Shana Tova Jewish New Year Cards and Other Jewish Holiday Cards
Shana Tova Jewish New Year Cards and Other Jewish Holiday Cards
Most of these wonderful old cards are from the Hebrew Publishing Company from the early 1900’s. They are all die cut prize Lithos some are Embossment and others are pop ups . They are truly works of art. Shanna Tova Jewish Die Cut 1909 Zion Flag
I’m honored that the work “There’s No Place To Hide”, by my spouse Andrew Reach, is on the cover of the 2016 fall issue of the CAN Journal. It’s a detail of the larger work. It ties into an article about University Hospitals Art Collection and Trudy Weisenberger, a co-recipient with Joanne Cohen of the 2010 Cleveland Arts Prize for her work at UH. Weisenberger started the collection in 1987 and nurtured it until her retirement in 2011. Tom Huck took over the reigns and is continuing to enhance and expand the collection. Tom Huck chose this work to be in the Angie Fowler Adolescent & Young Adult Cancer Institute at UH Rainbow Babies and Children’s Hospital. Special Thanks to the Michael Gill, executive editor, writer and editor of the journal and also Brittany Hudak and Joanne for the cover design. The installation of this work was featured in CODA Magazine – Healing Art II issue, an online magazine of CODAworx.com, a portal for the collaboration of design and art featuring public art installations. Click here to read more and see the installation.
Below are photos from the Fall Issue Launch Party at Canopy-Collective
from left: William E. Forester and myself (Bruce Baumwoll)
William Forester is an inspiration. He overcame a stroke that left him paralyzed and unable to speak and like me has become an artist. Click here to read article on Cleveland.com
Lori Corso Forester & William E. Forester
Artist Nico Pico Train
Erika Durham, owner of Canopy-Collective
Installation of “There’s No Place To Hide” at Angie Fowler Adolescent & Young Adult Cancer Institute at UH Rainbow Babies and Children’s Hospital. Click here to read more about the installation
My partner Andrew submitted his art in a competition, 5th round of ArtSlant’s Showcase Series. He was a winner in the abstract category. I’m very proud of him.Winners in a showcase advance to a final round of judging for a chance to win the ArtSlant Prize. Below is a screenshot of Artslant.com homepage. Andrew’s art is featured under the ArtSlant Prize Showcase Series on a rotating basis with the other winners of the showcase.
ArtSlant.com Homepage Screenshot, June 25, 2016
UPDATE (9/9/2016): Since this was first posted, I can now say that Professor Heshel Teitlebaum, University of Ottawa, has confirmed that my family is now part of his research to be published in the near future. I look forward to all the discoveries that he and his team will publish. I have been sworned to secrecy until then. I feel so honored that my family will be remembered. Stay tuned.
Through research, I found the paper titled “A Genealogical History of the Jews of Pinczow (Poland) in the 18th & 19th Centuries” by Heshel Teitelbaum of the University of Ottawa. IIJG Announces Grant Awards
The International Institute for Jewish Genealogy in Jerusalem has announced that three of the proposals submitted to it have received awards. They include:
• “A Genealogical History of the Jews of Pinczow (Poland) in the 18th and 19th Centuries” awarded to Prof. Heshel Teitelbaum of Ottawa, Canada, for a study. Teitelbaum’s research presents a novel approach to creating extended family trees for the Jewish residents of an entire Polish town. Second, the process necessarily generates surnames for Jews otherwise known only by their patronyms. Third, this proposal introduces, for the first time, the concept of synthesizing group-trees for each of several classes (political leaders, rabbis and teachers, tradesmen, craftsmen, merchants etc.) and for examining the possibility of social mobility between these classes. Finally, the author will, for the first time, analyze the history of the scholarly class in Pinczow on a large scale and identify hitherto unknown family links between various rabbinic dynasties.
I am so honored that he has begun to help me find the lost parts of my family and my soul. Before 1821, the jews of Pinczow didn’t have surnames I beleive jews everywhere.. This was called the Patronomic Era. This system of surnames uses the name of a person’s father as that person’s surname. He is using a new methodology through research of each family to assign them surnames so that the data can complete each families tree. We are now back before last names. The year is 1765. I am so taken back at how things keep turning up. They want to be found. The Pressmans , Hakohens , Fogels , Baumwols,
Mr. Teitelbaum has been able to connect me with my second great cousin, My great great Aunt who was the sister of my great great grandfather, Sura Jenta baumwoll born 1847.
We only now must find the family going back. He feels that they were their. Now the fun begins.
Other photographs have been collected by Bruce Baumwoll from the internet.
I have been sharing my research and have been working with Witold Wrzosinski with the Foundation For Documentation of Jewish Cemeteries in Poland. The following is an excerpt from an email from Witold to me:
You have found the grave of Yochanan HaCohen Fogel, father-in-law of Hersz Wolf Baumwoll and great-grandfather of Nathan Baumwoll. He came from Pinczow and was a Cohen. I would like you to see if we can find any of them or any about them.
My family lived their. Many never left until they were marched to death. I am searching for them now.
The following is from World Monuments Fund about the Pińczów Synagogue in Poland:
Pińczów Synagogue, built at the turn of the 17th century, is the last surviving Jewish monument in the city of Pińczów, once a thriving economic and cultural Jewish center. The synagogue is unusual both for its age as well as its adaptation of a Renaissance architectural style. Inside, large sections of polychromic patterning, attributed to the Jewish painter Jehuda Leib, decorate the synagogue’s main prayer hall and porch. Interior murals, some of which date from the 1600s, are the oldest synagogue fresco paintings in the country. The town of Pińczów, which, for centuries, had benefited from its reputation for ethnic and religious diversity, was largely destroyed by German troops in the fall of 1939. The vast majority of the town’s Jewish population was later killed, many sent to Auschwitz, and much of the community’s cultural heritage destroyed. The synagogue itself was vandalized by Nazi occupation troops, and then damaged in fighting during the final year of the war.
When WMF began work at Pińczów in the spring of 2005, the building showed the affects of years of neglect and defacement. Our conservation efforts focused specifically on the women’s gallery and the kahal room, used for meetings of elders, which house some of the synagogue’s finest wall paintings and which had suffered from years of deterioration. A team of conservationists worked to desalinize and restore wall paintings, remove and replace crumbling plaster sections and joints, and clean the exposed wall underneath. The team also replaced damaged window frames and stone elements, and repaired several of the building’s walls. WMF’s project was completed in 2005. Some of the inscriptions and scrolls found during our work there have supplied valuable new research material for academics studying Jewish history in Poland.
Pińczów Synagogue is an emblem of local history, prosperity and the tragic results of the Holocaust. WMF’s conservation efforts at the synagogue highlight the artistic and cultural triumphs of the Jewish community from the 16th to the early 20th century and also acknowledge the neglect of the site due to the loss of the Jewish community in the aftermath of World War II.. Our work also recognizes the significance of the site to a global audience, as both a historical and artistic monument; our efforts to preserve the synagogue’s wall paintings and interior decorations will ensure the site remains in good condition, enduring even as the Jewish community that once surrounded it has largely disappeared.
The Following is an excerpt from Wikipedia about Pińczów Poland and the fate of the Jews and my family during WWII:
Pińczów was destroyed by Germans in September 1939 (see Polish Defensive War), and almost all Jews, who had accounted for about 70% of the town’s population, were killed or sent to extermination camps. Most Pińczów’s Jews were murdered in the death camp Treblinka. The Jewish cemetery was also destroyed. Some Jews of Pińczów survived the Holocaust by hiding in nearby forests. Some, though not many, were hidden by Polish farmers until the end of the war. The Republic of Pińczów was a short-lived Polish uprising, which took place in July – August 1944. Units of the Home Army and other underground organizations managed to push Germans from the area of app. 1000 km2., which stretched from Pińczów to Działoszyce, and from Nowy Korczyn to Nowe Brzesko. The resistance was very active here, there were two attacks on a local Gestapo prison, in which hundreds of Poles were freed.
It is one of the oldest synagogues in Poland, built in 1594-1609. The designer was probably the Florentian Santi Gucci. During World War II it was vandalized by the Nazi Germans, then damaged during fighting in 1944, and it is inactive since then. From the 1970s it has been restored.
Other photographs have been collected by Bruce Baumwoll from the internet.
Penczow Cemtery Before 1939
Other photographs have been collected by Bruce Baumwoll from the internet.
Joseph Campbell was a friend of mine. I came to know him when I was a waiter at McBells, an Irish pub on Sixth Avenue at Washington Place in Greenwich Village, NYC. He came in all the time for lunch. Any one that knew McBells knew it as a small place filled with its own crowd. Many of the famous, near famous, and some of the greatest writers came there to eat and be left alone. But they also loved the owner Francis Campbell. He was a one of a kind.
I got to know many great people who came there. Some became my friends and others became teachers to me. Joseph Campbell was a friend and a teacher.
In the three and half years that I worked there, I waited on him many times. His regular lunch, which he loved, was a bacon cheeseburger—medium rare—french fries, and a Molson’s ale. He loved to watch all that was happening in the place and all the talk from table to table. I have always been the kind of person that if I had something to say or a question, why not ask. One may never get the chance to ask it again.
I was delighted recently when I spoke with Bob Walter—Joseph’s longtime editor, frequent lunch companion at McBell’s, and President of the Joseph Campbell Foundation (jcf.org)—who recalled Joseph pointing me out and remarking, “That’s the young chap who’s always asking me questions—good questions, which I appreciate.” Bob also shared with me that Joseph recommended for Bruce to read Mans Search for Meaning by Victor Frankl.
To say that there never was another Jewish person that worked there, I cannot be sure. I’m pretty sure I was it. So I really was a Bagel in a place full of Shepard’s Pies. Somehow I brought something to the place that was different and many people enjoyed me.
Our friendship began slowly and it grew to a place where he was giving me books to read. We would then talk about them when he came in to eat. It was the early 1980s, when Bill Moyers first interviewed Joseph for two segments of his PBS series, Bill Moyers Journals. I watched those interviews each week and was then able to ask Joseph questions about what had been discussed on the show. It was a wonderful time in my life. Nothing is greater to me then hearing people who know something, talk about life, teaching others what they have learned, asking others to open their minds and look at the world in a new light. Joseph was that kind of teacher to me.
On one day he asked me how do I see the universe. He said there are two camps. One side feels that energy is only for the living. And others feel that every single thing has the same energy. I have always felt that we all are one and come from the same atom. Everything is alive . A rock is no different the tree or us. He laughed and said . He too believes that life is in everything. So many lessons I was given by this great man.
We had been talking for awhile on many subjects . If I brought the question, he would help me find the answer. The best part was when he would tell me that I needed to read a certain book. During lunch times, he saw that I held my own. I could often be teased for I was somehow different and stood out from others; just being myself, meaning I was, and still am, a very organic person. What you see is what there is. One day, while he was eating, we were talking in between my waiting on the other tables. He said he was thinking about me and wanted me to read a certain book, Man’s Search for Meaning by Viktor Frankl.
Mans Search for Meaning by Victor Frankl
Since I did not know what the book was about, I asked him. He told me it was about a man and his experience in the concentration camps. I got very uptight and he asked me what was wrong. I told him the truth; that since my earliest memory as a child I’ve had horrific visions. I did not speak until around the age of three. The things that I would see in front of my eyes, from my first stages of awareness, are still hard to talk about for they took so much out of me; such darkness. I would not share these visions to anyone in fear that, even at a very young age, they would take me away from my mother and father because I irrationally thought that they would think I was crazy. But the visions would never stop. As people walked up to me, I might see visions of them being killed in all horrible ways. I didn’t know where this was coming from. Was I seeing their death or was it a memory from another life? While just in my own thoughts in everyday life, these visions could come up spontaneously at any time. At an early age, when I was dreaming these thoughts at night time and woke up, I was so afraid that I would go to my younger brother and crawl into bed while he was sleeping and hold onto his arm or his leg to feel safe.
In the early fifties there was no way I could have ever seen such things as a small boy in the media like you do now. I began to think these thoughts were one of two things: in a past life, I was either the victim or I was the one that did the crimes. It has taken me a lifetime and I still do not know.
After sharing all of this with Joseph, he asked me if I was a practicing Jew. I told him my family was like many American Jews. They really only went to a Synagogue on the High Holy Days (Rosh Hashanah and Yom Kippur) and have a Passover Seder. But they didn’t practice daily or weekly, keep kosher or observe the Sabbath. He said to me “you must promise you will read this book and we shall talk about it”. I said I would and I did. I did not sleep for many nights. It opened up all the visions more than normal.
We had many talks about the book and what I thought it was saying. He shared with me many thoughts. One afternoon when he came in I was having a bad day. There were some customers that would come in all the time and they enjoyed getting me going; teasing me, “just having a little fun” they would say. Joseph saw that I was a bit uptight. He called me over to him and asked me what was wrong and I shared my feelings.
He grabbed my arm and held it very hard. I have never liked to be touched but I tried to relax. He waited until he had my complete attention. Paraphrasing, he said, “Bruce I want you to listen to me now. Do you know why I asked you to read Man’s Search For Meaning? During the Holocaust, in the camps, there were two types of souls that went there and only one type came out. I saw in you that if you had lived in that time, Bruce, you would have been the soul that would be the survivor. There is something in your being that is yours and no one can take that away from you”.
That moment changed my whole life and put me on the path that I have stayed on all these years. And finally I am a man that has found my Jewish roots and my place in the world. Joseph Campbell helped me get back to being a practicing Jew. It has taken me a lifetime. And I now understand why he told me such a powerful thing. I can still feel his hand on my arm and the warm smile when he said those words and what he was saying to me. We all have a choice as to how to walk through this thing called life- with our minds open or closed. It is our choice; to keep growing from our times or stay safe. None of us have easy lives. Each one of us must find our own way. My life is no different than anyone else’s. I have always had a need to stay present but most of all, I have been blessed with great guides and teachers. Our minds want to keep expanding. It wants to keep growing. It’s not what one has ever lost in life, it’s what one still has left and to try to find that ray of light.
From Wikipedia about the book “Man’s Search for Meaning by Viktor Frankl:
Man’s Search for Meaning is a 1946 book by Viktor Frankl chronicling his experiences as a concentration camp inmate and describing his psychotherapeutic method of finding a reason to live. According to Frankl, the book intends to answer the question “How was everyday life in a concentration camp reflected in the mind of the average prisoner?” Part One constitutes Frankl’s analysis of his experiences in the concentration camps, while Part Two introduces his ideas of meaning and his theory of logotherapy. It is the second-most widely read Holocaust book in the bookstore of the United States Holocaust Memorial Museum.
My Short Film of “Dr. Kildare”
My Short film of “Joy In The Morning”
The TV series initially told the story of young intern Dr. James Kildare (Richard Chamberlain) working at the fictional large metropolitan “Blair General Hospital” and trying to learn his profession, deal with patients’ problems, and win the respect of the senior Dr. Leonard Gillespie (Raymond Massey). In the series’ first episode, Gillespie tells the earnest Kildare, “Our job is to keep people alive, not to tell them how to live.” Kildare ignores the advice, which provides the basis for stories over the next four seasons, many with a soap opera touch. By the third season, Dr. Kildare was promoted to resident and episodes began to focus less on him and his medical colleagues, and more on the stories of individual patients and their families.
In order to create realistic scripts, the series’ first writer, E. Jack Neuman, spent several months working alongside interns in a large hospital. Episodes frequently highlighted diseases or medical conditions that had not been widely discussed on television, including drug addiction, sickle cell anemia and epilepsy. Episodes about venereal disease (personally requested by President Lyndon B. Johnson) and the birth control pill were written, but never produced due to network objections. Technical advice was provided by the American Medical Association, whose name appeared in the end credits of each episode.
The series was initially formatted as self-contained one-hour episodes, aired once per week. In later seasons, a trend towards serialization, inspired by the success of the prime time soap opera Peyton Place, caused the network to develop some Dr. Kildare storylines over multiple episodes and, in the final season, to air two separate half-hour episodes each week instead of a single one-hour episode.
An unsold and unaired pilot was shot in 1960 featuring Joseph Cronin as “Dr. Kildare” and Lew Ayres as “Dr. Gillespie”. As a younger man, Ayres had played the role of Kildare for many years in the earlier MGM film and radio series. Later, a second, successful pilot was made with Richard Chamberlain as Kildare and Raymond Massey as Gillespie.
Before the little-known Chamberlain was cast, the Kildare role was offered to William Shatner and James Franciscus, who both turned it down. The role catapulted Chamberlain to fame. In 2006, Chamberlain reprised the Kildare role in a parody of Grey’s Anatomy (along with other famous TV doctors from Julia, St. Elsewhere, M*A*S*H and The Love Boat) on the 2006 TV Land Awards.
Massey accepted the role of “Dr. Gillespie” thinking that it would last only one season, leaving him time to accept feature film roles. Instead, the time demands of appearing in a multiple-season hit series prevented Massey from appearing in any films for the duration of the series’ run.
Supporting cast members with recurring roles included Ken Berry as “Dr. John Kapish”, Jean Inness as “Nurse Beatrice Fain”, Eddie Ryder as “Dr. Simon Agurski”, Jud Taylor (who also directed several episodes) as “Dr. Thomas Gerson”, Steve Bell as “Dr. Quint Lowry”, Clegg Hoyt as “Mac”, Jo Helton as “Nurse Conant”, Lee Kurty as “Nurse Zoe Lawton”, and Leslie Nielsen as “Harry Kleber”.
Yvette Mimieux continues her surfing. She and Kildare go to the beach at night and they “make out”. He is infatuated with her but cant get her to accept the epilepsy. She has many smaller siezures. Kildare meets all the beach bums and beatnicks of that time. Ultimately she goes for a surf, catches the wave off her life and has a grand mal siezure at the same time. She drowns and Kildare is there to pronounce her dead. GREAT episode with a sad ending.
Put a little Whimsy in your life with Andrew Reach’s Whimsy T-Shirts available on Society6.com
His Whimsies are unencumbered beings free of the constraints of gravity and are stand-ins for his desire to escape pain and be free from the earths binding gravitational force.
I’m pleased to announce that my spouse Andrew Reach will have his art exhibited in a group show at the Artists Archives of the Western Reserve. The show is titled “REINVENTION”. Mindy Tousley, director of AAWR and curator of the show says about it:
“I am putting together an exhibition of regional artists who have re –invented themselves or at least their artwork because of physical trauma associated with aging or aging related disabilities. In the case of all of the artists I have selected they have overcome the changes forced on them and gone on to complete bodies of work that are very different & in some cases superior to what they were doing before. I came upon the idea for this show because of my association with the artists and their stories. I saw firsthand the changes in their work over the course of time.”