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In the present catalogue, a distinct chapter is dedicated to the Dayan family, featuring personal letters, photographs, books and documents from the estate of Ruth Dayan; together, this miniature collection recounts the story of the Dayan-Schwartz family over three generation, from Moshe's father Shmuel Dayan to Ruth's and Moshe's children. Included in this collection are a number of letters written by the famous of all Dayans – Moshe Dayan, and a variety of letters and other items sent or presented to family members, such as pictures dedicated to Moshe Dayan by Nobel peace prize laureate Albert Schweitzer, a micrography by Abraham Haba and a letter of appreciation to Moshe Dayan by Yigael Yadin, who served as IDF chief of staff during the 1948 War.
The art chapter features a number of Old Master works – including a forest view by Allaert van Everdingen and "Ruins of the Brederode Castle" attributed to Jacob Isaackszoon van Ruisdael – as well as works of Israeli and Judaic art from the collection of art historian Uzi Agassi.
the catalogue also includes an extensive chapter dedicated to numismatics, with an abundance of scrips and coupons, some used by Jewish Palestinian communities in times of distress and need (World War I, the 1948 siege on Jerusalem), some issued by small businesses throughout Palestine – bakeries, groceries and various stores, many of which had gone out of business soon afterwards. The chapter also includes various coins and banknotes: Ottoman, mandatory, and Israeli banknotes and coins, and two silver amuletic medals struck in honor of the formation of the Mandatory government and the appointment of High Commissioner Herbert Samuel.
The catalogue further features a variety of choice items representing the history of Palestine and Zionism – rare books (such as Sh.Y. Agnon's first book published in Palestine and "Tsveyuntsvantsik" by Ka-Tsetnik), letters and manuscripts (by Leah Goldberg, Shaul Tchernichovsky, Uri Tzvi Grinberg and Agnon), publications and ephemera from central events in the history of Zionism (the Katowice conference protocol, autograph postcards by Leo Motzkin), travelogues and scholarly works, Bezalel art, rugs, photographs and more.
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LOT 223:
Tsibi Geva (b. 1951) – Umm al-Fahm, 1984 – Diptych
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Vendu pour: $3 600
Prix de départ:
$
1 000
Commission de la maison de ventes: 25%
TVA: 17%
Seulement sur commission
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Tsibi Geva (b. 1951) – Umm al-Fahm, 1984 – Diptych
Tsibi Geva (b. 1951), Umm al-Fahm, 1984. Diptych.
Mixed media on thin cardboard. Signed and dated.
200X70 cm. Good condition. Small holes and minor blemishes.
Provenance: The Uzi Agassi Collection.
Yona Fischer: Do the names of places you choose always have political connotations for you, or do they sometimes have poetic connotations?
Tsibi Geva: I think about it in terms of a political haiku. The musicality, the reverberations, too, are content in the world. The names generate a frequency that has an origin and a resonance, or impact. They are linguistic, musical, conceptual and political elements that accumulates – first in me, and then in the works. I like this sort of concatenated thought, the idea that to a great extent the deeper meanings of what you're doing can only be revealed through an observation of the entire project, not by single pieces. A project is also a projection. A single piece is like a single word in a sentence or story. There's a fundamental difference between a painting of a terrazzo tile and tiling, if you will, or occupying a territory, territorialization. Already at a very early stage in my career, in the series of works that includes Umm el-Fahem and Biladi Biladi (1983-85) I thought that such works, in which the inscribed words are a key image, may work on their own, but when you stand in a space that's completely surrounded by names of Arab places written in Hebrew, it becomes a whole sphere and generates a reference field that is charged with meaning. As a viewer, you find yourself "confined" in a suggestive electricity field. Pointing at invisible villages is an act of indicating and focusing, bringing them to the foreground and defining an alternative territory to that of the Zionist narrative, to this story we were raised on. This act also defines itself along the time axis. Things have added up, have been built one on top of the other, very slowly.
Tsibi Geva in Conversation with Yona Fischer. From: Tsibi Geva: Transition, Object, exhibition catalog, Ashdod Museum of Art (curated by Yona Fischer and Roni Cohen-Binyamini), July-November 2012. pp xiii-xiv.
