LIBRO DE FOTOS ALEMÁN FIRMADO A MANO Autógrafo TIM GIDAL Fotografía AUTÓGRAFO Judío

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Vendedor: judaica-bookstore ✉️ (2.805) 100%, Ubicación del artículo: TEL AVIV, IL, Realiza envíos a: WORLDWIDE, Número de artículo: 285677411766 LIBRO DE FOTOS ALEMÁN FIRMADO A MANO Autógrafo TIM GIDAL Fotografía AUTÓGRAFO Judío. DESCRIPTION : Up for auction is a HAND SIGNED and INSCRIBED in blue ballpoint pen PHOTOBOOK by the acclaimed Jewish - German ART and JOURNALISM PHOTOGRAPHER , Israeli NACHUM TIM GIDAL and also his photographer wife PIA.  The copy also include a few corrections in pen by GIDAL to the original text. The PHOTOBOOK is a photographed catalogue of GIDAL's exhibition in 1984 in Essen Germany. The DEDICATION and SIGNATURE ( Autograph - Autogramme ) are dated 1985. Original illustrated / photographed wrappers . 8.5 x 11" . 64 throughout photographed chromo pp. Excellent condition. Perfectly clean. Tightly bound .( Pls look at scan for accurate AS IS images )  Will be sent inside a protective packaging .

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SHIPPMENT : SHIPP worldwide via registered airmail is $ 29 . Book will be sent inside a protective packaging .   Will be sent around 5-10 days after payment . 

Tim N. Gidal (eigentlich Ignatz Nachum Gidalewitsch, * 1909 in München; † 4. Oktober 1996 in Jerusalem) war ein deutsch-israelischer Fotojournalist und Hochschullehrer. Er gilt als einer der Pioniere des modernen Fotojournalismus.1929 begann Gidal mit seinen Fotoreportagen, seine erste Reportage „Servus Kumpel“ über eine Gruppe Vagabunden erschien in der Münchner Illustrierten Presse.[1] Zeitgleich zu seinem Studium der Geschichte, Kunstgeschichte und Nationalökonomie arbeitete er als Fotojournalist. Nach der Beendigung seines Studiums, das er in seiner Heimatstadt, Berlin und Basel absolvierte, promovierte Gidal denn auch an der Universität in Basel „über das Verhältnis von Bildberichtserstattung und Presse“.[2]Gidal fotografierte vornehmlich mit einer Leica,[3] die sich durch ihre Handlichkeit besonders gut dazu eignete, unauffällig zu arbeiten. Außerdem verwandte er lichtstarke Apparate vom Typ Ermanox und ab 1930 auch eine 4 x 4 cm Rollei.[1]1934 dokumentierte Gidal in Luzern den 13. Internationalen Psychoanalytischen Kongress, dessen Schirmherrschaft Ernest Jones innehatte und auf dem u. a. Melanie Klein referierte.[4]Bevor er 1936 nach Palästina emigrierte, bereiste Gidal es zweimal ausführlich.[5] 1932 entstand dabei die Reportage „Araber gegen Juden - Das Problem Palästina“,[6] die zu seinen bekanntesten fotojournalistischen Werken zählt. Zur gleichen Zeit entstand dort sein Dokumentarfilm „Erez Israel im Aufbau“ im Auftrag der Palästina-Filmstelle der Zionistischen Vereinigung für Deutschland.[7]Gidal nahm gemeinsam mit seinem Bruder Georg eine Reportage namens „Freiwilliger Arbeitsdienst“ auf.[8] Die Brüder veröffentlichten u. a. in der Arbeiter Illustrierte Zeitung, stellten aber die Zusammenarbeit ein, nachdem ihre Fotografien mit ihres Erachtens manipulierenden Bildunterschriften versehen worden sind.[9]Andere Veröffentlichungsorte seiner Arbeiten waren u. a. das amerikanische Magazin Life sowie die Münchner Illustrierte Presse, Berliner Illustrirte Zeitung, Die Woche und die Jüdische Rundschau.Nach seiner Emigration nach Palästina (1936-1938) war Gidal bis 1940 neben Felix H. Man und Kurt Hübschmann führender Fotograf bei der Londoner Picture Post. 1938 wurde Gidals erste Farbreportage in der Pariser Marie Claire veröffentlicht. Im Zweiten Weltkrieg diente er ab 1942 dann als Chefreporter in der 8. Britischen Armee. 62 seiner Fotografien erschienen in der Parade, dem offiziellen Armee-Magazin.[1] Von 1947[2] bis 1955 hatte Gidal den Lehrstuhl für Visuelle Kommunikation an der New Yorker The New School for Social Research inne.[1] In Israel lernte er Anfang der 40er-Jahre seine spätere Frau Sonia (* 1922 in Berlin), ebenfalls eine Pressefotografin, kennen. Sie zeugten einen Sohn.[10] Gemeinsam mit seiner Frau hat Gidal zwischen 1955 und 1970 insgesamt 23 Kinderbücher bei Pantheon Books veröffentlicht, die als Serie Kinder aus verschiedenen Ländern in Wort und Bild vorstellten. Zehn dieser Bände sind auch auf deutsch erschienen.[11]1970 ging Gidal zurück nach Israel und wurde dort 1971 Dozent an der Hebräischen Universität Jerusalem. Im Jahr 1983 wurde ihm für sein Schaffen der Dr.-Erich-Salomon-Preis von der Deutschen Gesellschaft für Photographie verliehen.Gidal war Ehrenmitglied der Deutschen Gesellschaft für Photographie und fellow der Royal Photographic Society.[1]1989 übergab Gidal seinen fotografischen Vorlass von circa 3.000 Bildmedien dem Salomon Ludwig Steinheim Institut für deutsch-jüdische Geschichte in Duisburg.[2]Maurice Berger kontrastiert in seinem Essay zu dem Foto „The Night of the Cabbalist“ (Palästina 1935) die Arbeitsweise Gidals mit der von André Kertész und Henri Cartier-Bresson. Gidal sei intuitiver und weniger systematisch beim Erstellen seiner Bilder vorgegangen. Er wäre weder auf Mission gewesen, noch hätte er eine Agenda besessen. Der Fotograf äußerte sich folgendermaßen: „I leave it to the object to express itself with the assistance of my camera.“ (Ich überlasse es dem Objekt sich selbst auszudrücken, meine Kamera assistiert nur.) sowie: „The viewer can take what he sees, if he sees, or leave it.“ (Der Betrachter kann das mitnehmen, was er sieht, wenn er denn sieht, oder es auch sein lassen.)[5]Werke Nachum Gidal, Bertha Badt-Strauß, Jüdische Kinder in Erez Israel: Ein Fotobuch, Brandus, Berlin 1936.Tim N. Gidal, Deutschland, Beginn des modernen Photojournalismus, Bibliothek der Photographie, Bd. 1, Bucher, Luzern, Frankfurt/Main 1972. ISBN 3-7658-0152-6 Tim N. Gidal (Hrsg.), Ewiges Jerusalem: 1850 - 1910, Bucher, Luzern, Frankfurt/Main 1980. ISBN 3-7658-0342-1 Tim N. Gidal, Das Heilige Land: Photographien aus Palästina von 1850 bis 1948, Bucher, Luzern, Frankfurt/Main 1985. ISBN 3-7658-0429-0 Tim N. Gidal, Die Juden in Deutschland von der Römerzeit bis zur Weimarer Republik, Bertelsmann, Gütersloh 1988. ISBN 3-570-07690-3 Tim N. Gidal, Die Freudianer auf dem 13. Internationalen Psychoanalytischen Kongress 1934 in Luzern, Verlag Internationale Psychoanalyse, München, Wien 1990. ISBN 3-621-26518-X Tim N. Gidal, Chronisten des Lebens. Die moderne Fotoreportage, Edition q, Berlin 1993. ISBN 3-86124-237-0 Nachum T. Gidal, Begegnung mit Karl Valentin, Piper, München, Zürich 1995. ISBN 3-492-12038-5 Nachum Tim Gidal, Jerusalem: in 3000 years = Jerusalem, Könemann, Köln 1995. ISBN 3-89508-055-1 Thomas Kempas, Gabriele Saure (Hrsg.), Photo-Sequenzen. Reportagen. Bildgeschichten. Serien aus dem Ullstein-Bilderdienst von 1925 bis 1944, Haus am Waldsee, Berlin 1992. Geboren 1909 in München als Ignaz Nachum Gidalewitsch, Sohn einer aus Rußland stammenden orthodoxen Familie, studierte er Geschichte, Kunstgeschichte und Nationalökonomie in München, Berlin und Basel, wo er 1935 über das Verhältnis von Bildberichtserstattung und Presse promovierte. Bereits während seiner Studienjahre wurden seine Photographien in zahlreichen Illustrierten veröffentlicht. 1936 emigrierte Gidal nach Palästina und arbeitete als freier Mitarbeiter der "Picture Post" in London und im 2. Weltkrieg als Chefreporter der britischen Achten Armee. 1947 übernahm er an der New School for Social Research in New York einen Lehrstuhl für Visuelle Kommunikation. 1970 kehrte Gidal nach Israel zurück und arbeitete als Associate Professor an der Hebräischen Universität in Jerusalem. Er veröffentlichte zahlreiche Bücher, darunter das bekannte Werk Die Juden in Deutschland von der Römerzeit bis zur Weimarer Republik und das imponierende Photoalbum Jerusalem in 3000 Jahren. Die internationale Anerkennung seines Schaffens spiegelt auch der Erich Salomon Preis der "Deutschen Gesellschaft für Photographie", den er 1983 entgegennahm. 40 Jahre lang war Gidal als Fotojournalist tätig, so bei der "Münchner Illustrierten Zeitung", der "Jüdischen Rundschau", der A.I.Z., der "Picture Post", der "Parade" und wurde besonders durch seine Arbeiten in "Life" international bekannt. Anläßlich der Übergabe des Archivs an das Steinheim-Institut in Duisburg erklärte Gidal 1989: "Ich habe mich entschlossen, die Sammlung dem 'Salomon Ludwig Steinheim-Institut' in Duisburg zu übergeben, weil ich der Ansicht bin, daß dieses Institut mit seiner lebendigen Verbindung zu den alten und neuen Problemen der Geschichte für die Wirkung meiner Bilder in einem weiten Kreis garantiert." Gidal starb am 4. Oktober 1996 in Jerusalem. Born in Munich in 1909, Ignaz Nachum Gidalewitsch grew up as the son of Orthodox immigrants from Russia. He studied history, art history and national economics in Munich, Berlin and Basle, where in 1935 he earned a doctoral degree for his study on the relation between photojournalism and the press. Even while he was still a student, his photographs were published in numerous illustrated weeklies. In 1936 Gidal emigrated to Palestine, between 1938 and 1940 he worked as a freelancer for the London “Picture Post” and during WW II he served as chief staff reporter for the British Eighth Army magazine. In 1947 he accepted the professorship for Visual Communication at the New School for Social Research in New York. In 1970 Gidal returned to Israel where he lectured as Associate Professor at the Hebrew University of Jerusalem. He is author of numerous publications such as the well-known pictorial documentation “The Jews in Germany from Roman Times until the Weimar Republic” or “Jerusalem in 3,000 Years”, a magnificent collection of photographs of the city. His work has gained worldwide recognition and he was awarded several prizes, among them the prestigious Dr. Erich Salomon Prize of the Deutsche Gesellschaft für Photographie in 1983. He spent 40 years of his life working as a photojournalist for various newspapers and magazines such as the “Münchner Illustrierte Zeitung”, the "Jüdische Rundschau", the A.I.Z., the "Picture Post" and the "Parade"; his pictures in “Life” in particular earning him international renown. On the occasion of handing over his photography collection to the Steinheim Institute in Duisburg in 1989 Gidal declared: “I have decided to donate the collection to the Salomon Ludwig Steinheim Institute in Duisburg because I am convinced that by virtue of its lively involvement with old and new problems in history this institute will guarantee the continuous presence of my work in a wide circle.” Gidal died in Jerusalem on 4th October 1996. Tim Gidal was one of the founders of modern photo-journalism. His first picture story, "The Vagabond Congress", was published by the Munchner Illustrierte Presse, a forerunner of Picture Post, in 1929, the year he entered the University of Munich in 1929 to read History. He was born Nachum Gidalewitsch, in Munich, in 1909, of a Russian father and Lithuanian mother, and he came to photography through having empty pockets. Like many university students, he was hard up and when introduced to Paul Feinhals, the editor of the Munchner Illustrierte, he grabbed the opportunity to earn money. Photo-journalism was invented in Germany as a result of Oskar Barnack's little Leica camera. This beautiful instrument, introduced by the Ernst Leitz optical company in 1924, enabled photographs to be taken under circumstances previously impossible with the large-format cameras popularly used by the press in the 1920s. The potential of the Leica, and its competitor the Ermanox, was grasped by those who, like Gidal, saw the new crop of illustrated magazines that were appearing in Germany as vehicles for their personal expression and as a livelihood. Few of them were interested in photography for its own sake. The doyen of them all, the eminently discreet and respectable lawyer Alfred Saloman, used his Ermanox camera as a means of access to those with political power and, among other nascent photo- journalists contemporary with Gidal, only Kurt Hutton and Martin Muncacszi had received any formal training in photography. For Gidal, as for Felix Man, Umbo, Walter Bosshardt, Andre Kertesz, Wolfgang Weber and others, the camera was simply a means to an end. In 1935, after six years in which he spent more time photographing than studying, Nachum Gidal was awarded his doctorate by the University of Basle, where he had removed himself in 1933 as a consequence of a growing Nazi presence within the university in Munich. Gidal had been brought up in a religious family and had strong Zionist convictions from an early age. In Germany he had been active in the Blau Weiss Youth Movement, and a meeting with Chaim Weizmann in 1932 had convinced him that he should emigrate to Palestine at the first opportunity. Two months after the award of his doctorate, in May 1935, he went for a second time to Palestine and 12 months later settled permanently in Jerusalem. For two years he struggled to make a living as a photo- journalist in a Palestinian Jewish community more interested in kitsch propaganda pictures than honest documentary. Eventually, however, his luck turned and he sold a story on the conflict in the Holy Land to Stefan Lorant, the charismatic editor of the newly thriving magazine Picture Post. On the basis of this and an encouraging telegram from Lorant, Gidal moved to London. In 1940, after two years in Britain, where he had over 40 picture stories published in Picture Post - which ranged from stories on the life of the unemployed to a day in a beauty school - he returned by sea to Palestine. This arduous trip round the Cape to Bombay, then to Basrah and overland through Iraq to Jerusalem, produced many memorable photographs. But wartime Jerusalem bored Gidal, and in 1942 he joined the Eighth Army as a photographer. It was here that he acquired his sobriquet "Tim" from fellow officers during wartime service with the army's magazine Parade, a morale-boosting publication modelled on the successful German military picture magazine Signal. Together with Bela Zoia, another talented photographer, he produced for Parade a regular stream of photographs and stories. Given the honorary rank of Captain, Gidal was turned loose to cover North Africa, the eastern Mediterranean and the wider Middle East before being sent, in February 1944, to Mountbatten's headquarters in Burma. Here he contracted typhus and was returned to Jerusalem, where he married Sonia Epstein, joined the Jewish Brigade, got bored again and was subsequently invalided out of the army in time to miss the Italian campaign and all that followed. The problems facing post-war Palestine caused Gidal to think carefully about his future; should he continue as a photo-journalist or take up a more secure career as an academic. His training as an historian certainly inclined him towards an intellectual life, but it was the birth of his son, Peter, later to become a reputable art theorist and avant-garde film- maker in London and the United States, which decided the matter and in 1947 the family moved to New York, where Gidal eventually joined the staff of the prestigious New School for Social Research. He remained in the US until 1968, when he and his wife separated. He moved to Zurich and they divorced in 1970, after which he returned to live in Jerusalem. In retrospect, the decision to go to America was a mistake. Despite the fact that he and his wife achieved considerable financial success there through the publication of books for young people on village communities around the world, Gidal's pursuit of academic respectability ruined him as a photographer. Although his scholarly abilities allowed him to write Modern Photojournalism, Origin and Evolution 1910-30 (1972), the definitive history of modern picture reporting, his distinctive photographer's eye was dimmed, something ultimately to hurt him more than anything else. Nevertheless, after returning from America he contined to build up a remarkable collection of historical photographs concerning the Jews in Europe and in Palestine, photographs and researches which resulted in numerous fine books, including Eternal Jerusalem and The Freudians. For the last 20 years of his life, supported by his second wife, Pia, Tim Gidal sought to establish his place in the history of photography. An indefatigable traveller and organiser, he had his work exhibited widely throughout Europe and Israel yet one always sensed that he felt neglected by historians. An old squabble with Felix Man still festered and his relationship with the photo-historian Helmut Gernsheim was often stormy. He should not have worried. The first 10 years of photo- journalism were perhaps the best. Between 1929 and the outbreak of war, there was a flowering of photographs that were aware of the orders of modernism and at the same time penetrated the surfaces of the world to make plain the human silences that art and poetry express. In this domain Tim Gidal's photographs excelled and there can be little doubt that his place in the medium's history is secure. Nigel Trow Nachum Ignaz Gidalewitsch (Tim Gidal), photojournalist: born Munich 18 May 1909; married 1944 Sonia Epstein (marriage dissolved 1970; one son), 1980 Pia Lis; died Jerusalem 4 October 1996.   ebay2635

  • Condition: Usado
  • Condition: Excellent condition. Perfectly clean. Tightly bound .( Pls look at scan for accurate AS IS images )
  • Handmade: Yes
  • Country/Region of Manufacture: Germany
  • Religion: Judaism

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