Mimi Gross

Woodcut Print, 'Bible' Biblical Scene Signed Small Edition

Polly Kraft American (1928-2017) Umbrella Still Life (1984) watercolor on paper signed lower right 29 1/2 x 41 1/2 inches frame dimensions: 33 x 45 1/4 x 1 1/2 inches, wood frame with acrylic glazing Provenance: East Hampton Collection Fischbach Art Gallery New York, NY label affixed verso Polly Kraft, Known for painting portraits, landscapes, and still-lifes, realist artist Polly Kraft worked in both watercolor and oil. She had the ability to translate a split second glance into a memorable painting.a painter who turned quotidian objects and scenes — a sliced red apple still bearing its seeds, an unmade bed cluttered with mail, a filleted fish vibrant even in death — into works of art resonant with meaning, Her son, Mark Stevens is an art critic who with his wife, Annalyn Swan, co-authored the Pulitzer Prize-winning biography “de Kooning: An American Master” Mrs. Kraft spent a half-century at the center of the Washington establishment as the wife of Joseph Kraft, the syndicated newspaper columnist, and later, after Kraft's death in 1986, of Lloyd Cutler, the high-powered lawyer who was White House counsel to Presidents Jimmy Carter and Bill Clinton. Her marriages took her into the thick and thicket of social life in the capital — a world, she once remarked, where "politicians were mixed in with intellectuals, mixed in with academics, mixed in with movie stars." She counted among her friends members of the Kennedy family, former Washington Post chairman and publisher Katharine Graham, former Post executive editor Benjamin C. Bradlee and diplomats W. Averell and Pamela Harriman. Although oft cited as a doyenne of Georgetown hostesses, Mrs. Kraft professed that she relished neither politics nor Washington’s breed of socializing, which at times approached the intensity of a competitive sport. “When it comes to the poetry of dishevelment, Polly Kraft is one of our more rewarding practitioners,” art critic John Russell wrote in the New York Times in 1981. “She specializes in the domestic pileup — cushions knocked out of shape, books and magazines left askew, hasty departures acted out in verismo style. The point of the paintings lies in the contrast between this archetypal havoc and the order that Mrs. Kraft has imposed upon it.” Classic Americana. Her paintings, mainly watercolors and oil paintings, appeared at venues including the Corcoran Gallery of Art and Addison/Ripley Fine Art in Washington (she was part of their 40 year retrospective along with Lou Stovall, Diana Walker...

Reclining Nude.Early modernist line drawing, by American artist William S. Schwartz, c. 1940, gouache painting, signed with initials, framed. (size includes frame). Work is reminisce...

Watercolor painting of Old City of Jerusalem MORDECHAI AVNIEL Minsk, Belarus, b. 1900, d. 1989 Mordecai Dickstein (later Avniel) was born in 1900 in Minsk, present-day Belarus. He studied fine arts in Yekaterinburg, Russia (1913–19) and at the Bezalel Academy of Art and Design, Jerusalem (1923). Avniel immigrated to Palestine in 1921 where he first worked as a pioneer in citrus plantations near Petah Tikva. In 1923, at the urging of Boris Schatz, he went to Jerusalem to further his art studies at Bezalel. He later taught painting and sculpture at the school, and served a term as director of the Small Sculpture Section of the Sculpture Department (1924–28). From 1935 on, Avniel lived in Haifa. Avniel was also a lawyer and a founding partner of the Haifa firm Avniel, Salomon & Company. Avniel regularly showed his work in group exhibitions of the Painters and Sculptors' Association of Israel. He was awarded the Herman Struck Prize (1952), Tenth Anniversary Prize for Watercolours, Ramat Gan (1958), Histadrut Prize (1961), and First Prize Haifa Municipality (1977). He represented Israel at the 1958 Venice Biennale and the 1962 International Art Seminar at Fairleigh Dickinson University. Avniel was a member of the Artists' Colony in Safed and maintained a studio on Mount Carmel. Mordechai Avniel is best known for his deft and singular landscape work. His works are held in numerous museums and collections both in Israel and abroad, including the Metropolitan Museum, New York and the Carnegie Institute, Pittsburgh, PA. Avniel's manipulations of light and colour share much with those of compatriot artists Shimshon Holzman and Joseph Kossonogi. Education 1913-19 Art School of Katrinburg, Russia 1923 Bezalel School of Art, Jerusalem Selected exhibitions: 2004: Our Landscape: Notes on Landscape Painting in Israel, University of Haifa Art Gallery, Haifa (online catalogue) 1965: Mordechai Avniel Retrospective, Haifa Municipality Museum of Modern Art, Haifa 1964: Galerie Synthèse, Paris 1962: New York University, New York 1961: Rina Gallery of Modern Art, Jerusalem The Autumn Exhibition Rina Gallery, Jerusalem Artists: Dedi Ben Shaul, Lea Nikel, Yossef Zaritsky,Ephraim Fima Roytenberg, Zvi Meirovich, Aharon Kahana, Avigdor Stematsky, Mordechai Levanon, Yosl Bergner, Israel Paldi...

Watercolor painting of Shul interior in Tzfas, Safed Israel. MORDECHAI AVNIEL Minsk, Belarus, b. 1900, d. 1989 Mordecai Dickstein (later Avniel) was born in 1900 in Minsk, present-day Belarus. He studied fine arts in Yekaterinburg, Russia (1913–19) and at the Bezalel Academy of Art and Design, Jerusalem (1923). Avniel immigrated to Palestine in 1921 where he first worked as a pioneer in citrus plantations near Petah Tikva. In 1923, at the urging of Boris Schatz, he went to Jerusalem to further his art studies at Bezalel. He later taught painting and sculpture at the school, and served a term as director of the Small Sculpture Section of the Sculpture Department (1924–28). From 1935 on, Avniel lived in Haifa. Avniel was also a lawyer and a founding partner of the Haifa firm Avniel, Salomon & Company. Avniel regularly showed his work in group exhibitions of the Painters and Sculptors' Association of Israel. He was awarded the Herman Struck Prize (1952), Tenth Anniversary Prize for Watercolours, Ramat Gan (1958), Histadrut Prize (1961), and First Prize Haifa Municipality (1977). He represented Israel at the 1958 Venice Biennale and the 1962 International Art Seminar at Fairleigh Dickinson University. Avniel was a member of the Artists' Colony in Safed and maintained a studio on Mount Carmel. Mordechai Avniel is best known for his deft and singular landscape work. His works are held in numerous museums and collections both in Israel and abroad, including the Metropolitan Museum, New York and the Carnegie Institute, Pittsburgh, PA. Avniel's manipulations of light and colour share much with those of compatriot artists Shimshon Holzman and Joseph Kossonogi. Education 1913-19 Art School of Katrinburg, Russia 1923 Bezalel School of Art, Jerusalem Selected exhibitions: 2004: Our Landscape: Notes on Landscape Painting in Israel, University of Haifa Art Gallery, Haifa (online catalogue) 1965: Mordechai Avniel Retrospective, Haifa Municipality Museum of Modern Art, Haifa 1964: Galerie Synthèse, Paris 1962: New York University, New York 1961: Rina Gallery of Modern Art, Jerusalem The Autumn Exhibition Rina Gallery, Jerusalem Artists: Dedi Ben Shaul...

Abstract Composition, Kitchen Utensils. Ink and watercolor of kitchen implements. Hand signed in Hebrew upper left. Dimensions: (Frame) H 25" x 18" (Sight) H 18.5" x W 11.75" Bergner, Yosl (Vladimir Jossif) (b Vienna, 13 Oct 1920). surrealist, surrealism. belongs to the generation of people uprooted from childhood landscapes and forced by circumstance to build a life elsewhere. Uniquely, he became an Israeli without shedding his Jewish cosmopolitan-refugee identity, an identity he zealously guarded in the melting pot of Israel of the "fifties" and "sixties". In the years that have passed since he acquired his art education at the Melbourne National Gallery Art School in Australia, concepts in the art world have changed many times over. from the Jewish paintings and the depictions of Australian Aborigines through the children of safed, the wall paintings, the masks, the angels and kings, the still lifes, the "Surrealistic" paintings, the toys and flowers, the paintings inspired by the Bird-head Haggadah, the Kafka paintings, the Pioneers, the Kimberley fantasy (about his father's excursion in 1933 to northern Australia, in search of a "territory for the Jews"), Brighton Beach and the seascapes inspired by Eugene Boudin, through the chairs in the "Kings of Nissim Aloni" episode to the "Zionists" and the recent "Tahies". "During the six years that Bergner has lived in Israel," wrote Eugene KoIb, Direct. or of the Tel Aviv Museum, in the catalog of the Bergner exhibit in 1957, "he has established himself among Israeli artists." Bergner was indeed one of the artists who represented Israel in the Venice Biennial (1956; 1958) and in the Sao Paulo Biennial in 1957; this, in spite of the fact that Yosl Bergner did not harness his art to serve the Zionist ethos, that being, at the time, the order of the day (his paintings were in fact rejected at first as being those of a "Diaspora Jew"); he didn't "naturalize" himself by alliance to the country's landscape or its special light, nor did he turn to abstract painting. Painter of "the Jewish condition". the painter involved in Nissim Aloni's theater and the popular illustrator of poetry books and literary texts, he stuck to the narrative which drew its images from his childhood world, from Yiddish and from the Jewish culture of Poland in whose bosom he grew, with its literature, theater and fantasy. From this point of view his position as an "outsider", first in Australia and later in Israel, like that of the European Jew on the periphery of the dominant culture, afforded him a special dialectic vantage point from which to view his human and cultural surroundings. He was and remains a figurative painter even when he verges on the abstract. Israeli painter of Austrian birth, active in Australia. He grew up in Warsaw. His father, the pseudonymous Jewish writer Melech Ravitch, owned books on German Expressionism, which were an early influence. Conscious of rising anti-Semitism in Poland, Ravitch visited Australia in 1934 and later arranged for his family to settle there. Bergner arrived in Melbourne in 1937. Poor, and with little English, his struggle to paint went hand-in-hand with a struggle to survive. In 1939 he attended the National Gallery of Victoria’s art school and came into contact with a group of young artists including Victor O’Connor (b 1918) and Noel Counihan...

Katarzyna LIBROWICZ Polish French painter studied at the Academy of Fine Arts in Warsaw and arrived in France in 1937 . She studied with André Lhote in Montparnasse Paris and exhibited at the Salon d'Automne and the Salon des Independants . She is one of the painters of the School of Paris . Peintre polonaise.Elle étudia à l'Académie des Beaux-Arts de Varsovie, puis arriva en France en 1937. Elle suivit les...

Pastel on paper this is a modern interpretation of the thee Graces

Riga 2022. Paper/pen/mixed media, 14.8x19.4 cm Liga Kalnina Artist Liga Kalnina(1990) is born in Riga, Latvia. Her artist interests is mainly realistically based -landscapes, ar...

Allies 2022. Paper/pencil, 14.3x25.9 cm Liga Kalnina Artist Liga Kalnina(1990) is born in Riga, Latvia. Her artist interests is mainly realistically based -landscapes, architec...

"Marketplace Cashier #44" features hues of pink, blue, yellow and black. This work on paper is mounted to a wood panel and framed in a simple wood floater frame. The frame measures 13 by 9.75 inches. Eilis Crean is inspired by the works of Honoré-Victorin Daumier, Evie Hone, Patrick Pye, Milton Avery, William Kentridge, Joan Snyder, Jennifer Bartlett, Judy Pfaff and Sarah Sze...

"Abstraction #52" is a colorful abstract painting featuring hues of orange, green and brown. The framed dimensions are 11 by 13 inches. Eilis Crean is inspired by the works of Honoré-Victorin Daumier, Evie Hone, Patrick Pye, Milton Avery, William Kentridge, Joan Snyder, Jennifer Bartlett, Judy Pfaff and Sarah Sze...

"Abstraction #56" is a colorful abstract painting featuring hues of blue, mauve, green and red. The framed dimensions are 11 by 13 inches. Eilis Crean is inspired by the works of Honoré-Victorin Daumier, Evie Hone, Patrick Pye, Milton Avery, William Kentridge, Joan Snyder, Jennifer Bartlett, Judy Pfaff and Sarah Sze...