The gift of Elaine & Allen Avner in memory of their parents Herman & Pearl Seltzer Sweital and Sim I Laura Moore Av University of Illinois at Urbana-Champaign KtfNQlS HISTORICAL subvfv Digitized by the Internet Archive in 2012 with funding from University of Illinois Urbana-Champaign http://archive.org/details/transplantedpeopOObyer TRANSPLANTED PEOPLE By YECHEVED (ETTA BYER) Reproductions of Oil Paintings By SAMUEL BYER • Published by DR. M. J. ARON and other members of the LIDER ORGANIZATION OF CHICAGO Copyright 1955 by ETTA BYER 1500 W. Garfield Boulevard Chicago, Illinois Printed in the U.S.A. International Printing Company Chicago p was packed with beautiful merchandise, but even ou/ experienced salesmen could not sell it. I began to work at my job when my two bosses, partners, opened their factory and I happened to be their first worker. Both of my bosses, the foreman, and the working people have been my friends for many years. I en- joyed working there; I considered the shop as my second home. I cherished my silent, noisy partner, my machine, which I could take apart to clean and oil every morning. I was happy and proud of my honest check every week, and with the bonus and party at Christmas. I knew that sometime a change would come ; I was ready to face it, but when it happened I could not take it. All of a sudden our rent and telephone bills were raised; instead of a nickel a call to pay, a silver dime. The streetcars and busses raised their fare. Dentistry, medical care, food, and clothing went way up in their cost. The working people demanded more pay to be able to reach the high prices. Even with their higher wages, their buying power stopped. The storekeepers' stocks remained on the shelves, and the store owners stopped buying goods from the factories. Naturally, workers were laid off, first the old folks, and I among them. I was the same woman as before, yet not the same. Everything about my routine changed. Something whispered in me, "Never again will you rush with your lunch to the bus early in the morning. Take it easy; sleep late; it's time for you to rest." 226 My knees wobbled when I came for my last check. Politely, one of my employers told me to take a vaca- tion, which I deserved, he said. His eyes were sad. My bosses remembered the many thousands of pieces of leather merchandise they had sold from the samples that I had made. He nodded his head and said, "A recession, you know." My boss tried to make it easier for me, and he promised to call me as soon as any orders for goods would come in. How well I remembered previous re- cessions and depressions ! Long days, weeks, and months passed as I waited patiently for a hopeful, precious phone call, but none came yet. I got tired of reading, was bored with listen- ing to the vulgar, silly love songs on the radio. I was disgusted with the political graft scandals, and the meaningless phrases of the diplomats at the confer- ences about achieving a simple peace for our sick and tired world. At an old age, to lose a job gives a person a feeling of being unwelcome and useless to everybody, includ- ing oneself. Retreat, pessimism, escorted by funeral marches, is the goal. What next? Only empty dreams of long ago. Dur- ing sleepless daydreaming, I was in the depths of the ocean away on the bottom, swimming through won- derful plants, leaves, and natural gadgets of marvelous designs that I was meeting for the first time during my long life. I saw that I was one of the pearl-fishers, searching for artistic substances ; just like millions of stars in the endless universe, there were so many varieties of fish in the depths of the ocean. I imagined that the big, monstrous fish were luring, chasing, and swallowing the small ones, just like the people on the surface of the earth. Fish are also smart and logical. They understand 227 their struggle for existence. They are free creatures without bills or recessions. Why should they know about depressions? Lucky fish. My mind cleared immediately — just the job for me, to work, to become a pearl-fisher, at the age of sixty- eight. Just the right age. When I told my friends about my new job, I found they laughed at me. Perhaps they thought my mind was feeble, but I knew my thoughts had never before been more sane. My impulse chased me out of my house on a cold winter morning, the sidewalks and roof-tops covered with glittering snow. Sunlight and shadows beautified the streets, and I entered the nearest school for children. "What do you wish, little lady?" asked the principal of the school. "Dear sir," I replied, "will you please advise me where I can find the right place for pearl-fishing?" To my surprise, he understood perfectly what I meant. Smilingly, he called in a few teachers to his chamber. They all decided the Wells Evening High School was the best place for me to learn pearl-fishing. I came to that beautiful structure. Its big windows were lit, day and evening, and its wide doors were open for all people, big and small, young and old, of all nations, colors, and creeds. They all looked happy and friendly there. Many of them came from ignorant, suppressed countries, lands of superstition, from ghettos of stone walls and fences, and from behind modern iron curtains. I was refreshed immediately. My heartstrings grew stronger, and what a miracle happened ! I forgot completely about retreat- ing pessimism and funeral marches. Youth surrounded me again. Surely, I understood that precious treasures in full measures could be found here. It seemed to me that I entered a holy temple, with 228 the wide corridors, with the reddish glossy brick walls, dignified with oil paintings created also by pearl- fishers. My feet walked on solid holy ground. The school building was permeated with the knowledge and wisdom of real people. Those pearl-fishers had made this colossal achieve- ment possible for many generations to come. A fan- tastic and real palace, it seemed to be, and not costly at all, allowing one to search for the genuine gems of the most precious, transparent jewels of eternity. There were to be found pearls of the graves of Egypt, and from everywhere ; of our entire world, and from the endless universe; from the millions of stars, rainbows, clouds, and storms; among the secrets of nature, of the beasts and insects of the jungle, of the colorful flowers and forests; in the melodies of the birds, reflections in the rivers and lakes, and among the waves and the ships of the ocean. There were and are pearl-fishers among the dead and wounded in the foxholes, on the battlefields, at the hospitals and the graveyards, in the elegies of the mu- sical pearl-fishers, among the first cries of newborn infants, in the heavenly divine young mothers who brought the most precious pearls into such a tragic world. A young boy took my wrinkled, aged hand. He led me and showed me glittering jewels. I find pearls in the slums, among prostitutes and drunkards, among widows and orphans. In the midst of human slaughter, you will find pearl-fishing every- where you go — at the public library, at the museums of art, science, and industry, in the seasons of the year. There are wonderful, exotic pearls in the good, old Bible, which signify our holy days. They are created also in bodies, souls, and in spirit. Gracious pearls abound in befriending strangers, in feeding the hungry, clothing the naked (I don't mean 229 those of the movies), in curing the sick, helpless, and jobless. Seeing eyes are blinded through selfishness, narrow- mindedness, laziness, or mental deficiency. To such, pearl-fishing is meaningless, zero. For me, it strength- ened me physically and spiritually. My sleepless dream became a reality. Even the few pearls I'll find will be the greatest, most valuable trea- sure for me. My present job keeps me busy. That is sufficient, as I seek my own pearl-fishing, an achievement at my age of sixty-eight — young in spirit. 230 OUR WILL My beloved husband, Sam, and I will equally divide our humble gifts to all our children, grandchildren, nieces, and nephews, and to all our friends who love such works of art. We will be glad that people at large will enjoy the dreams of our hearts and souls, our paintings, which were created in our humble home, and which we enjoyed seeing displayed at exhibitions in many art centers, homes, and cities, and reproduced in newspapers and magazines. We did not lock them into safety vaults, nor did we hire lawyers to protect them. Our gifts have been viewed by many people during our life, and will continue to be seen after our death. They will be valued by cultured people. We hope to be remembered with love and appreciation. Our paintings will always speak for themselves, a language of tones, color, and form; arrangements of still life, portraits, animals, and landscapes. Our long and hard journey was not in vain. — Sam and Yecheved 23 PAINTINGS By SAMUEL BYER Samuel Byer, a graduate of the Art Institute in 1911. Dear Mr. Byer: 1 am enclosing herewith a statement regarding your work, which 1 hope will be of use to you in connection with your wife's book. Sincerely yours, PATRICK T. MALONE Assistant Curator of Painting and Sculpture INTRODUCTION Mr. Sam Byer was born in Warsaw, Poland, in 1 886. He came to Chicago when he was twenty years old, and studied at Hull House Art School under Enella Benedict for many years. Mr. Byer was also a student at the Chicago Art Institute and the Chicago Academy of Fine Arts. In 1 930, he was awarded the Worcester prize in an exhibit with a group of the Chicago Etching Society. His paintings have been represented in many exhibits, including the Chicago shows at the Chicago Art Institute. Many of his works are Hebraic in theme, attributed to his early childhood education in Hebrew school. Such titles as "The End of the Sabbath,*' **A Lesson in Talmud,*' and "Capores," bring to mind those cherished stories of Biblical days. His portrait of "La Jeuf" (The Jewess) was posed by the operatic star, Rosa Raisa. Although Mr. Byer has painted in several media, he seems to derive more satisfaction from oil painting. His greatest achievements have been in his portraits and illustrated Biblical stories. Perhaps the most outstanding characteristics of his work are his ability in the handling of color, and his feeling for line and form. One cannot help find sin- cerity and emotional appeal in his paintings. Michael Gamboney, Head Hull House Art School J - ; - ©1038 < ,4 ©193c; TABLE OF ILLUSTRATIONS Oil Paintings by Samuel Byer Etta Byer 1 Self-Portrait 2 The Yellow Badge 3 The End of Sabbath 4 Friday Morning 5 Capores 6 A Nude 7 Ben Reitman 8 Mr. Liph 9 Mr. Ther 10 (a) Broom Peddler 11 (b) Broom Peddler 12 A Cobbler 13 The Jewess 14 Chanukah 15 Lucy Parson 16 His First Step 17 Goats 1 8 Fish 19 Old House 20 Admiral Byrd's Dogs 21 Friday Eve 22 Sweeten 23 A Letter to Mother 24 A Lesson in Talmud 25 ETTA BYER - 1 SELF-PORTRAIT - 2 Pt:S« THE YELLOW BADGE - 3 % i I i THE END OF SABBATH - 4 FRIDAY MORNING - 5 , v ^t,/ .- ,* CAPORES - 6 %.■ A NUDE - 7 fc: BEN REITMAN - 8 MR. LIPH - 9 MR. THER- 10 19 ■& mm. (a) 3ROOM PEDDLER - 1 1 ""%.::..,... (b) BROOM PEDDLER - 12 •* V 4 li|*- A COBBLER - 13 THE JEWESS - 14 *%; CHANUKAH - 15 LUCY PARSON - 16 \ t? k% t I> ■^''?W- -;l^ FISH - 19 ".: ■% :' ,ftr I en o o Q b at >- fiQ -I < ^T /> / s--*°\ J? %;; ■i :r f FRIDAY EVE - 22 «f :w> :«,,*" '■■-' ■■' " W- SWEETEN - 23 A LETTER TO MOTHER - 24 S-BYEf A LESSON IN TALMUD - 25