IDA – Page 9 – Index of Names & Places

About the synagogue and sanctuary

Posted on January 22, 2021 | by IDA

The Brotherhood Synagogue in Gramercy Park NYC is an independent, progressive community which follows the Conservative tradition. Built in 1859, the building was landmarked in 1965. It was originally designed as a Quaker Meeting House and served the 20th Street Friends for nearly 100 years. In 1958, the 20th Street Meeting merged with the 1860 Friends Meeting House, which still stands at 15th Street and Stuyvesant Square. When the Brotherhood Synagogue purchased the Landmark building in 1974, renowned architect James Stewart Polshek offered his design services pro bono in order to renovate and reconstruct the building as a synagogue. In 1994 members of the Brotherhood Synagogue approached Ismar David about renovating the Sanctuary.

The original renovation involved ramps leading to the bimah, the holy ark and an upper level above the canopy. Unfortunately, during a subsequent renovation, much of Ismar David’s design was removed for safekeeping and inadvertently destroyed.

From a suggestion for a press release to architectural organizations’ publications in 1994:

The new altar incorporates the existing elements of the meeting house which includes a sounding board (a curved canopy over the podium platform which the Quakers used to enhance the acoustics in the auditorium). The lean lines of the new ark harmonize with the simple aesthetics of the Quakers. Within this architectural austerity, the clearly defined surfaces of the ark have graphic themes which tell a story of Judaic history. The motifs include the ten commandments, the twelve tribes of Israel and bilingual inscriptions of an ancient Hebrew blessing. Wood marquetry was chosen to integrate the graphics into the wood surfaces. New laser techniques make it possible to render the intricate linear compositions in wood veneers over large areas.

The ark is part of an altar which is integrated into the sanctuary. The 25-foot tall altar dominates the architectural space and is a focal point for both the sanctuary’s main level and its gallery. All aspects of this historic building have been retained and yet it has been given the character of a Jewish house of worship in the twentieth century.

This project with all its decorative elements was designed by Ismar David of New York, NY. He is known for his type designs, book illustrations, books on English and Hebrew calligraphy and is the architectural designer for Pinelawn Memorial Park in Farmingdale, NY. Carpentry and cabinet work were done by Leo Hamel and Cory Inco Williamson of Timeless Wood Design in Ossining, NY. The wood marquetry was executed by Creative Designs, also in Ossining, NY.

In 1976, Ismar David designed a silk screen poster to benefit a fund-raising art exhibition at the synagogue.

Brotherhood Synagogue flyer — A flyer from the Brotherhood Synagogue, offering a silk screen poster.

Pen and quill maker

Posted on January 22, 2021 | by IDA

Norm Brown, maker of customized pens and quills in Livermore, California.

Pens and quills by Norm Brown — Letter with pens and quills made by Norm Brown.

Livermore, Ca. 94550

Dear Ismar,

The enclosed little gift is a token of appreciation for the way you have shared your art and talents with us. The pen holder handles are from the root of the myrtle which grows both on our coast and in Palestine. The offset holder is skewed so you can bring the nib tip on to the handle axis. A low angle gives broader down strokes than a high and the nib can be rotated to accommodate this. I have not written with this set of quills so they may be burred. A swipe or two on #6oo Emery or Crocus should clear that and dental floss will clear a clogged slit. I suspect such molded quills were used for rotunda.

Sincerely,
Norm Brown
(Fountain Pen & 40001 & Gum Arabic)

Norm Brown quill pens — Quill pens made by Norm Brown.

Israel Exposition

Posted on January 22, 2021 | by IDA

Israel Exposition, in New York from July 17, 1952, in Miami from December 1952–March 1953, traveling also to Boston, Chicago, Philadelphia, Washington, Detroit, Pittsburgh, Los Angeles, San Francisco.

Israel Exposition, New York — Photo of the Israel Exposition in New York, from a promotional booklet, 1952.

In the aftermath of the 1948 Arab–Israeli War, Israel faced financial devastation. The local population had few resources and suffered food shortages and rationing. In addition, the state had to accommodate the arrival of hundreds of thousands of immigrants from post World War II Europe and the Middle East. Prime Minister David Ben-Gurion issued the Bonds for Israel in order to raise funds for immigrant absorption and the construction of national infrastructure, as well as to engage diaspora Jewry as active partners in building the state. American Jewish leaders supported the plan and in the spring of 1951, the Prime Minister traveled to New York City to help launch the inaugural Independence Issue. Expectations for first-year sales were $25 million. However, the results more than doubled projections.

Ismar David arrived in New York on April 2, 1952 to design and install two exhibitions in support of a massive bond drive. He stayed for close to a year.

Over a period of five weeks, El Al flew two hundred crates of Israel products and other samples to New York, including “every-day Israel consumer commodities: dental creams and powders, shaving cream, soaps, canned juices and foodstuffs, clothing or men, women and children, newspapers, books and recordings, hand showers and bathtubs, pharmaceuticals, wines, candy.” ¹ A Kaiser Frazer automobile was on display, as well as, tires made by the General Tire and Alliance Tire and Rubber Company and fertilizers from a huge chemical plant in Haifa. Samples of newly discovered mineral deposits (copper, kaolin, glass sand) deposits in the Maktesh Gadol, a large crater in the Negev, were another highlight. David himself found the 9,000 sq. ft space at 22 West 48th Street at Rockefeller Center that would house the exhibition which publicity touted as the first since Israel had become a state. The wife of New York City mayor Vincent R. Impellitteri cut the ribbon on opening day, July 17, 1952. A message from Israeli Ambassador Abba Eban was shared with the crowd. When Israeli Deputy Premier, Eliezer Kaplan, a signatory of the Israeli Declaration of Independence and an initiator of the State of Israel Bonds, died the Sunday before the opening, Abba Eban flew in to dedicate the exposition to him.

The New York exposition was to run for two months. Several of David’s clients were among the exhibits: Charlotte Shop, Nesher, Flachs & company, S.Friedman, Ltd., Jerusalem Shoe Corporation, Kaiser Frazer and Teva Pharmaceuticals. The press noted:

Ismar David, prominent Israel designer and artist, who helped set up the Palestine Pavilion at the New York World’s Fair in 1939, was brought here by the Israel Bond drive to supervise establishment of the Exposition” ²

The Miami exposition on 1604 Washington Avenue ran from December 28, 1952 until March 5, 1953. The wife of Joseph Cherner, chairman of the Israel Exposition Committee, cut the ribbon stretched across its entryway before an estimated crowd of 3,500 on opening day. As she had for the exposition in New York, Helen Rossi had assisted by tracking down products to exhibit. In the draft of an undated letter, David wrote to Rossi:

And also want to tell you how I have appreciated your work collecting all those item[s] for the two exhibitions of Israel[i] products for the Bonds for Israel. Without your effort both exhibitions would never have materialize[d]. I can imagine how you went from place to place until you got finally everything together.
Both exhibitions have been a success. The second one which has its first showing in Miami is much nicer than the first one. Partly because the exhibits you collected are nicer and partly because mistakes I did the first time I didn’t repeat the second time. On the contrary I was able to use the experience of the first and improve the design. I have not been able to persuade Mr. Steinglass to have photos made and sent to Israel. I myself have not a single one. The manager of the exhibition in Miami through whom I hoped to get at least some photos on my expense has in the meantime be[en] recalled and so I have no way to get any.³

Palestine Pavilion in Brussels, 1935

Posted on January 19, 2021 | by IDA

The Exposition Universelle de Bruxelles 1935 was the first world expo organized under the aegis of the Bureau Intenational des Expositions. The fair bore the twin themes of transportation and colonialism and transformed 300 acres of land on the Heysel Plateau, providing several permanent civic buildings and a considerable economic boost to Brussels at the height of the Depression. By the time the fair closed on November 3, 1945, 20 million visitors had attended.

Belgian architects, F. Blockx et de Lange, designed the building for the Palestine Pavilion, called “Israel in Palestine,” in a quasi-levantine style. Aryeh Elhanani designed the interior, which he divided into three halls: one lined with frescoes of his own design, illustrating Biblical quotes and scenes ranging from the time of Abraham, through the Babylonian exile and the Middle Ages and up to modern times; one, a gallery with photographs, portraying the work and lives of people across the land, and the main hall, concerning the work of the Jewish National Fund and allied organizations, the Palestine Land Development Company and the Keren Hayesod.¹ Cairos’s Aurore noted:

The National Funds will exhibit a series of large diagrams, drawn by the young painter Ismar David, showing the activity and development of the Funds, the growing movement of immigration as well as the development of Jewish agriculture.²

Mayor of Brussels Adophe Max spoke at the opening of the pavilion on June 27, 1935. A hero of Belgian resistance to German occupation during World War I and a supporter of universal and women’s suffrage, he declared Belgian support for Israel:

Few openings seem to us as eloquent as this one of the Pavilion of Israel. Israel in Palestine, it is the realization of a long-cherished dream, the return of a people to the home of their ancestors from which they have been exiled for centuries. Perhaps no one can understand this joy that follows misfortune better than we do. We, too, have seen our villages sacked, our houses of religion desecrated, our people fleeing on the paths of exile, like long ago in Jerusalem.

In its long history, Belgium has suffered too much from religious wars not to have learned great tolerance. It prides itself on its liberal traditions in both business and ideas. It is ready to pursue economic relations with Palestine, the development of which can only have positive effects. As part of this Universal Exhibition, [Belgium] welcomes a participation that it interprets as a pledge of friendship and trust. It is proud to see one more flag fluttering in the bouquet that already brings together the colors of so many other nations.³

Letters from J. B.

Posted on January 15, 2021 | by IDA

In late 1956, prompted by seeing Johannes Boehland’s work in the German publication, Archiv & Druck, Ismar David wrote to his former teacher in Berlin. The two men struck up a brief, enthusiastic correspondence. A planned trip to Europe did not materialize for the Davids until 1959, when it is doubtful that they visited Berlin. We don’t know if the two men ever enjoyed their hoped-for reunion.

Ismar David papers, folder Letters in German, Cary Graphic Arts Collection, RIT.

Berlin-Steglitz Dietrich-Schäfer Weg 36 d. September 20, 1956

Sehr geehrter Herr David!

Ihre freundlichen Zeilen aus New York & Ihre guten Arbeiten – auch ganz besonders m[einer]. M[einung]. nach Ihr schönes typographisches Werk haben mich ganz besonders erfreut. Ich erinnere mich Ihrer gut & es hat mich sehr interessiert von Ihrem Lebensweg & von Ihrem Beruf einiges erfahren zu können. Es ist sehr schön, wenn eine Begegnung wie die unsere auch über eine so lange Zeit hinaus bestehen bleibt. Und ich bin Ihnen dafür sehr dankbar, daß Sie mir geschrieben haben. Es freut mich sehr, daß Sie das „Archiv für Druck & Papier“ bekommen haben & dieses somit zu einer Brücke für uns wurde Ich habe Herrn Oettl, dem Herausgeber, den Vorschlag gemacht, einmal von ehemaligen Schülern & von deren Arbeiten eine Veröffentlichung herauszubringen Ich habe ihm Ihre Arbeiten gezeigt, er war sehr beeindruckt & er wird meinem Vorschlag entsprechend diese Veröffentlichung herausbringen. So wäre es schön, wenn Sie vielleicht noch einige Beispiele mehr dazugeben würden. Ob uns der Weg noch einmal zusammenführen wird? Daß ich vorübergehend mal nach USA komme – ich wünsche es mir wohl – ist unwahrscheinlich. Hoffentlich kommen Sie einmal zu einem Besuch her? Sei es wie es sei – ich wünsche Ihnen alles, alles Gute für ihr Leben & für Ihr Schaffen & ich grüß Sie herzlich

[??] Ihr
Johannes Boehland

Ich konnte Ihnen erst jetzt antworten, weil ich mit meiner Frau, Ruth & Stephan & mit meinen Schüler u. Schülerinnen 14 Tage in Italien auf einer sehr schönen & produktiven Studienfahrt war.
J.B.

Berlin-Steglitz Dietrich-Schäfer Weg 36 dated September 20, 1956

Dear Mr. David!

Your friendly lines from New York & your good work—and especially in my opinion your beautiful typographic work have especially pleased me. I remember you well & it interested me very much to be able to learn about your life’s path & your profession. It’s very beautiful if an encounter, like ours too, persists after so long a time and I am very grateful to you, that you’ve written to me. It makes me very happy that you received “Archive für Druck & Papier” and that this became a bridge for us. I suggested to Mr. Oettl, the publisher, that he someday publish a showing of former students & their work. I showed him your work and he was very impressed & he will publish a showing as I suggested. So it would be nice if you perhaps give a few more examples. Whether our paths will cross again? That I could come to the USA for a while—I’d like to very much, but it’s unlikely. Hopefully, you will come here someday? However it may be—I wish you everything, everything good in your life & in what you do & I send you warm regards

[??] Your
Johannes Boehland

I could only now answer you, because I was in Italy for 14 days with my wife, Ruth and Stephan and with my students [male and female] for a beautiful and productive study trip.
J.B.

Ismar David papers, folder Letters in German, Cary Graphic Arts Collection, RIT.

Lieber Herr David!

Ihnen & Ihrer lieben Gattin danke ich herzlich für Ihre Glückwunschkarte zu Weihnachten & zum neuen Jahr!–die ich als gute Wünsche für Sie Beide für 1957 herzlich erwidere.

Nun habe ich eine Bitte: ich habe Herrn Oettl, dem Verleger & Herausgeber der schönen Zeitschrift „Archiv für Druck & Papier“, vorgeschlagen, daß einige sehr gute ehemalige meiner Schüler & Schülerinnen in dieser Zeitschrift mit ihren Arbeiten & auch mit eigenem Text, Gedanken zu ihrer Arbeit–auch evtl (eventuell) unter Bezugnahme auf meinen Unterricht publiziert werden moegen. So bitte ich Sie heute, lieber Herr David, zu Ihren schönen Buchumschlägen & zu dem sehr guten typograph. Blatt, die Sie mir Z. H. (zu Händen) schicken, evtl noch weitere ihrer Arbeiten dazu senden zu wollen. Auf unserer große Schrift-Ausstellung in Berlin hatte ich Ihre Schutzumschläge ausgestellt.

Also sein Sie so gut & schicken Sie mir bald Ihre Arbeit

Mit allen guten Wünschen
Ihr
Johannes Boehland

Berlin-Steglitz Dietrich-Schäfer Weg 36 d. 6.1.57

Dear Mr. David!

I sincerely thank you & your wife for your best wishes card for Christmas & the New Year!–which I warmly reciprocate with good wishes for you both in 1957.

Now I have a request: I have suggested to Mr. Oettl, the publisher & editor of the fine journal “Archiv für Druck & Papier,” that a few of my very good former students [male and female] would like to be published in this journal with their works & also with their own text, [expressing] their thoughts about their work—also perhaps with reference to my teaching. So I ask you, dear Mr. David, if you, in addition to your beautiful book jackets & very good typographic page, that you sent to my attention, perhaps want to send even more of you work. I wish I could have shown your dust jackets in our large lettering exhibition in Berlin.

Thus be so good as to send me your work soon

With all good wishes,
Your
Johannes Boehland

Berlin-Steglitz Dietrich-Schäfer Weg 36, dated February 6, 1957

Ismar David papers, folder Letters in German, Cary Graphic Arts Collection, RIT.

Berlin-Steglitz Dietrich-Schäfer Weg 36 d. 23.2.57

Lieber Herr David!

Verzeihen Sie bitte, wenn ich Ihnen erst heute herzlich für Ihre freundlichen Zeilen & für die Übersendung Ihrer sehr schönen Arbeiten danke! Ich habe mich sogleich mit dem Herausgeber der Zeitschrift „Archiv für Druck und Papier“—mit Herrn Franz Xaver Oettl, Berlin-Marienfelde, Kiepert. Nr. 19 in Verbindung gesetzt & ihm Ihre Arbeiten gezeigt– auch er ist sehr davon angetan. In einem der nächsten Hefte des „Archiv“ werden Ihre so guten Arbeiten—auch mit Ihren Gedanken, die Sie schriftlich äusserten—im Rahmen einer Veröffentlichung von frühern Studierenden, die auch bei mir gearbeitet haben,—erscheinen. Ich verstehe das, was Sie zu Ihre Arbeit schreiben, sehr gut. Auch ich bejahe: zunächst? die Schrift in ihrer Entwicklung kennen zu lernen und daher Kenntnis in sich aufzunehmen; dann aber natürlich – darauf aufbauen mit unserem Gestaltungswillen—die Schriftformen, durchdringen im neu entstandene Schriftformen sollten das Spiegelbild unser eigenen Schriften und unserer Zeit sein & den Puls unserer Zeit spürbar machen.“

Wie gesagt—Ihre Formulierung ist ausgezeichnet & sie erscheint mir wirklich druckreif.—

Heute will ich Ihnen– diese wenigen Zeilen nur—in Eile übersenden damit Sie endlich ein Zeichen von mir bekommen, daß ich sehr glücklich über Ihren Brief & Ihre Arbeiten bin—nochmals Vielen Dank! Auch ich würde mich sehr freuen, wenn wir uns während Ihres Deutschland-Besuches sehen könnten. An unserer Meisterschule sind Ferien August & September—vielleicht können wir—meine Frau & ich—Sie & Ihre Gattin bis Ende Juli sehen & sprechen; es kann sein, daß ich mit meiner Frau & unseren beiden Kindern—Ruth & Stephan—im August verreise—

Mit vielen herzlichen Grüßen an Sie & Ihre
liebe Frau, ??? ???,
bin ich
Ihr
Johannes Boehland

Ich konnte Ihnen erst jetzt antworten, weil ich mit meiner Frau, Ruth & Stephan & mit meinen Schüler u. Schülerinnen 14 Tage in Italien auf einer sehr schönen & produktiven Studienfahrt war.
J.B.

Berlin-Steglitz Dietrich-Schäfer Weg 36 dated February 23, 1957

Dear Mr. David!

Please forgive me, that I only just today [get to] thank you very much for your friendly lines & for sending over your especially beautiful work! I’ve just now been in contact with the editor of the journal “Archiv für Druck & Papier”—with Mr. Franz Zaver Oerrl, Berlin-Marienfelde, Kiepert. Nr. 19 & showed him your work—he is also especially taken with it. Your very good work will appear in one of the next issues of the “Archiv,”—also with your thoughts that you expressed in writing—within the framework of a showing of other people who have also studied with me. I understand very well what you wrote about your work. I also affirm: [that we should] initially learn the development of the writing; but then, of course,—build on it with our creative drive—we should imbue the newly created letterforms should the mirror of our own writing and our time and make the pulse of our time palpable.”

As I said—your formulation is excellent & it seems to me really ready to print.—

Today I want to hurriedly send you—these few lines only—so that you finally get a sign form me, that I am very happy about your letter & your work—once again, many thanks!
It would also please me very much if we could see each other during your visit to Germany. Holidays at our master school are in August & September—perhaps we could—my wife and I—see and talk to you & your wife. It may be that I, with my wife & two children—Ruth and Stephen—will be away in August—

With very best regards to you & your dear wife, ??? ???
I am
Your
Johannes Boehland

Remembering Uncle I.

Posted on January 15, 2021 | by IDA

By the time Ismar Freund died, his nephew had been living in New York for three years. In a draft of a letter from Ismar David to his aunt and cousins, he expressed his gratitude and affection.

Letter about Ismar Freund — Draft letter from Ismar David on the death of his uncle, Ismar Freund. Ismar David papers, folder Letters in German, Cary Graphic Arts Collection, RIT.

While I write to you, I feel so near to you, that I have to share with you memories, in which Uncle I., a personality that was great, strong and rare [and will] live on.

Dear Aunt Liese, dear Peter, dear Paul,

A short while ago, I received the sad news from my mother that Uncle I. had passed away. Even though writing is my weak point, it is the only way I can express my sympathy. Even though our bond has surely loosened in later years, I haven’t forgotten the time I spent in your house and the time when we were so close to each other. I’ve never really expressed my feelings of gratitude. You all gave me the warmth of family life and taught me [so much]. I can still see Sabbath afternoons [in my mind’s eye], and I hear Uncle I. reading from the Bible. The [memories of the] musical evenings with the various (then young) musicians singing and playing the piano and the applause of the throng of listeners emerge from the past. I remember the advertisements for the election to the national associations and, in all the facets of this time, I can see Uncle Ismar as the head of the family and the organizer in Jewish community entities. I have never been able to express my thanks for all that I received from you in this time, which has become a foundation for my later life. Words of thanks seem so poor compared to that, for which they have been expressed.

So please take this letter as a sign of my sympathy. Forgive [me] that I haven’t written to you earlier. And I send my most heartfelt greetings.

About Bert Clarke and David Way

Posted on January 8, 2021 | by IDA

Clarke & Way, the fine art printing firm of David Jacques Way, 1918–1994, and Bertram L. Clarke, 1910–1994.

Bert Clarke from Richmond, Virginia and David Way from Elk Creek, Nebraska had each been production managers at the Limited Editions Club in the late forties, but not at the same time. They started working together in 1949, when Bruce Rogers recommended them to Helen Clay Frick to help complete the 12-volume catalogue of her father’s collection, begun under Porter Garnett in 1928. By 1953 they could see the end of the project approaching and with Miss Frick’s permission, they looked for a print shop of their own. They bought Louis F. White’s shop on 13th Street between Fifth and Sixth Avenues in Manhattan and Clarke & Way was born. They produced beautiful books and catalogues together for such clients as H. P. Kraus, the Morgan Library, the Grolier Club and their old boss, the Limited Editions Club. They won many awards from the AIGA. After the business dissolved in 1970, Clarke worked for A. Colish, Inc. as director of typography and designer for many years; Way purchased Zuckermann Harpsichords and designed and made harpsichords and pianofortes, used all over the world. The two men died within days of each other in 1994.¹

Clarke & Way operated under several pseudonyms, among them Thistle Press, which printed Ismar David’s Genesis page for Liber Librorum and Ecclesiastes for The Limited Editions Club.

Jimmy O'Hagan, Bert Clarke, Jerry Kelly — Three sober printers: (l. to r.) Jimmy O’Hagan, Bert Clarke and Jerry Kelly at a holiday party at A. Colish, Inc. Photo courtesy of Jerry Kelly.

About Dorothy David

Posted on January 3, 2021 | by IDA

Dorothy Hoffman David, 1906–1986.

Dorothy Hoffman was born in Brooklyn on November 14, 1906. Both of her parents had been born in Russia and Dorothy had two older siblings. She married Ismar David on October 17, 1962.

Dorothy and Ismar David at an exhibition

Dorothy David in her husband's Studio, 1975

A Massachusetts Vacation Spot

Posted on January 2, 2021 | by IDA

An hour from Boston, Rockport remains a summer vacation spot, most often described as historic, scenic and an artists’ colony. Ismar David vacationed there repeatedly over the course of at least thirty years, often staying with the John Masons. On these trips, he would take time to visit the surrounding area and his friend Rollo Silver in Boston. In the early years, he painted watercolors.

Street in or near Rockport, Massachusetts

About Ilya Schor

Posted on December 17, 2020 | by IDA

Ilya Schor, 1904–1961, painter, engraver, sculptor, metalsmith.

Ilya Schor revisited and celebrated his Hasidic roots in much of his work. Born in Galicia, the son of a folk artist and sign painter, he apprenticed as a silversmith and engraver. He studied painting at the University of Warsaw. Schor and his wife, artist Resia Ainstein, gained visas to the United States in late 1941. For the next two decades he continued to work in a variety of media, creating illustrations, paintings, jewelry and works for synagogues.

Greeting from Ilya Schor — A holiday greeting from Ilya Schor and family. The print is one of twelve illustrations for *The Sabbath* by Abraham Heschel.