This section includes woodcut prints made by NS. Although the limits between this and other groups are not always clearly discernable, the works that follow have been printed individually, not just drawn or published, as in other sections of the exhibition.
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The artist reconstructs an imaginary city in the form it could be conceived by a traveller before his arrival on a boat or years after his visit. Although it presents similarities with the existing old city of Chania, what is really depicted is a city of memory or imagination. The drawing is deliberately out of perspective. Special care has been given to the small size of the buildings and the narrow streets. The sea front of the city is emphasized by the large number of small windows which are drawn with vertical or horizontal lines and edged in black contour. Chania Woodcut, JMG; donated by Diana Cohen Altman.

In this abstract approach to the landscape of Meteora (steep hills with monasteries on the top, Thessalia, Greece) the artist looks at the site from a distance. The folds of the earth are given with rough lines, which make the human presence invisible. The surrounding mountains, which in the physical scale act as comparison measures to the hills, have been degraded by changing the perspective and drawing them with successive lines in contrast with the concrete black colour of the Meteora hills. The hills are also emphasized by depicting a moving sky by means of cyclical lines. Meteora Woodcut, JMG; donated by Diana Cohen Altman.

The anonymous lady is one of the earliest works of NS. The Ionian column (top, left), the tiled roof (right) and the burning sun (top, right) drowned with circular intermittent lines around a black navel understate an Athenian site. The lady's apparel has been formed with white spirals on black background; her face reminds tears and scars, and her unpainted eyes are staring at the viewer. A Lady Woodcut, JMG; donated by Diana Cohen Altman.

King David’s illustration refers to the King’s repentance for his premeditated sins, as described in his prayer of repentance: “Be gracious to me … Create to me a pure heart” (Psalms, Tehillim (תהלים), 51). David Woodcut, JMG; donated by Diana Cohen Altman.

This zoomorphic figure typifies NS’s creativity in drawing, which not only guides the composition of religious issues, but also goes further to imaginary fields. Zoomorphic representation Woodcut, JMG; donated by Diana Cohen Altman.

In a subject unusual in the Jewish tradition, Abraham is depicted with three angels sitting around a table. The scene is described in Genesis (Bereshit, בְּרֵאשִׁ֖ית) 18.1-10 and in the Christian tradition it is titled “Abraham’s hospitality”. Sarah is depicted on the left of the scene (“And Sarah heard from the entrance of the tent”). The three angels have plates with food in front of them and Abraham is serving them. Abraham, Woodcut.