCE: Commissioned directly from the artist.

36 37 I m p o r t a n t S o v i e t , E a r l y Z i o n is t & — — A m e r i c a n Y i d d is h T h e a t e r P o s t e r s (Lots 43 - 64)

43 (SOVIET UNION). “Citizens, to the Ballot Box! Vote for Ticket Number 7 - the United Jewish Socialist Workers’ Party.” Text in Yiddish. Framed. 39.5 x 26 inches. $8000-12,000 ❧ This extremely rare Kerensky-period poster shows the voting during the Free Elections after the Duma was disbanded and Russians were attempting to form a new government. Lenin canceled the results. The had six fragmented parties.Here a farmer directs voters - both cultivated city folk and elderly shtetl dwellers - to the new Duma, which is surrounded by a halo, as if God-given.

38 44 (SOVIET UNION). (Movie poster). “His Excellency.” Text in Russian. Framed. 41 x 25 inches to mat. 1928. $7000-10,000 ❧ This silent film directed by Grigori Roshal was based on the life of Hirsch Lekert (1880-1902), a Jewish shoemaker and militant Bund member, who carried out an unsuccessful assassination attempt of the governor of Vilna, General Victor von Wahl, to avenge the flogging of workers who participated in a May Day rally. At his trial, Lekert refused to ask for forgiveness and gave an eloquent speech on the dignity of the Jewish worker. Sentenced to death, Hirsch Lekert subsequently became a folk hero in the workers’ movement.

39 45 (SOVIET UNION). “With every turn of the wheel of his tractor, a Jewish farmer contributes to building Socialism. Help him! - Buy a ticket for the OZET lottery.” Text in Yiddish and Russian. Designed by Mikhail Oskarovich Dlugach. Framed. 23.5 x 17 inches to mat. Moscow, 1929. $4000-6000 ❧ Issued by OZET - Russian acronym for The All-Union Association for the Agricultural Settlement of Jewish Workers in the USSR (“Vsesoiuznoe Obshchestvo po Zemel’nomu Ustroistvu Trudiashchikhsia Evreev v SSSR.”) OZET (1925-38) sought to improve the socio- economic status of disenfranchised Russian Jews by resettling them from their traditional shtetls, to agricultural communes established on land provided by the State. The best known OZET-sponsored project was the creation of the Jewish Autonomous Region of Birobidzhan, located in the Russian Far East.

46 (SOVIET UNION). “Drive to the Collective Farm!” Text in Yiddish. Framed. 28.5 x 18 inches to mat. Moscow, 1920’s. $4000-6000 ❧ Representative of the Kolkhoz propaganda campaign, seeking to to break up private ownership and promote collectivization into kolkhoz and sovkhoz farming communities.Depicts a proud modern woman driving a tractor, clearly superseding the traditional Jewish woman, seen in the background, blessing the Sabbath candles.

40 47 (SOVIET UNION). “Move to the Collective and Modernize. Develop the Soviet Union by Collectivization. The Kulaks must be Destroyed (Stalin).” Text in Yiddish. Framed. 27.5 x 40 inches to mat. 1920’s. $5000-7000 ❧ Encouraging Jewish agricultural settlements in the Crimea. Depicts new settlers arriving in horse and buggy, subsequently being outfitted with the most up-to-date, machine-driven modes of transportation and farming.

41 48 (SOVIET UNION). “Gold is growing in Jewish Fields. You can achieve this growth for a half-ruble. Help impoverished Jews. Buy an OZET lottery-ticket.” Text in Russian. Framed. 39 x 26.5 inches to mat. 1930. $4000-6000

49 (SOVIET UNION). ORT-Verband. “Jobless craftsmen and artisans may obtain machinery and raw materials through ORT, with the financial support of relatives abroad.” Text in Russian and Yiddish. Designed by Mikhail Oskarovich Dlugach. Framed. 27 x 40.5 inches to mat. Moscow, 1930. $4000-6000 ❧ ORT was originally established in Russia in 1880 as the Obchestvo Remeslenogo Truda (Society for Trade and Agricultural Labor among the Jews of Russia). It was organized for the benefit of millions of Jews, assisting them by providing education and training in practical occupations, and so helped establish new agricultural colonies and industrial cooperatives throughout Russia.

42 50 (SOVIET UNION). “On the Watch for the Socialist Way. - The Red Army will fight against anyone who dares prevent our peaceful building.” Text in Yiddish. Framed. 27.5 x 39.5 inches to mat. Late 1920’s. $4000-6000

51 (SOVIET UNION). Exhibition: Art of the Soviet Army. Text in Hebrew. Designed by Y. Nachtigal. Linen-backed. 19 x 26.75 inches. 1949. $700-900 ❧ Organized by the League of Friendship with the USSR; representative office in Tel Aviv.

43 52 () “Vote for the Eretz Israel Labor Party in the 19th Zionist Congress. Build the connecting bridge for the (benefit) of the Jews developing the Land of Israel.” Text in Yiddish. Designed by Esther Luria. Framed. 37 x 23 inches to mat. Tel Aviv, 1935. $1500-2000

53 (ZIONISM) 25 Shanim LeMilchamat Beitar. Commemorating the 25th anniversary of the founding of Beitar, the Revisionist Zionist youth movement founded by Ze’ev Jabotinsky in Riga in 1923. Text in Hebrew and Yiddish. 31.5 x 21.5 inches. Linen-backed. Munich, Druck L. Poeller, 1948. $1500-2000 ❧ The poster reads (in part): “Twenty-five years of the Beitar struggle: For a Hebrew army. For the liberation of the homeland. For the termination of the exile. The Beitar struggle goes on. Hebrew youth, join us!”

44 54 (ZIONISM) 5 Yohr Geto Oyfshtand. Commemoration of the the fifth anniversary of the Warsaw Ghetto Uprising by the Revisionist Beitar Movement. Text in Hebrew and Yiddish. Designed by Tzvi Silberman. Lined-backed. 33.5 x 24 inches. Linz, Austria, 1948. $1200-1800 ❧ Graphically linking heroes from the Warsaw Ghetto and the quest for a Jewish State. Features Beitar founder Ze’ev Jabotinsky imprisoned by the British; images of fallen Beitar heroes: Dov Gruner, Joseph Trumpeldor, Shlomo Ben Yosef and David Raziel (“the first Jewish rebels”); a list of Beitar members killed fighting the Nazis. The final image in the chain is one of a vibrant man placing the Israeli flag before a glowing menorah and a throng of people.

55 (ISRAEL, STATE OF). “The Air Force: Ever-Watching in Times of Distress.” Text in Hebrew. 27.25 x 19.5 inches. Linen-backed. 1940’s. $1000-1500 ❧ Published by the General Council for Hebrew Aviation in the Land of Israel.

45 56 (ISRAEL, STATE OF). Hebrew - A Bridge to Life in Israel. Register Today for Evening Classes in Ivrit. Text in Hebrew. Designed by Shamir Brothers. 27 x 19 inches. Linen-backed. 1950’s. $600-900 ❧ The illustrative subtext of this poster indicates to newly arrived immigrants that the key for passage from temporary housing to being fully settled in the new State of Israel, is mastery of the local .

57 (ISRAEL, STATE OF). Kotel HaHistadrut - The Ultimate Test of Life. Text in Hebrew. 27.5 x 39.5 inches. Linen-backed. 1948. $600-900 ❧ Encouraging all to involve themselves in the fight for independence of the State of Israel.

46 58 (ISRAEL, STATE OF). Israel Independence Day. Yom Ha’Atzmaut - The First Anniversary. Text in Hebrew. Designed by Shamir Brothers. 27.5 x 19.5 inches. Linen-backed. 1949. $1000-1500 ❧ Issued by Keren HaYesod. Poster celebrating the State of Israel’s first anniversary - the first Yom Ha’atzmaut.

59 (ISRAEL, STATE OF). Even a Cactus Beard Yields to Shemen Shaving Cream. Text in English. Framed. 18 x 12.5 inches to mat. 1950’s. $600-900

47 60 (YIDDISH THEATER) The Rabbi’s Family. People’s Theater. Text in Yiddish and English. Framed. 38 x 26 inches to mat. (New York, c. 1921). $7000-9000 ❧ Exceptionally rare theater poster for ”The Rabbi’s Family,” a hit Yiddish comedy, starring Ludwig Satz (1891–1944), one of the greatest Yiddish comic actors of his time.

48 61 (YIDDISH THEATER) Our Opening Production - The Most Sensational Comedy-Drama: The Rabbi’s Family (Dem Tzadik’s Mishpocho). Text in English and Yiddish. Framed. 40 x 26.5 inches to mat. (New York, c. 1921). $5000-7000 ❧ Another version.

49 62 (ANTISEMITICA) Die Wählen Den Schreier Nicht!! [“Don’t Elect Those Who Complain.”] Election poster for the Democratic Party of Austria to the Constituent National Assembly, 1919. Text in German. Designed by Pollak. Framed. 48.5 x 36.5 inches to mat. (Vienna, 1919). $5000-7000 ❧ Austrian cartoonist and commercial artist Carl Josef Pollak (1877-1937) worked in Vienna for several satirical magazines especially the Illustrierte Zeitung.

50 63 (AMERICA) You don’t have to be Jewish to love Levy’s real Jewish Rye. 46 x 28.5 inches. Linen-backed. New York, c. 1967. $400-600 ❧ Product of a radically successful mid-20th century advertising campaign, esteemed to this day for its warmth, wit and genial inclusiveness.

64 (AMERICA) You don’t have to be Jewish to love Levy’s real Jewish Rye. 45 x 28 inches. Linen-backed. New York, c. 1967. $400-600

— End of Sale —

51 ALPHABETICAL LIST OF ARTISTS FROM THE BATKIN COLLECTION

AGADATI, BARUCH...... 39 AGAM, YAAKOV...... 22 ARDON, MORDECAI ...... 23 ARIKHA, AVIGDOR ...... 26 BERGNER, YOSL ...... 11 BLUM, LUDWIG...... 1 CASTEL, MOSHE...... 10 CHARUVI, SHMUEL...... 36 GERSHUNI, MOSHE...... 27 GERSTEIN, DAVID...... 41 GLIKSBERG, HAIM...... 21 GUTMAN, NAHUM...... 19 JANCO, MARCEL...... 9 KADISHMAN, MENASHE...... 28 KAISH, LUISE...... 35 KRAKAUER, LEOPOLD...... 31 LUBIN, ARIEH ...... 32 MANE-KATZ...... 18 NEWMAN, ELIAS...... 33 RABAN, ZE’EV ...... 2, 3 REEB, DAVID...... 30 RUBIN, REUVEN...... 8 SCHOR, ILYA...... 38 SCHUR, AARON...... 40 SCHWEBEL, IVAN...... 29 SHALOM OF SAFED...... 37 SHEMI (SCHMIDT), MENAHEM ...... 20 SIMON, YOHANAN...... 13, 14 STEINHARDT, JAKOB...... 5 STEMATSKY, AVIGDOR ...... 12 STREICHMAN, YEHEZKEL...... 25 STRUCK, HERMANN...... 4 TAGGER (TAJAR), ZIONA...... 15, 16, 17 TICHO, ANNA...... 6, 7 YANAI, MAREK...... 42 ZARITSKY, JOSEPH...... 24 ZOHAR, ISRAEL...... 34 — Absentee Bid Form —

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