Mid-20th Century Abstract Drawings and Watercolors

Henry Valensi (1883-1960) La Guerre, 1954 Graphite on paper Signed "Henry Valensi", dated "1954" and titled "La Guerre" in the upper right corner 10,6 x 13,5 inch Provenance : former...

Mitchell Mitch Becker, painter, born November 12, 1938, Chicago, Illinois. 1972, Emigrated to Israel. Education 1961 - School of the Art Institute, Chicago, Illinois. Bachelor of Art Education, 1971 - University of Chicago, Chicago, Illinois, Master of Fine Arts, Teaching 1968-1972 High School, Skokie, USA. 1973-1974 Thelma Yellin Art School, Givatayim 1974-1976 Institute of Visual Art, Beersheba 1977-1981 Art Teachers College, Ramat Hasharon 1981-1982 Bezalel, Jerusalem Awards And Prizes 1958-61, Anna Tucson Scholarship, USA Mitchell Becker emerged into the art world of late 1950s Chicago, between gestures of Abstract Expressionism and declarations about the "death of painting." The hot names of his youth, such as Willem De Kooning, Mark Rothko, and Larry Rivers, provided him with interest and challenges for years to come, and his awe for them is still evident in his voice to date, many years after drawing away from them. This work is reminiscent of the work of Saul Steinberg and Philip Guston. Heroes - Past and Present, Yad Labanim Museum, Petach-Tikva Artists: Shalom Moskowitz, (Shalom of Safed) Yohanan Simon, Boris Schatz, Motti Mizrachi, Hanan Milner, Mitchell Becker, Edith Samuel, Ludwig Schwerin, Igael Tumarkin, Talia Tokatly. EDUCATION: 1971 Master of Fine Arts,University of Chicago, Illinois 1961 Bachelor of Art Education School...

Rem Raymond Coninckx (1904 - 1974) Rem Raymond Coninckx was born on 28th March in Couvin (Belgium) 1904 and died in Dinan 1974. He was a painter, draftsman, engraver and also creat...

Larry Zox Study for Scissors Jack Series, 1965 Mixed media and colored ink drawing on draft paper Hand signed and dated on lower right recto (front). Bears Forager House Collection s...

Jack Hooper "Tree Landscape" 1981 Ink on glossy paper 11"x7" unframed Signed and dated in pencil lower right Embrace the serene beauty of nature through this abstract line drawing b...

JACQUES LIPCHITZ Study for a Lesson from a Disaster, ca. 1952 Black and Blue Crayon on Paper Signed in graphite pencil lower right front Unique work of art Framed: held in original v...

Professor George De Goya. PhD. MA. FRSA. Born In Budapest, 1915-1992, related to the Spanish artist Goya on his mother’s side. Educated in Budapest and France where he received a de...

Aharon Giladi, Israeli painter, born in Russian Empire, 1907-1993 Aharon Golodetz (later Giladi) was born in Belarus, Russia to a wealthy family. In 1923-1926, he studied at the Leningrad Academy of Art. In 1926, he was exiled to Siberia for Zionist activity. In 1929, he immigrated to the Land of Israel, then Palestine, and helped to found Kibbutz Afikim in the Jordan valley. In 1934, he married Dvora Sifelman and worked as a builder and plasterer. He began to draw sketches of kibbutz life and taught art locally. His dynamic lines link subject to subject and figure to figure, displaying the magical nexus between objects and figures while reserving the characteristic elements of each. Everything accords with the invisible spirit which hovers over all. In 1942, he published a book of sketches...

E. Simms Campbell was the first African-American illustrator/ cartoonist published in nationally distributed, slick magazines, he created Esky, the familiar pop-eyed mascot of Esquire. This early work of 1930 was done on assignment for an interior page of Life Magazine. It features two Rowing teams engaged in spirited competition with cheering onlookers. This is a highly stylized black-and-white illustration and is masterfully executed. The work is composed of two illustrations, 6 x 9 inches and 2-3/4 x 2 inches respectively. It is initialed center bottow ESC. unframed Campbell left the University of Chicago and transferred to and received his degree from the Chicago Art Institute.[3] Professional career During a job as a railroad dining-car waiter, Campbell sometimes drew caricatures of the train passengers, and one of those, impressed by Campbell's talent, gave him a job in a St. Louis art studio, Triad Studios. He spent two years at Triad Studios before moving to New York City in 1929. A month afterward, he found work with the small advertising firm, Munig Studios, and began taking classes at the National Academy of Design.During this time, he contributed to various magazines, notably Life, & Judge Following the suggestion of cartoonist Russell Patterson to focus on good girl art, Campbell created his "Harem Girls", a series of watercolor cartoons that attracted attention in the first issue of Esquire, debuting in 1933. Campbell's artwork was in almost every issue of Esquire from 1933 to 1958 and he was the creator of its continuing mascot, the cartoon character in a silk top hat. He also contributed to The Chicagoan, Cosmopolitan, Ebony, The New Yorker, Playboy, Opportunity: A Journal of Negro Life, Pictorial Review, and Redbook. His commercial artwork for advertising included illustrations for Barbasol, Springmaid, and Hart Schaffner...

THOMAS BROWNELL ELDRED Untitled Mid Century Modern Abstraction, 1941 Gouache on paper Hand signed and dated 1941 on the front 14 3/4 × 21 inches Unique Provenance: Acquired from the estate of Thomas Brownell Eldred Unframed This gorgeously colored gouache painting on thick paper was created at a time when the Guggenheim Museum (Museum of Non-Objective Painting) was collecting Eldred's work, alongside works by Kandinsky and Bauer. Unique works like this by Eldred are very desirable in the marketplace. It typifies the artist's eclectic style, reflecting his involvement with Surrealism and the New York School. It also highlights Eldred’s excellent draftsmanship through the characteristic bright colors and patterns that he developed during his time as a naval wood pattern maker in the merchant marines...

Original painting on archival paper, circa 1964. Paper Size: 10 x 9 inches (oval). Provenance: Estate of Ian Hornak, East Hampton, New York. Notes: Created during Hornak’s undergrad...

Original painting on archival paper, circa 1964. Paper Size: 14 x 11 inches (oval). Provenance: Estate of Ian Hornak, East Hampton, New York. Notes: Created during Hornak’s undergra...

ABSTRACT American Woman Abstract Non-objective Mid 20th Century Modern Drawing Irene Rice Pereira (1902-1971) Abstract 8 1/2 x 5 1/2 inches Watercolor, gouache, and ink on black pap...

This superb vibrant British Abstract painting is by noted artist John Piper. It was painted 27th October 1965 at Mendham and is a watercolour and gouache composition. The stunning palette and brushwork make this a really colourful and engaging painting. It is in excellent condition as it is behind glass. A lovely example of Piper's work with echoes from the sixties. Signed lower right. Inscribed lower middle 'Mendham 27 X 65'. Provenance. Illustrated in black and white on the back cover of Marlborough/Aldeburgh Festival show catalogue 'John Piper, Suffolk Churches and Landscapes', 1966. Condition. Watercolour and gouache, 21 inches by 14 inches and in good condition. Frame. Housed in a generous surround float mounted frame and behind glass, 28 inches by 21 inches and in good condition. John Egerton Christmas Piper CH (1903-1992) was an English painter, printmaker and designer of stained-glass windows and both opera and theatre sets. His work often focused on the British landscape, especially churches and monuments, and included tapestry designs, book jackets, screen-prints, photography, fabrics and ceramics. He was educated at Epsom College and trained at the Richmond School of Art followed by the Royal College of Art in London. He turned from abstraction early in his career, concentrating on a more naturalistic but distinctive approach, but often worked in several different styles throughout his career. Piper disliked the regime at the Royal College of Art and left in December 1929. Piper and his wife lived in Hammersmith and held a joint exhibition of their artworks at Heal's in London in 1931. Piper also wrote art and music reviews for several papers and magazines, notably The Nation and Athenaeum. One such review, of the artist Edward Wadsworth's work, led to an invitation from Ben Nicholson for Piper to join the Seven and Five Society of modern artists. In the following years Piper was involved in a wide variety of projects in several different media. As well as abstract paintings, he produced collages, often with the English landscape or seaside as the subject. He drew a series on Welsh nonconformist chapels, produced articles on English typography and made arts programmes for the BBC. He experimented with placing constructions of dowelling rods over the surface of his canvases and with using mixtures of sand and paint. With Myfanwy Evans, Piper founded the contemporary art journal Axis in January 1935. As the art critic for The Listener, through working on Axis and by his membership of the London Group and the Seven and Five Society, Piper was at the forefront of the modernist movement in Britain throughout the 1930s. In 1935 Piper and Evans began documenting Early English sculptures in British churches. Piper believed that Anglo-Saxon and Romanesque sculptures, as a popular art form, had parallels with contemporary art. Through Evans, Piper met John Betjeman in 1937 and Betjeman asked Piper to work on the Shell Guides he was editing. Piper wrote and illustrated the guide to Oxfordshire, focusing on rural churches. In March 1938 Stephen Spender asked Piper to design the sets for his production of Trial of a Judge. Piper's first one-man show in May 1938 included abstract paintings, collage landscapes and more conventional landscapes. His second in March 1940 at the Leicester Galleries, featuring several pictures of derelict ruins, was a sell-out. Piper had first met Myfanwy Evans in 1934 and early the next year, when his wife Eileen left him for another artist, Piper and Evans moved into an abandoned farmhouse at Fawley Bottom in the Chilterns near Henley-on-Thames. The farmhouse had no mains electricity, no mains water and no telephone connection. They married in 1937. They gradually converted the farm's outbuildings to studios for their artworks, but it was not until the 1960s that they could afford to modernise the property. Piper was an official war artist in World War II and his wartime depictions of bomb-damaged churches and landmarks, most notably those of Coventry Cathedral, made Piper a household name and led to his work being acquired by several public collections. Piper collaborated with many others, including the poets John Betjeman and Geoffrey Grigson on the Shell Guides, the potter Geoffrey Eastop...

Remo Farruggio Castello (Castle), ca. 1958 Oil on paper painting (hand signed twice by the artist) Hand signed twice by the artist on the lower front (center and right), and titled "...

Pioneering female abstract artist Elsie Driggs paints stylized abstract organic forms in a warm palette of orange browns and tope. She merges abstraction with some figuration. A structured face composed of lines and tone emerges from an orange background. It's 1939, and even though Driggs is not well known, she is preceding many of the marquee names of abstraction by a decade. Although under the radar, this is a major work and is titled on the back stretcher is " Egyptian Gothic." It features the artist's inventiveness with her fine pencil lines incorporated in flat washes of color and collage elements. Signed lower right and inscribed on frame verso with title, artist and the date of 1939. Provenance, Christie's, Freemans. Framed under glass.. Elsie Driggs (1898 – July 12, 1992 in New York City) was an American painter known for her contributions to Precisionism, America's one indigenous modern-art movement before Abstract Expressionism, and for her later floral and figurative watercolors, pastels, and oils. She was the only female participant in the Precisionist movement, which in the 1920s and 1930s took a Cubist-inspired approach to painting the skyscrapers and factories that had come to define the new American landscape. Her works are in the collection of the Whitney Museum of American Art, the Houston Museum of the Fine Arts, the Fine Arts Museums of San Francisco, the James A. Michener Art Museum in Pennsylvania, and the Columbus Museum of Art, among others. She was married to the American abstract artist Lee Gatch. Career Born in Hartford, Connecticut, Driggs grew up in New Rochelle, a suburb of New York City, in a family that was supportive of her artistic interests. After a summer spent painting with her sister in New Mexico in her late teens, she felt she had found her life's calling. At twenty, she enrolled in classes at the Art Students League of New York, where she studied under George Luks and Maurice Sterne, both of whom were charismatic, inspirational figures in her early life. She also attended the evening criticism classes held at the home of painter John Sloan. Driggs spent fourteen months in Europe from late 1922 to early 1924, drawing and studying Italian art. There she met Leo Stein, first in Paris and later in Florence, who became an important intellectual influence, and who urged her to study Cézanne. He also introduced her to the works of Piero della Francesca, the Renaissance artist for whom she felt throughout her life the greatest admiration.[1] Driggs eventually settled in New York City, where she found representation with the progressive Charles Daniel Gallery.[2] (Advised that the old-fashioned and misogynistic Daniel would be unlikely to take on a woman artist, she signed the works she left for his consideration simply "Driggs" and waited to meet him in person until he had expressed his eagerness to include her in his gallery.)[3] In sympathy with those artists Daniel represented who were part of the burgeoning Precisionist movement, such as Charles Demuth, Charles Sheeler, George Ault, Niles Spencer, and Preston Dickinson, she too painted "the modern landscape of factories, bridges, and skyscrapers with geometric precision and almost abstract spareness."Impressionism and academic or Ashcan realism represented the past, in Driggs' view, and she intended to be resolutely modern. She was an attractive and engaging woman, but her demeanor belied a strong ambition and a clear sense of what it would take to make her mark in the New York art world. Driggs was part of the pre-eminent first group of Precisionist painters, including Demuth and Sheeler, who exhibited at the Daniel Gallery in the 1920s. Although a later group of Precisionist painters, including Louis Lozowick, Ralston Crawford and others, came on the American Art scene during the 1930s, Driggs felt that the style came to an end with the 1929 stock market crash.[5] In 1926 she painted her most famous work, Pittsburgh, a dark and brooding picture now in the permanent collection of the Whitney Museum of American Art, which depicts the gargantuan smokestacks of the Jones & Laughlin steel mills in Pittsburgh. Its focus is an overpowering mass of black and gray smokestacks, thick piping, and crisscrossing wires with only clouds of smoke to relieve the severity of the image, yet it was an image in which she found an ironic beauty. She called the picture "my El Greco" and expressed surprise that viewers in later years interpreted the painting as a work of social criticism. Like the other Precisionists (e.g., Demuth, Charles Sheeler, Louis Lozowick, Stefan Hirsch), she was concerned with applying modernist techniques to renderings of the new industrial and urban landscape, not in commenting on potential dangers the overly mechanized modern world of 1920s America might present. If anything, Precisionism, like Futurism, was a celebration of man-made energy and technology. One year later, she painted Blast Furnaces, in a similar vein. As noted above, Piero della Francesca's mural depicting "The Story of the True Cross" in Arezzo, with its tubular, static and frozen forms was the major influence on Driggs' "Pittsburgh" (it may have been the major influence for "Blast Furnaces" as well).[7] After Pittsburgh, Driggs' most acclaimed work was probably Queensborough Bridge...

Mlle. Jeanne at the Window, No. II Charcoal on paper, 1933 Signed and dated lower right (see photo) Illustrated: Gustafson, Zimmerli Museum, 1988, "Benjamin Benno: A Retrospective Ex...

Jane Freilicher Untitled I, 1958-59 Signed lower right Charcoal on paper 11 1/2 x 8 3/4 inches Provenance: Tibor de Nagy Gallery, New York Private Collection, New York Jane Freilic...

Labeled verso: "Arcadia XIII / paper & ink on rag board / 26 x 20""; signed lower center: "Ruth Eckstein". From the estate of the artist. Ruth Eckstein has received national and int...

One of a group of over 100 works personally selected by the artist and gifted to a close personal friend in 1969, this work was never matted, framed, glued, taped or exposed to light...

Initialed lower right, 'M. W.' for Margaret Wentworth (American, 1914-1999) and dated 1959. Exhibited: Feingarten Galleries, Carmel, California, 1960, and titled on label, verso, 'Ro...

Titled verso lower left: "Arcadia V"; signed lower right: "Ruth Eckstein". From the estate of the artist. Ruth Eckstein has received national and international recognition as an abs...

Prelude to Transition Pastel on paper, 1953 Signed and dated lower left (See photo) Image size: 10 1/2 x 13 3/4 inches Frame size: 24-5/8 x 1-1/2 inches Exhibited and Illustrated: Z...

Original felt pens on paper Unique piece Hand signed and dated in 1957 Rare piece from the Master

Cubist painting by painter Josif Iliu born in 1919 in Romania, Iliu exposes and produces theater sets in Bucharest. He first emigrated to Italy and then to Paris in 1949. He joined t...

These stunning original project drawings, hand-painted with colored pencil on translucent tracing paper, were designed by a French artist circa the 1960s. The two paintings feature a...

Eiko Taniguchi Kahn (b. 1929) Untitled, c. 1960s Watercolor on board Each panel: 33 x 11 in. Framed: 45 1/2 x 32 x 1 in. Each panel signed bottom These stunning watercolor panels are beautifully mounted in a period frame. The frame needs some minor restoration but this would be a worthy repair, as it matches the artwork so nicely. Eiko Taniguchi Kahn was Japanese Artist who was born on January 24, 1929 in Fukuoka, Kyushu, Japan, to Tosuke Yamashita and Masano Taniguchi. She came to the United States in 1955, and was naturalized in 1958. She was the recipient of the President's award at the National Arts...

Ink, graphite and colored pencil on graph paper The final composition measured 28 x 28 inches Annotated #615 in the lower right corner of the sheet Provenance: Francine Seders Galler...

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on thick board unframed: 8 x 8 inches condition: excellent provenanc...

Genre: Expressionist Subject: Landscape Medium: Watercolor Surface: Paper Country: United States Dimensions w/Frame: 16" x 28" Murray Hantman (1904–1999) was a painter, muralist, an...

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 10.75 x 8.5 inches condition: excellent provenance: all the paintings we h...

An abstracted composition containing a kneeling figure . this is a stamped print, woodcblock most likely artfully combined with moody watercolor. Stefan Alexander, born Czechoslovak...

Abstract Non Objective Work on Paper Guggenheim Woman Artist 1940s Drawing w/c HILLA REBAY (1890 - 1967, GERMAN/AMERICAN) Abstract watercolor and graphite on paper 14 x 16 1/2 inche...

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 10.75 x 8.5 inches condition: excellent provenance: all the paintings we h...

Rolph Scarlett Untitled Abstract Expressionist Painting, ca. 1960 Gouache, Ink, Watercolor on Paper . Hand signed, with original Jonas Aarons Gallery label 23 × 18 3/4 inches Signed ...

Presenting a drawing by Joan Strauss Carl, which served as a preparatory study for one of her three-dimensional sculptures. Joan Strauss Carl’s artistic j...

Framed Size: approx 17 3/4 x 20 3/4 inches Fred Conway (1900-1973) "Golf Bags, Caddy with Golf Bag on His Back" Pen/Ink/Watercolor on Paper Site Size: approx. 10 x 13 inches Framed Size: approx. 17 3/4 x 20 3/4 inches A member of the faculty of the Washington University Art School from 1929 to 1970, Frederick Conway...

The pastel portrait of Stella Samuel, very likely a starlet from the thirties, created in the style of Charles Sheldon, emanates timeless elegance. With a delicate interplay of color...

India Ink on paper; Provenance: Estate of artist, Vincent Vallarino Gallery Lawrence Fine Art is pleased to present a suite of early, cubist-inspired nudes by first generation abst...

India Ink on paper; Provenance: Estate of artist, Vincent Vallarino Gallery Lawrence Fine Art is pleased to present a suite of early, cubist-inspired nudes by first generation abst...

India Ink on paper; Provenance: Estate of artist, Vincent Vallarino Gallery Lawrence Fine Art is pleased to present a suite of early, cubist-inspired nudes by first generation abst...

Daisies and Sunflowers - Still Life Oil Pastel on Paper This fun, quirky oil pastel by a David Mark (American, 20th C) features bright, abstract yellow and white flowers with contra...

Watercolor on wove paper. Signed and dated in ink, lower right recto.

Lyman Kipp Original Mid Century Modern Painting on paper, 1969 Acrylic on paper painting Hand signed and dated by the artist on the front F...

A colorful 1950s textile design (Black, yellow, blue, pink, red tones) by noted set and costume designer Andre Delfau. Born in Paris, France in 1914, Andre Delfau became an internationally acclaimed stage, set and costume designer who worked world-wide from the 1930s to the 1980s. Delfau was a life long artist and painted independently of his noted design career. His artwork is recognized for it’s vibrant color and form, and a particularly keen use of line. He was highly influenced by the French Modern trends of Cubism and Surrealism, and his artwork is often infused with a dramatic sense of architecture and perspective. Delfau created fashion designs for such major Paris couture houses as Balmain, Jean Patou and Balenciaga. He completed noteworthy set designs and costumes for numerous international operatic and ballet productions, including those at the Royal Danish Ballet, the Royal Ballet of Great Britain, the Paris Opera, the Dance Theater of Harlem, the Ruth Page International Ballet, the Civic Ballet of Chicago, the Chicago Opera Ballet and the Lyric Opera of Chicago, among others. Most notably, Delfau designed the elaborate stage sets and costumes for the 1986 PBS television production of the Viennese operetta, "Die Fledermaus...

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 14 x 7.75 inches condition: excellent provenance: all the paintings we hav...

Biro su carta. Firmato in basso a destra. Corredato di autentica su foto dell' Archivio Mario Tozzi. Nell'ampia produzione del maestro Tozzi si trovano molti disegni, come questo qu...

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on thick board unframed: 8 x 8 inches condition: excellent provenance: all the paintings we have fo...

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 8.25 x 7.25 inches condition: excellent provenance: all the paintings we h...

A bright, geometric textile design (In red, white & blue) by stage and costume designer Andre Delfau.

Burton Wasserman Untitled Mid-Century Modern Geometric Abstraction, 1967 Color pencil on thin vellum paper Hand signed and dated by the artist on the front Frame Included: elegantly ...

Dorothy Dehner Untitled Mid Century Modern abstract sculptural drawing, 1955 Marker and graphite on paper Signed and dated by Dorothy Dehner in black felt tip pen on the front Frame ...

Charmion von Wiegand Intersecting Magic Square, ca. 1963 Gouache on paperboard Signed and titled on the back of the artwork. The signature shown on the frame back is a photo of the actual signature on the artwork itself. Frame Included: elegantly floated and framed in hand made white wood museum frame with UV plexiglass This work is signed and titled on the back of the artwork itself. The signature shown on the back of the frame is a photo of the actual signature, since the actual pencil signature and title is on the artwork itself, which can't be seen within the frame Measurements: Frame: 21 x 17 x 1.5 inches Artwork: 18 x 14.25 inches The Estate of the celebrated artist Charmion Von Wiegand has been represented exclusively by Michael Rosenfeld...

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 12.75 x 9.75 inches condition: excellent provenance: all the paintings we ...

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 19.5 x 13 inches condition: excellent provenance: all the paintings we hav...

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 10.75 x 8.5 inches condition: excellent provenance: all the paintings we h...

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 12.75 x 9.75 inches condition: excellent provenance: all the paintings we ...

Myriam Bat-Yosef Surrealist abstract painting in colorful abstract shapes and shades in the style of Joan Miro Hand signed and dated Tel Aviv, 1957. frame measures 10 X 5.5 sheet measures 2.5 X 7 inches The envelope of the Peter Buch poster is just for provenance and is not included in this sale. Myriam Bat-Yosef, whose real name is Marion Hellerman, born on January 31 , 1931 in Berlin, Germany to a Jewish family from Lithuania, she is an Israeli-Icelandic artist who paints on papers, paintings, fabrics, objects and human beings for performances. Myriam Bat-Yosef currently lives and works in Paris. In 1933, her family fleeing the Nazi Holocaust, Myriam Bat-Yosef emigrates to Palestine and settles in Jaffa. In 1936, she suffers a family tragedy, her father, militant Zionist, is called to fight, still recovering from an operation of appendicitis. The incision will become infected, antibiotics did not exist yet, and her father will die in the hospital after 9 months of suffering. Myriam and her mother leave Palestine to live in Paris for three years. French is Myriam's first school language. In 1939, still fleeing Nazism, she returned to Palestine, leaving France by the last boat from Marseille. She moved to Tel Aviv with her mother, aunt and maternal grandmother. In 1940, she began attending the Academy of Fine Arts in Tel Aviv and took her name as an artist, Bat-Yosef, which means Joseph's daughter in Hebrew, as a tribute to her father. In 1946, Myriam graduated as a kindergarten teacher but wanted to be an artist. Her mother enrolled her in an evening school to prepare a diploma of art teacher. At 19, she performs two years of military service in Israel. In 1952, with a pension of $50 a month that her mother allocated, she went to study at the Beaux-Arts in Paris. To survive, she has several activities while studying. In 1955, she had her first solo exhibition, at the Israeli Club on Wagram Avenue in Paris. Many artists, such as Yaacov Agam, Yehuda Neiman Avigdor Arikha, Raffi Kaiser, Dani Karavan and sculptors Achiam and Shlomo Selinger attended the opening . In 1956, she enrolled at the School of Fine Arts in Florence. This is where she meets the painter Errô. They share an icy studio in winter. Myriam moves to Milan with friends. She organizes a joint exhibition with Erro, one room each, at the Montenapoleone gallery. Her works are admired by the sculptor Marino Marini and the painters Renato Birolli and Enrico Prampolini. Myriam and Erro exhibit in Rome, Milan, Florence and meet many personalities: Alain Jouffroy and his wife, the painter Manina, Roberto Matta and his wife Malitte, textile artist who was one of the founders of the Pompidou Center. Back in Paris, Myriam and Erro get married, which allows Myriam to avoid being called into the Israeli army during the Suez Canal War. In 1957, Myriam and her husband went to Iceland. Myriam works in a chocolate factory. Having enough money, she starts producing art again. She exhibited in Reykjavik's first art gallery. She meets the artist Sigridur Bjornsdottir, married to the Swiss painter Dieter Roth . In 1958, Myriam and her husband leave for Israel. They exhibit in Germany, then in Israel. Back in Paris, the couple became friends with artists of the surrealist movement, such as Victor Brauner, Hans Bellmer, the sculptor Philippe Hiquily, Liliane Lijn, future wife of Takis and photographer Nathalie Waag. Erro and Myriam have a daughter on March 15, 1960, named Tura, after the painter Cosmè Tura, but also close to the Icelandic Thora or the Hebrew Torah. Bat-Yosef’s complex trajectory throughout the 20th century is linked as much to the transnational history of what was for a time called the School of Paris as it is to a certain legacy of Surrealism. Her work features the same idea of resolving antinomies that also defined the spirit of surrealism, and is enhanced with her readings of the Kabbalah and her spiritual grounding in Taoism. However, while there are reasons for her approach to be associated with the process of the ready-made, it is important to consider the immediate intrication of these works with her practice of performance, during which the body itself is also painted – a feminist response to Yves Klein’s Anthropometries (1960) and an echo of the happenings which Jean-Jacques Lebel organised at the time in Paris. In 1963, Erró told Myriam that if she wants to be a painter, she can not be his wife. Myriam chose to be a painter and the couple divorced in 1964. Since that time, Myriam Bat-Yosef has exhibited in many countries: Europe, United States, Japan, etc. Although long in the shadows, the work of Myriam Bat-Yosef has been greeted by many artists and personalities: Anaïs Nin, Nancy Huston, André Pieyre of Mandiargues, José Pierre, René de Solier , Jacques Lacarrière, Alain Bosquet, Pierre Restany, Sarane Alexandrian and Surrealist André Breton who, after a visit to her studio, confided to having been intrigued by its phantasmagorical dimension. She was included in the book Pop Art and Beyond: Gender, Race, and Class in the Global Sixties by Mona Hadler and Kalliopi Minioudaki. Extract "World Citizen, Artist of the Pop Era Sarah Wilson; Why do we know so little of Myriam Bat-Yosef, the most important female Israeli artist of the Pop era? Issues of identity and sexuality feature constantly in her work. She exhibited internationally from Reykjavik to Tokyo; she had two shows at Arturo Schwarz’s famous Dada/surrealist gallery in Milan; she participated in feminist art events in Los Angeles. Above all, in 1971, she conceived Total Art, a Pop Gesamtkunstwerk inside and outside the Israel Museum, Jerusalem. Painter, performer, and installation artist, she was also a lover, wife, and mother. Of Lithuanian-Jewish descent, she was close to the family of philosopher Emmanuel Levinas. An émigré in Paris she would repudiate a national passport, participating in Garry Davis’s short-lived “World Citizens” movement. She continues the lineage of women surrealist artists: Valentine Hugo, Leonor Fini, Dorothea Tanning, Leonora Carrington, Unica Zürn, Jane Graverol, Toyen, Alice Rahon...