Judith Pins

Abstract Expressionist "Fire Dance" Oil Painting Israeli Artist

Roger Lersy, French (1920 - 2004) Oil on canvas Signed, R. Lersy, dated 1961 lower right Measuring 35 X 31 Matted and framed. sight 26 X 21.5 Roger Lersy was born in Paris, France 1920, in the rough neighborhood surrounding Place Pigalle. His youth was marked by extreme poverty. Lersy studied art and music at the École des Arts Apppliqués. He was a painter, lithographer and musician-composer He belongs to the École de Paris and was a member in the movement of the Young Painting. By 1946, when he first exhibited in Paris, Lersy became one of the founders of the School of Paris’ New Graphic School. Lersy received the Prix des Amateurs d’Art in 1953, the Shell Prize in 1954 and the Grand Prize of the City of Marseilles in 1953. Lersy could be defined as a Baroque expressionist. For Bernard Dorival, Roger Lersy is along with Gabriel Dauchot, Jean Commère and Raymond Guerrier among "the most noted champions of this expressionism which is part of the continuation of Bernard Buffet's miserabilism". Famous works: New Year's Eve , Aubusson tapestry of the Manufacture des Gobelins , Permanent Mission of France to the United Nations , One Dag Hammarskjöld Plaza , New York . Venice , bridges , watercolor, 1963 (theme of the Roger Lersy exhibition, Chicago). The poppy , original lithograph, Imprimerie Bellini, 1978, collection of the Cabinet des estampes , BNF . Still life at the pedestal table , oil on canvas, Jonzac town hall. Lohengrin , oil on canvas, Versailles Administrative Court of Appeal. Portrait of the painter Tony Agostini , drawing. Series Eiffel Tower. Stained glass: Saint-Laurent Church, Longlaville ( Meurthe-et-Moselle ), 29 stained glass windows. Musical works: Stained glasses for clarinet , saxophone, cello and percussion , creation in the church of Longlaville, 1972. Three pieces for two waves Martenot : 1. Scum of dream, 2. Scare and jubilation. Malicious connivance, sheet music Editions A. Leduc, Paris, 1979. Work for trumpet and piano , published by Éditions G. Billaudot, Paris, 1984. Five pieces for piano , scores published by G. Billaudot, Paris, 1989. Five preludes for piano and alto saxophone , scores at Éditions Combre, premiere at Flâneries musicales de Reims , 1993. In memory of Chagall , piece for flute and percussion , recording of Duo Hyksos (Henri Tournier, flute and Michel Gastaud, percussion) in 1995. Preface in black and yellow for horn and piano , score at Éditions Combre, Arc-en-ciel collection, 2000. Soundtracks: Diatomées Note 4 , 19 , film by Jean Painlevé...

David Rankin, American (b. 1946) Rocky Hillside, (1990) Oil on paper Hand signed lower right, signed and titled verso. 30 x 22 1/2 inches David Rankin is a New York-based, British-born Australian post-war and contemporary artist known for his expressionistic abstract paintings. His work can be categorized by his use of quick, loose brushstrokes, reminiscent of scribbles on a page. Rankin works predominantly in oil painting and acrylic on canvas, but also works with paper, prints, sculptures and ceramics. Rankin has held over 100 one-person exhibitions in cities across the world, including New York, London, Paris, Beijing, Mexico, Vienna, Berlin and Cologne, as well as all over Australia. Represented in many of the world’s leading public and private collections and museums, David Rankin’s work is featured in Australia’s leading institutions, including the National Gallery of Australia, Art Gallery of New South Wales, National Gallery of Victoria and Queensland Art Gallery. David Rankin was born in Plymouth, Devon, England in 1946 then emigrated to Australia with his family in 1948. He spent his childhood in the 1950s in the semi-rural Port Hacking region South of Sydney and his teenage years in country New South Wales, from Hay, Wagga Wagga and Albury in the South to Bourke and Brewarrina in the North. Rankin is self-taught, developing his techniques and ideas in the outback towns of his youth. He was inspired by the greats from Leonardo da Vinci to Paul Klee as well as being influenced by the history of Buddhism and Asian art. In his travels before he arrived in Sydney in 1967 he developed a concept of what he wanted to achieve as an Australian artist. His dream was to express the anima, the life spirit or the essence of God in all nature. As an Australian artist he believed could bring the elements of Western Art together with an understanding and love for the cultures of Asia and the Australian Aborigine. He also felt that as Australia was closer to Asia than Europe it made sense to think about the art of Indian, Chinese and Japanese artists, and that one could not be an authentic articulate Australian artist without a love and respect for the artistic and spiritual expressions of the various Aboriginal artists, peoples and cultures. His work combined elements of Abstract Expressionist painting with Jewish and Aboriginal influences. In 1979 his first wife, Jennifer Mary Roberts (née Haynes) died. Rankin subsequently met his current wife Lily Brett, whose own life was etched by tragedy with her parents being survivors of the Holocaust. She too migrated to Australia as a child after the Second World War in 1948. The artist recounts that his empathy for Lily and the pity for his first wife's death fused into what he calls "the dark blessing of my life." The darkness was transformed into images. The author Dore Ashton writes that the events of 1979 and the fire which ravished his studio in 1997 and burnt his art works and many personal possessions, had a profound impact on his work. Having personal life experiences as his subject matter, Rankin's paintings contemplate these things. For example, his Jerusalem series followed a trip to Jerusalem in 1988, which then led to his Golgotha works. His travels to the Australian, American and Mexican deserts became the subject matter for many of his canvases, such as Ridge – Mungo, Golden Prophecy – San Antonio, Grey Sonora Landscape and then led to his Witness Series. From the fire in his studio he then painted Buddha and Flames. He illustrated two books by Lily Brett on the holocaust and explored the theme further in his huge work The Drowned and The Saved from a book by Primo Levi of the same name. Through Brett he encountered Jewish mythology and painted judaica imagery, Black...

'La Multitud Sodomita Rodea la Casa de Lot' Titled and signed in Spanish. it refers to the biblical story of Lot with the Sodomites. It is a very well executed piece signed Castro an...

Colorful mid century vibrant abstract scene of boats in harbour. Signed and titled in Hebrew recto and titled and signed in Hebrew and English verso. Joseph Weiss, Painter, Sculptor, Woodcuts. b. 1916, Romania. Immigrated 1939 to Israel. Member of Kibbutz Evron. Studies: Klug, Romania, painting and graphics; advanced studies, Oranim Art Institute, Tivon; with Dada founder Marcel Janco and Zvi Mairovich. He was a Romanian-Austrian-Israeli painter producing mainly color woodcuts and sculpture, who was born at Romania in 1916. The First Exhibition of Israeli Graphic-Art, Museum for Modern Art, Haifa. 1967 Artists: Micha Ullman, Jakob Steinhardt, Jacob Pins, Noemi Smilansky, Miron Sima...

Rene Couturier lives in the Netherlands and France. Rene Couturier is known for abstract still life, figure and landscape painting. Rene' Couturier is an artist whose works displays...

Jay Milder (born 1934) is an American artist and a figurative expressionist painter of the second generation New York School. Old Testament themes such as Jacob's Ladder and Noah’s Ark, and the Jewish mystical beliefs of the Kabbalah, are recurring themes in Milder’s paintings which are presented as archetypal images that recur in the basic karma, make-up and need of human nature. Internationally exhibited, Milder is included in the collections of many national and international museums. He has been the subject of two, recent retrospectives in Brazil in 2007 at the National Museum Brasilia and, in 2006, at the Museum of Modern Art, in Rio de Janeiro. He is renowned in Sao Paulo, one of the major international centers for street and public art, as a seminal influence on graffiti artists. Jay Milder was born in Omaha, Nebraska, in 1934. His grandparents, who came from the Ukraine, were descendants of the Hasidic mystic, Rabbi Nachman. As he listened to family stories his interest in spiritualism and mysticism increased, and became an important influence on his philosophy of life and art. Later, when he arrived in New York, he was drawn to the Theosophical Society and the teaching of Helena Blavatsky. In 1954 Milder visited Europe where he studied painting with André L’Hote, and sculpture with Ossip Zadkine. He spent much time studying at the Louvre Museum, and at the studio of Stanley Hayter. During his Paris years the paintings of the Jewish painter Chaim Soutine, primarily influenced him. Milder returned to the United States in 1956, and he began studying painting at the Chicago Art Institute. He exhibited with the Momentum Group, an alliance of artists who were particularly dedicated to the progression of figurative art and its global origins. In 1957, Milder spent the summer in Mexico for a summer where he exhibited in Puebla. That year he received the Mexican Government’s Honor Award for artists. In the summer of 1958, Milder studied with Hans Hofmann in Provincetown, Massachusetts. He exhibited his work at the Sun Gallery, with his contemporaries, including Mary Frank, Red Grooms, Bob Thompson...

Diving for Pearls, 1986 Oil on canvas 88 x 76 in. (223.5 x 193 cm) Signed, dated, and titled, verso

James Joyce's Smile, 1984 Oil on canvas 66 x 87 in. (167.6 x 221 cm) Signed, dated, and titled, verso

Grey & Tan Abstract Expressionist Textural Mid-Century Abstract by Peter Witwer Heavily textured, expressive composition by Peter Witwer (American, 1928-1968). Over the top of a heavy base layer of plaster, Witwer has added various layers of oil paint, creating a massive amount of depth and texture. Sections of red peek out from underneath various shades of tan, grey, and black. Spots of blue and purple are used sparingly, hidden in the composition. Presented in a wood frame. Canvas size: 20"H x 40"W Frame size: 26.63"H x 46.63"W Unsigned, but was acquired with a collection of the artist's work. Provenance: Without a will and a family that had little interest in his art, nearly all of his possessions and close to 100 paintings were turned over to SF’s Conservators Office. His friend, Albert Richard Lasker, purchased all of Peter’s possessions (including the art) and has taken care of them until this day, always sensing there was something remarkable about the collection. Wanting Peter’s work to finally be seen, Richard came to Lost Art Salon with Peter’s story after reading about the new gallery in a July, 2005 issue of the SF Chronicle. Born George Peter...

Large Scale Mid-Century Earth-tone Horizontal Abstract by Joseph Vasica Very large scale (70"H x 160"W) (5.8'H x 13.3'L) mid-century abstract with soft edge, grey and burnt sienna...

Jim’s of Lambertville is proud to offer this artwork by: Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn. He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant. During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League. His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work. He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...

*PLEASE NOTE UK BUYERS WILL ONLY PAY 5% VAT ON THIS PURCHASE. Red Composition by TOSHIMITSU ÏMAI (1928-2002) Oil on canvas 80.2 x 55.3 (31 ⅝ x 21 ¾ inches) Signed, TOSHIMITSU IMAÏ, dated, 1963 Paris and inscribed in Japanese on the reverse Provenance Private collection, USA Born in Kyoto, Japan in 1928 Imai was part of the 20th century Japanese avant-garde. He began his formal education at the Tokyo State Art Academy where he took up painting. His early works are characterised by colourful abstractions, reminiscent of Favuism. In 1951 Imai was awarded the Kansai-Shinseisaku Prize and in 1952 the prize for the best new artist at the 15th Shinseisaku Salon. Imai relocated to Paris in 1953, the same and subsequent year he exhibited at the Salon de L’Art Sacré. Meanwhile, he attended the Académie de la Grande Chaumière and the Sorbonne to read medieval history and philosophy. In 1955, Imai completely abandoned representational art in favour of abstraction. After meeting the art critic Michel Tapié via the artist Sam Francis, Imai was the first Japanese artist to join the Art Informel movement. In 1956 Imai was called upon by the Japanese artist Taro Okamoto to curate an exhibition entitled The World: Today’s Art in Tokyo. Artists such as Jean Dubuffet, Jean Fautrier, Lucio Fontana, and Karel Appel gained important exposure in Japan. It was also in 1957, when Imai arranged for Tapié and the artists Georges Mathieu and Sam Francis to travel to Japan, that a connection between Art Informel and Gutai occurred. The Ashiya-based Gutai Art Association formed in 1954 was proclaimed a kindred spirit by Tapié which he subsequently promoted internationally. Founding members included Yoshihara Jiro, Kanayma Akira, Murakami Saburo, Shiraga Kazuo and Shozo Shimamoto...