1950 ORIGINAL Lithograph ABRAM GAMES POSTER Israel POST Stamps MAIL BOX Jewish

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1950 ORIGINAL Lithograph ABRAM GAMES POSTER Israel POST Stamps MAIL BOX Jewish:
$195.00

DESCRIPTION : Here for sale is a rareORIGINAL VINTAGE israeli very nice LITHOGRAPHIC POSTER . It was issued in the late 1950\'s or maybe even the early 1960\'sby the Israeli POST AUTHORITIES to advertiseand promotethe PURCHASE of ISRAELI STAMPS inBOOKLETS rather than ONE BY ONE. The POSTER was designed by the acclaimed British graphic designer ABRAM GAMES who is also signed in the plate. . The LITHOGRAPHIC POSTERwhich is written in Hebrew depicts A GRAPHIC DESIGN of widely opened STAMPBOOKLET while one of the sheets is designed as a street RED MAIL BOX with its SLOT . Also depicted is the LOGO of ISRAEL POST. The Hebrew text is \" STAMPSBOOKLET are CONVINIENT For ALL\". A LITHOGRAPHIC PRINTING made by the Governmental Printer at \"LEVIN EPSTEIN LTD. TEL AVIV\" .The DESIGNERA.GAMES signed in the plate. Quite RARE and SOUGHT AFTER .Size around 25.5\" x 18.5\" .Colorful LITHOGRAPH. The condition isgood . No tears. No folds. No creases. Slightly stained on verso-Hardly seen on poster itself. A few small imperfections were professionaly mended and hardly noticed. ( Pls look at scan for accurate AS IS images )Poster will be sent rolled in a special protective rigid sealed tube.

AUTHENTICITY :The POSTERis fullyguaranteed ORIGINAL fromthe late 1950\'s or maybe even the early 1960\'s, It is NOT a reproduction or a recently madereprint or an immitation ,Itholds awith life long GUARANTEE for itsAUTHENTICITY and ORIGINALITY.PAYMENTS : Payment method accepted : Paypal .SHIPPMENT : SHIPP worldwide via registered airmailis $18 .Poster will be sent rolled in a special protective rigid sealed tube. Handling within 3-5 days after payment. Estimated duration 14 Company (Hebrew: דואר ישראל‎, Do\'ar Yisrael), formerly the Israel PostalAuthority, is a government-owned corporation that handles postal services in Israel.The Israel Postal Company has 7,000 employees, among them 1,650 mail deliverystaff and 2,000 postal clerks manning 700 post office branches around thecountry. It has a network of 4,262 mail boxes and 1,000 mail trucks. Some 2.5million postal items are sorted every day. The Israel Postal Company has its roots in thepostal system from the British Mandate period (1920-1948). In 1948, after the establishmentof the State of Israel, the Ministry of Transportation was placed in charge ofpostal services. In 1951, the Ministry of Postal Services was established,which later became the Ministry of Communications. In keeping with the Britishmodel, the service included delivery of letters, parcels, and telegrams, aswell as telephone services. The Israeli Postal Bank opened in 1951. In 1986,the Israel Postal Authority was created. In 2002, in the wake of operatinglosses, political scandals and new developments in the sphere ofcommunications, it was decided that major reforms were needed. A new governmentcompany, the Israel Postal Company Ltd., was founded and went into operation inMarch 2006. Postal services in Israel have historically operated at a loss. In2002, the operating deficit was NIS 150 million; in 2003, it was NIS 200million. Since 2007, the financial situation has improved, and the company isnow making a small profit. On June 2013 the company signed an agreementdeploying the latest version of Escher’s Group Riposte retail software, apeer-to-peer network technology. Israel Philatelic Service In April 1948, theBritish discontinued all postal services. On Friday, May 14, 1948, Israeldeclared independence. On Sunday morning, less than 48 hours later, the newstate issued its first stamps. There was virtually no paper for printing stampsand no appropriate printing presses or perforating machines. Even the name ofthe country had not yet been finalized. Nevertheless, Doar Ivri(\"Hebrew Post\") stamps appeared immediately after the declaration ofindependence, and went on sale at postal branches throughout the country.TheIsrael Philatelic Service is located on HaDoar (\"Post Office\") Streetin Jaffa Abram Games OBE, RDI (29 July 1914, Whitechapel, London – 27 August 1996, London) was a British graphic designer. Early years Born Abraham Gamse in Whitechapel, London on 29 July, the day after World War I began in 1914, he was the son of Joseph Gamse, a Latvian photographer, and Sarah, a seamstress born on the border of Russia and Poland. His father anglicised the family name to Games when Abram was 12.[1] Games left Hackney Downs School at the age of 16 and went to Saint Martin\'s School of Art in London. Disillusioned by the teaching at Saint Martin\'s and worried about the expense of studying there, Games left after two terms. However, while working as a \"studio boy\" in commercial design firm Askew-Young in London 1932–36, he was attending night classes in life drawing. He was fired from this position due to his jumping over four chairs as a prank.[1] In 1934, his entry was second in the Health Council Competition and, in 1935, won a poster competition for the London City Council. 1936–40, he was on his own as a freelance poster artist. Career The style of his work – refined but vigorous compared to the work of contemporaries – has earned him a place in the pantheon of the best of 20th-century graphic designers. In acknowledging his power as a propagandist, he claimed, \"I wind the spring and the public, in looking at the poster, will have that spring released in its mind.\" Because of the length of his career – over six decades – his work is essentially a record of the era\'s social history. Some of Britain\'s most iconic images include those by Games. An example is the \"Join the ATS\" propaganda poster of 1941, nicknamed the \"Blonde Bombshell\" recruitment poster. From 1942, during World War II, Games\'s service as the Official War Artist for posters resulted in 100 or so posters.[2] His work is recognised for its \"striking colour, bold graphic ideas, and beautifully integrated typography\".[3] 1946, he resumed his freelance practice and worked for clients such Shell, Financial Times, Guinness, British Airways, London Transport and El Al. He designed stamps for Britain, Ireland, Israel, Jersey and Portugal.[3] Also, he designed the logo for JFS situated currently in north-west London. There were also book jackets for Penguin Books and logos for the 1951 Festival of Britain (winning the 1948 competition) and the 1965 Queen\'s Award to Industry. Evidence of his pioneering contributions is the first (1953) moving on-screen symbol of BBC Television. He also produced murals. Between 1946 and 1953, Games was a visiting lecturer in graphic design at London\'s Royal College of Art; 1958, was awarded the OBE for services to graphic design; 1959, was appointed a Royal Designer for Industry (RDI).[3] In the 1950s and of Jewish heritage, he was known to have spent some time in Israel where, among other activities, he designed stamps for the Israeli Post Office, including for the 1953 Conquest of the Desert (exhibition)[4] and taught a course in postage-stamp design. He also designed covers for The Jewish Chronicle and prayer book prints for the Reform Synagogues of Great Britain.[5] In 1960 Games designed the poster known as Freedom from Hunger for the Food and Agriculture Organisation of the United Nations.[5] Games was also an industrial designer of sorts. Activities in this discipline included the design of the 1947 Cona vacuum coffee maker (produced from 1949, reworked in 1959 and still in production) and inventions such as a circular vacuum and the early 1960s portable handheld duplicating machine by Gestetner. But the duplicator was not put into production due to the demise of mimeography. In arriving at a poster design, Games would render up to 30 small preliminary sketches and then combine two or three into the final one. In the developmental process, he would work small because, he asserted, if poster designs \"don\'t work an inch high, they will never work.\" He would also call on a large number of photographic images as source material. Purportedly, if a client rejected a proposed design (which seldom occurred), Games would resign and suggest that the client commission someone else. In 2013, the National Army Museum, London, acquired a collection of his posters, each signed by Games and in mint condition.[6] Exhibitions Abram Games, Graphic Designer (1914–1996): Maximum Meaning, Minimum Means, Design Museum, London, 2003 Abram Games, Maximum Meaning, Minimum Means, The Minories, Colchester, 2011 Designing the 20th Century: Life and Work of Abram Games, Jewish Museum London, 2014–2015 Some of the most memorable graphic images of mid-20th century Britain were the work of the designer ABRAM GAMES (1914-1996). As an Official War Artist during World War II, he designed over a hundred posters and later created the symbols of the BBC and the Festival of Britain. For many Britons in the 1950s the image of Britannia festooned with red, white and blue bunting was as – if not more – evocative of the Festival of Britain and its ‘can do’ spirit than any of the marvels of post-war British manufacturing that they had seen when visiting the festival on London’s South Bank. Britannia and her bunting – like the poster of the “blonde bombshell?, an alluringly pretty ATS girl who had urged her compatriots to join up during World War II – was the work of Abram Games. In the austere visual culture of wartime and post-war Britain, his work was unmissable. Bold, vigorous and often gently humorous, Abram Games’ graphic art was the work of a gifted draughtsman with a flair for devising inventive combinations of text and image.Born in Whitechapel in the East End of London on the day World War I began in 1914, Games was the son of Joseph Gamse, a Latvian photographer who later anglicised the family name to Games, and Sarah, a seamstress born on the border of Russia and Poland. Abram, or Abraham as he was originally called, was educated locally but when he left Hackney Downs School at the age of 16 in 1930, his headmaster scoffed at his hopes of becoming an artist and refused to support his application for a scholarship to St Martins School of Art. Games’ parents paid his fees, which they could ill afford. Unable to buy artists’ materials, Games resorted to drawing on the white card of hat boxes. Disillusioned by the teaching at St Martins and worried about the expense of studying there, Games left after two terms. He continued life classes in the evening while working for his father as a photographer’s assistant.In 1932, Games was hired as a studio boy at Askew-Young, a commercial art studio. Never popular with his employers, he was fired in 1936 after being caught jumping over four chairs as a joke. In the same year, Games won £20 as first prize in a poster competition to encourage people to enrol for London County Council evening classes. Bolstered by his success, he embarked on a career as a freelance commercial artist and won poster commissions for London Transport, Shell and the Post Office. While working for Shell, Games befriended its design director Jack Beddington who then championed him during World War II. When the war began, Games signed up as a private but, thanks to Beddington’s support, he was released from the ranks - first to become designated draughtsman and, from 1942, an Official War Artist. During the war, Games designed more than one hundred posters in which he not only refined his draughtsmanship but experimented with unusual juxtapositions of illustration and typography. He strove to ensure that his wartime posters – urging Britons to do everything from joining the army to growing their own vegetables – were as striking and seductive as the best commercial art. Sometimes Games’ work was deemed too seductive, notably the glamorous ATS girl dubbed the “Blonde Bombshell? which was criticised by the House of Commons for being too glamorous. Games favoured stark, simple and, therefore, all the more arresting images produced by sticking to his philosophy of deriving “maximum meaning? from \" minimum means?. One of his personal favourites was a 1942 ‘Your Talk May Kill Your Comrades’ poster produced for the Careless Talk campaign. A spiralling form radiates from a soldier’s mouth then becomes a blood-red bayonet spearing three corpses in a brutal metaphor for the danger of careless talk. Having made his name as a leading poster artist during the war, Games sought to revive his freelance career in peacetime. In 1945 he married Marianne Salfeld, the daughter of German emigrés who, like his family, were orthodox jews. Strapped for cash, the couple lived with Marianne’s father in Surbiton, Surrey, while Games rebuilt his business. He soon secured several important projects notably the commemorative stamps for the 1948 Olympic Games (earning himself the nickname ‘Olympic Games’) and the 1948 competition to create the symbol of the Festival of Britain, which became one of the most popular images of post-war Britain.In 1948 Games and Marianne moved to the house in north London, where they brought up their three children, and lived for the rest of their lives. There was a studio in the house, where Games worked on the Festival of Britain commission. He claimed that the famous red and white bunting was inspired by watching Marianne pegging the washing on to a line in the garden after the Festival Committee had asked for his original version of the logo to be made more festive. He was given other prestigious projects such as designing the symbol of the Queen’s Award for Industry and an on-screen identity for the BBC which was among the first animated identities. Yet his passion was still for posters and Games continued to devise arresting advertisements for clients including the Financial Times, British European Airways, Guinness and the Royal Shakespeare Company. He won a string of awards for his work for the island of Jersey which had commissioned him requesting a poster of a “girl in a bikini?, but never got one. He also addressed humanitarian issues, notably in his work for the United Nations’ Freedom From Hunger campaign. Games always began the development of each poster with a tiny sketch and once observed: “I never work large because…. posters seen from a distance are small. If ideas do not work when they are an inch high, they are never going to work.? Having long enjoyed tinkering with household appliances, Games taught himself how to mould and cast metal in order to invent new ones. When Games observed to a director of the Cona Coffee Company that, although Marianne’s Cona coffee maker made delicious coffee, it was too cumbersome to be used efficiently, he was challenged to improve it. Games experimented with scrap aluminium, as it was in plentiful supply from disused airplanes after the war, and devised an elegantly rounded Cona Coffee Machine which is still in production today. Other Games inventions included a circular vacuum cleaner and a portable hand-held duplicating machine. Although Abram Games’ career coincided with the demise of his original trade as a graphic artist, as the promotional power of posters diminished in the face of television and colour supplements, he remained productive. When he died in 1996, the illustrator David Gentleman wrote that: “All Abram Games’ designs were recognisably his own. They had vigour, imagination, passion and individuality… And he was lucky – and clever – in contriving, over a long and creative working life, to keep on doing what he did best.?