leivick 1888 1962 (8 Ergebnisse)

Hardcover. Zustand: Acceptable. No Jacket. In Yiddish. 170 pages. 205 x 148 mm. Paper yellowed, front blank and title page detached. Red cloth with gold lettering on board. With rubber stamp impression and handwritten names of Molly Picon and husband Jacob Kalich. Molly Picon was a fabled actress of stage and screen Molly Picon and her husband Jacob Kalich. She was born Malka Opiekun in New York City Feb 28, 1898 and died in Lancaster, Pennsylvania April 5, 1992. She was a U.S. actress of stage, screen and television, a lyricist and dramatic story-teller. Years active: 1904?1984. Husband: Jacob Kalich (1919-1975). She was a star of the Yiddish theatre and film, but later turned to English-language productions. Her parents were Polish Jewish emigrants: Clara (née Ostrow), a wardrobe mistress, and Louis Opiekun, a shirtmaker. Opiekun is "guardian" or "caretaker" in Polish. She later changed it to Picon. Her career began at the age of six years in the Yiddish Theatre. In 1912, she debuted at the Arch Street Theatre in Philadelphia and became a star of the Yiddish Theater District, performing in plays in the District for seven years. Picon was so popular in the 1920s that many shows had her adopted name, Molly, in their title. In 1931, she opened the Molly Picon Theatre. She appeared in many films, starting with silent movies. Her earliest films were made in Europe; among the first was the Yiddish film East and West, made in Vienna in 1923, which is the earliest of her films that survives. The film depicts a clash of New and Old World Jewish cultures. She plays a U.S.-born daughter who travels with her father back to Galicia in East Central Europe. Her husband Jacob Kalich played one of her close relatives. Picon's most famous film, Yidl Mitn Fidl (1936), was made on location in Poland and shows her wearing male clothing through most of the film. In the film, a girl and her father are forced by poverty to set out on the road as traveling musicians. For her safety, she disguises herself as a boy, which becomes inconvenient when she falls in love with one of the other musicians in the troupe. Later Mamele was made in Poland. In 1934, Picon had a musical comedy radio show, the Molly Picon Program, on WMCA. . . From on-line obituary: "Herman Yablokoff, an actor, composer, playwright, director and producer in the American Yiddish theater for more than 55 years, died [1981].He was 77 years old.Mr. Yablokoff was president of the Hebrew Actors Union in New York, a post he had held for numerous terms between 1945 and his death. The union, affiliated with the Associated Actors and Artistes of America, was founded in 1900. He also was president of the Yiddish Theatrical Alliance. Born in Grodno, Poland, in 1903, he began playing children's roles in the Yiddish theater at the age of 12.Mr. Yablokoff came to this country in 1924 and settled in New York. Among the extravaganzas he wrote for the theater on lower Second Avenue in the 1930's and 40's were ''Der Payatz'' (''The Clown''), a role he also popularized on a New York radio program; ''The King of Song, '' ''Goldela Dem Bakers, '' ''Mein Veise Blum'' and ''Der Dishwasher. '' His last musical, written, staged and directed by him and in which he played the role of the father, was ''My Son and I, '' in 1960.Mr. Yablokoff became chairman of the Yiddish National Theater in New York, a nonprofit institution for creativity and expanding awareness of the Yiddish stage. Earlier, he had written and published his two-volume memoirs, ''Around the World With Yiddish Theater, '' which won him the 1970 Zvi Kesel Prize for Yiddish literature.As he became more prominent in the Yiddish theater, Mr. Yablokoff traveled extensively abroad but no trip meant more to him, according to his family, than a seven-month tour of refugee camps in Germany, Austria and Italy in 1947. He gave 104 performances in 94 camps for 180,000 Jewish refugees. . .

Leatherbound. Zustand: NEW. Leatherbound edition. Condition: New. Language: yid Leather Binding on Spine and Corners with Golden leaf printing on spine. Reprinted from BK edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. THERE MIGHT BE DELAY THAN THE ESTIMATED DELIVERY DATE DUE TO COVID-19. Pages: 228 Pages: 228.

LeatherBound. Zustand: New. Leatherbound edition. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. Reprinted from 1927 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 152 Language: yid Pages: 152.

LeatherBound. Zustand: New. Leatherbound edition. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. Reprinted from 1927 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 178 Language: yid Pages: 178.

Soft cover. Zustand: Very Good. No Jacket. 83 pages. 11 x 8.5 inches. Undated. No publisher and place of publication noted. In binder. Apparently a typed or stenciled copy. Paper in good condition.

Hardcover. Zustand: Very Good. No Jacket. 141 pages. From the private library of the fabled actress of stage and screen Molly Picon and her husband Jacob Kalich. The Mahopac in the stamp was their summer home at Lake Mahopac New York. Paper has yellowed, first two leaves detached. Front hinge exposed. H. Leivick (pen name of Leivick Halpern, December 25, 1888 - December 23, 1962) was a Yiddish language writer, known for his 1921 "dramatic poem in eight scenes" The Golem. He also wrote many highly political, realistic plays, including "Shop." He adopted the pen name of Leivick to avoid being confused with Moyshe-Leyb Halpern, another prominent Yiddish poet. Leivick was born in Chervyen, Belarus, the oldest of nine children. His father was a Yiddish instructor for young servants. Leivick was raised in a traditional Jewish household and attended a yeshiva for several years, an experience he thoroughly disliked and depicted in his dramatic poem Chains of the Messiah. Leivick joined the Jewish Bund before or during the 1905 Russian Revolution. The influence of the organization helped to convince Leivick to become secular and to focus his writing on Yiddish rather than Hebrew. In 1906 Leivick was arrested by Russian authorities for distributing revolutionary literature. He refused any legal assistance during his trial and delivered a speech denouncing the government instead: ?I will not defend myself. Everything that I have done I did in full consciousness. I am a member of the Jewish revolutionary party, the Bund, and I will do everything in my power to overthrow the tsarist autocracy, its bloody henchmen, and you as well.? Leivick, then only eighteen, was sentenced to four years of forced labor and permanent exile to Siberia. His prison years were spent in St. Petersburg, Moscow and Minsk, where he wrote Chains of the Messiah. In March 1912 he was marched to Siberia on foot, a journey that lasted more than four months. Leivick was eventually smuggled out of Siberia with the assistance of Jewish revolutionaries in America and sailed to America in the summer of 1913. By the early 1920s, Leivick was writing poetry and drama for several Yiddish dailies, including the Communist Morgen Freiheit. From 1936 to his death, he wrote regularly for Der Tog. He was also active as an editor, working with fellow writer Joseph Opatoshu on an exhaustive series of Yiddish anthologies. Leivick was involved with Di Yunge, a group of avant-garde American-Yiddish poets who praised Yiddish for its artistic and aesthetic possibilities, not merely a conduit for disseminating radical politics to the immigrant masses. Di Yunge included such notable personalities as Moyshe-Leyb Halpern and Mani Leib. Leivick spent most of his life employed as a wallpaper-hanger while simultaneously pursuing his writing. Leivick's style was neo-Romantic and marked by a deep apocalyptic pessimism combined with an almost naive interest and yearning for the mystical and messianic, themes that continually appeared in his writing, particularly The Golem, which depicted the Jewish Messiah and Jesus Christ as representatives of a peaceful redemption, only to be chased away by the Maharal of Prague and his violent Golem, who ultimately rampaged through the streets of Prague injuring large numbers of people, both Jews and Christians. In The Golem, Leivick simultaneously condemned any attempts to heal the world through violence, but also highlighted the fallibility and impotence of all would-be Messiahs. The poem was widely interpreted as a thinly veiled critique of the Bolshevik Revolution and caused Leivick to be criticized by the Soviet Union and Communist Yiddishists. Leivick stopped writing for the Communist papers in 1929 following their public support for the Arab riots in Palestine and broke off all connections with the left following the Molotov-Ribbentrop Pact of 1939. Leivick's work strongly resonated with the Yiddish public and helped him become one of the most prominent Yiddish poets in the world. Inscribed.

Hardcover. Zustand: Acceptable. No Jacket. In Yiddish. 234 pages. 228 x 160 mm. Printed in 3,500 copies, few copies of this edition survived, because of the quality of paper, which is yellowed, fragile and acidic. This edition does not have illustrations. H. Leivick (1888-1962) was a famous Yiddish language writer best known for this work. His style was neo-Romantic with apocalyptic pessimism and a yearning for the mystical and messianic. The Golem depicts a Jewish Messiah and also Jesus, as representatives of a peaceful redemption, who is chased away by the Maharal of Prague and his violent Golem, who ultimately rampages through the streets of Prague injuring large numbers of people, both Jews and Christians. In The Golem, Leivick condemns attempts to heal the world through violence, but also highlights the fallibility and impotence of all would-be Messiahs. The poem was widely interpreted as a thinly veiled critique of the Bolshevik Revolution and resulted in his being criticized by the Soviet Union and Communist Yiddishists. Leivick stopped writing for the Communist papers in 1929 following their public support for the Arab riots in Eretz Israel and he broke off all connections with the left following the Molotov-Ribbentrop Pact of 1939.

Hardcover. Zustand: Good. No Jacket. In Yiddish. (2), 222 pages. 228 x 160 mm. H. Leivick (1888-1962) was a famous Yiddish language writer best known for this work. His style was neo-Romantic with apocalyptic pessimism and a yearning for the mystical and messianic. The Golem depicts a Jewish Messiah and also Jesus, as representatives of a peaceful redemption, who is chased away by the Maharal of Prague and his violent Golem, who ultimately rampages through the streets of Prague injuring large numbers of people, both Jews and Christians. In The Golem, Leivick condemns attempts to heal the world through violence, but also highlights the fallibility and impotence of all would-be Messiahs. The poem was widely interpreted as a thinly veiled critique of the Bolshevik Revolution and resulted in his being criticized by the Soviet Union and Communist Yiddishists. Leivick stopped writing for the Communist papers in 1929 following their public support for the Arab riots in Eretz Israel and he broke off all connections with the left following the Molotov-Ribbentrop Pact of 1939. Max Weber (1881-1961) was a Jewish-American painter and one of the first American Cubist painters who, in later life, turned to more figurative Jewish themes in his art. He is best known today for Chinese Restaurant (1915), in the collection of the Whitney Museum of American Art. Born in the Polish city of Bialystok, then part of the Russian Empire, Weber immigrated to the United States at age 10 together with his Orthodox Jewish parents, settling in Brooklyn. He studied art at the Pratt Institute in Brooklyn under Arthur Wesley Dow. In 1909 Weber helped introduce Cubism to America. He is now considered one of the most significant early American Cubists, but the reception his work received in New York at the time was discouraging. Critical response to his paintings in a 1911 show at the 291 Gallery, run by Alfred Stieglitz, was merciless. He was attacked for his ?brutal, vulgar, and unnecessary art license.? Weber was sustained by the respect of some eminent peers, such as photographers Alvin Langdon Coburn and Clarence White, and museum director John Cotton Dana, who saw to it that Weber was the subject of a one-man exhibition at the Newark Museum in 1913, the first modernist exhibition in an American museum. For a few years, Weber enjoyed a productive if rocky relationship with Stieglitz, and he published two essays in Stieglitz's journal Camera Work. He also wrote Cubist poems and published a book, Essays on Art, in 1916. So poor was Weber in these years that he camped out for some weeks in Stieglitz's gallery. Weber was also closely acquainted with Wilhelmina Weber Furlong and Thomas Furlong, whom he met at the Art Students League, where he taught from 1919 to 1921 and 1926 to 1927. He was the subject of a major retrospective at the Jewish Museum in 1982. In time, Weber's work found more adherents, including Alfred H. Barr, Jr., the first director of the Museum of Modern Art. In 1930, the Museum of Modern Art held a retrospective of his work, the first solo exhibition at that museum of an American artist. He was praised as ?a pioneer of modern art in America? in a 1945 Life magazine article. In 1948, Look magazine reported on a survey among art experts to determine the greatest living American artists; Weber was rated second, behind only John Marin. He was the subject of a major traveling retrospective in 1949 and became more popular in the 1940s and 1950s for his figurative work, often expressionist renderings of Jewish families, rabbis, and Talmudic scholars, than for the early modernist work he had abandoned circa 1920 and on which his current reputation is founded.