Lions Gallery

Vintage pencil signed and numbered limited edition lithograph on deckle edged Arches paper. Shalom of Sefad (Shulem der Zeigermacher in Yiddish Shalom Moskowitz) Shalom of Tzfat lived for over seventeen years in his native town of Safed in the hills of the Galilee. There he worked as a watchmaker, stonemason and silversmith, during the 50's. Since then this self-taught artist has achieved an international reputation. Shalom is a naive painter, but not a primitive one, he expresses a very elaborate way of thinking in his own way. While belonging to Hasidism, Shalom of Safed...

SCARCE EARLY WORK. BEN SHAHN Levana and our Lady's Sorrows. lithograph printed in sepia on Papier Ancien, 1931. 13 1/8x9 7/8 inches (sheets), full margins, loose as issued. One of o...

SCARCE EARLY WORK. BEN SHAHN Levana and our Lady's Sorrows. lithograph printed in sepia on Papier Ancien, 1931. 13 1/8x9 7/8 inches (sheets), full margins, loose as issued. One of o...

SCARCE EARLY WORK. BEN SHAHN Levana and our Lady's Sorrows. lithograph printed in sepia on Papier Ancien, 1931. 13 1/8x9 7/8 inches (sheets), full margins, loose as issued. One of o...

SCARCE EARLY WORK. BEN SHAHN Levana and our Lady's Sorrows. lithograph printed in sepia on Papier Ancien, 1931. 13 1/8x9 7/8 inches (sheets), full margins, loose as issued. One of o...

SCARCE EARLY WORK. BEN SHAHN Levana and our Lady's Sorrows. lithograph printed in sepia on Papier Ancien, 1931. 13 1/8x9 7/8 inches (sheets), full margins, loose as issued. One of o...

Stanley Lewis was a Jewish Canadian sculptor, photographer and an internationally renowned art teacher born on March 28, 1930 in Montreal. His works are held in many public collectio...

Image size is 11.60" by 9" Boris Deutsch (Lithuanian-American Modernist) was born in Krasnogorsk Lithuania june 4 1892 died in Los Angeles 1978. Entered the polytechnic school in rig...

Adolph Studly, Swiss born American photographer. His work is kept in the Photographic Archive at The Museum of Modern Art Archives, New York. He was known for his gallery photographs of works by artists represented primarily by the Buchholz gallery, Curt Valentin, and Stephen Radich Galleries. Artists whose work he shot include Max Beckmann, Francis Bacon, Chaim Soutine, Allan Kaprow, Clyfford Still, Georges Braque, Paul Klee, Henri Matisse, Picasso, Auguste Rodin, Georges Rouault. He worked with Louis H. Dreyer, the pre-eminent architecture photographer in New York City. Chaim Jacob Lipchitz, 1891-1973, was born in Lithuania and came of age in Paris during the early 20th century, where he was active in the avante-garde community of Pablo Picasso, Amedeo Modigliani, Diego Rivera, Chaim Soutine, and Juan Gris. Art historian H. H. Arnason, who ranked Lipchitz with Picasso and Marc Chagall, wrote, "Lipchitz, as a pure sculptor, is ...unquestionably one of the greatest sculptors of this century." The architect Philip Johnson asked Lipchitz to make a wall sculpture to be placed on the brick chimney over a fireplace of a guest house owned by Mrs. John D. Rockefeller III on West 53rd Street in New York. Lipchitz decided to develop the piece from his Pegasus designs and call it Birth of the Muses in honor of the Rockefellers' interest in the arts. In 1950 he completed the work as a bronze relief five feet high. It was installed as planned and later was acquired by Lincoln Center. He participated in the Flight portfolio...

Marc Vaux, a figure of Montparnasse, pro­duced a trove of pho­tographs which are cur­rently held in the col­lec­tion of the Centre Pompidou in Paris, France. Marc Vaux was com­mitted equally to sup­porting artists, notably by cre­ating the Foyer des Artistes (1946-70) and, in 1951, the first Musée du Montparnasse at 10, rue de l’Arrivée. Marc Vaux was born on February 19, 1895 in Crulai, Normandy Thanks to the color mer­chant from whom he bought his plates and his pho­to­graphic equip­ment, he met the sculptor Charles Desvergnes winner of Prix the Rome and author of var­ious memo­rials who was looking for someone to pho­tographs his works. Two of Marc Vaux’s first clients were his neigh­bors of 21 Avenue du Maine- Marie Vassilieff and Maria Blanchard who intro­duced him to Parisian avant-garde artists: Juan Gris, André Lhote, Jacques Lipchitz, Ortiz de Zarate...

Cracow Poland Etching of Polish Synagogue, Jewish temple. From very rare small edition. Most are signed in Hebrew and /or English. some are marked AP some are numbered. please see ph...

David Sharir was born in 1938 in Tel Aviv, Israel and currently resides there. David Sharir, the son of Russian immigrants, was born in Israel. Beginning his study of art in Tel Aviv and continuing in Florence and Rome, where he studied architecture and theater design. The brightly colored costumes and intricate stage designs he created for these productions have profoundly influenced his art. When Sharir moved to Old Jaffa in 1966, his hallmark style was truly developed. Studio, family, and spiritual devotion all serve as inspiration for the imagery in his work. His evolving style combines personal experience, Biblical symbolism, and fantasy. Israel has had a Vibrant Folk Art, Naive art scene for a long time now artists like Yisrael Paldi, Nahum Guttman, Reuven Rubin and even Yefim Ladyzhensky had naive periods. The most well know if the strict naive artists are Shalom of Safed, Irene Awret Gabriel Cohen, Natan Heber, Michael Falk Kopel Gurwin. Sharir depicted biblical subjects with a touch of humour and designed sets and costumes for the theatre and opera. Graphic Art in Israel Today Tel Aviv Museum, Tel Aviv 1973 Israel 1948-1958: Watercolors, Drawings, Graphics The Bezalel National Museum, Jerusalem 1958 Jean David, Yosl Bergner, Menachem Shemi, Zvi Mairovich, Ruth Schloss, Nahum Gutman...

Samuel Grunvald was a Hungarian born American WPA artist known for abstract, landscape and seascape paintings. Arrived in the USA from Hungary in 1921 and settled in New York City where he studied at the Art Students League. Grunvald worked for the Federal Art Project, taught at Colony House in NYC. Member: Art Guild, Watercolor Society, New York Watercolor Club. exhibited at Montross Gallery, NYC, World House Galleries, NYC, Leonard Hutton Gallery, NYC, Associated American Artists Gallery and the A.C.A. Gallery. Gunvald's work spanned many modern American movements from the WPA to Abstract Expressionist painting. He was a member of the American Watercolor Society and the Brooklyn Society of Artists. He exhibited with both of these organizations and at the Brooklyn Museum of Art. He was involved the the WPA being a Federal Arts Project artist. A number of prominent Jewish artists participated in this New Deal program among them Ben Shahn, Joseph Solman, William Gropper, Philip Guston Adolph Gottlieb, Mark Rothko, Milton Avery, Ben Shahn, the Soyers (Isaac, Moses, and Raphael), and many others Grunwald exhibited alongside other popular artists such as Paul Klee, Jean Arp, Max Ernst and Charles Burchfield. He also taught and lectured on art and easel painting, Federal Art Project, NYC. His work is included in the collections of the Museum of Modern Art and The Jewish Museum, New York. Select Exhibitions A.C.A. Gallery Associated American Artists Gallery, 1936-1955 American Watercolor Society, 1932-1942 New York Watercolor Club, 1935-1937 Humanist Art...

Loren Munk (American, b. 1951) Cut paper collage "Home Boys with Chicken & Bike", collage and mixed media on paper, signed "Munk '85", bears artist's stamp, label on back from Gabrielle Bryers Gallery NYC, 15" x 22" sheet, framed 23.5" x 30.5" .African American kids in a park. Done in a manner that recalls Romare Bearden. The artist Loren Munk (born 1951) is primarily known for his YouTube nickname James Kalm as an uploader of videos about New York exhibitions, amongst others. He presents himself as a maker of contemporary paintings for several decades and of cubist paintings of urban imagery. Munk has received accolades for his drawings and mosaics. He differs from traditional mosaic artists by the manner in which he incorporates glass into his decorative paintings. His unique and innovative use of materials such as mirror, gold-leaf and glass mosaic affirmed him as a founding force of Kitsch Art and a leading member of New York Neo-Expressionism. Munk's work debuted in SoHo in 1981 with a double show at J. Fields Gallery and Gabrielle Bryers. Since then, he has overseen an international career. In addition to exhibiting in Brazil, France, Germany and the United States, Munk has received national and overseas, public and private commissions. He is well represented in important collections throughout Europe, South and North America and the Middle East. Most recently, Munk has been producing a series of paintings which tackle the subject of art itself through a historical and diagrammatic lens. Munk documents the New York art world in YouTube videos, using the name James Kalm. Timeline: 1979 Attended Art Students League, New York 1973-75 Attended University of Maryland at Ramstein, Germany while in US Army 1969-72 Attended Idaho State University, Pocatello, Idaho 1951 Born, Salt Lake City, Utah Select Group Exhibitions 2018 “Under Erasure” curated by Heather and Raphael Rubinstein at Pierogi Gallery New York 2016 "It Was Never Linear: Recent Painting" at the Sheldon Museum of Art Lincoln Neb. with: Robert Bordo, Dawn...

Loren Munk (American, b. 1951), mixed media photograph collage painting signed Loren dated 1989. 13" x 19" inches sheet, framed 20.25" x 26" inches. This one has a drawing of 2 African American kids in a park at the water fountain. Titled "Squirt" (squirt) along with 2 photos of a white boy playing with the water fountain and the details of how the artwork came about. The artist Loren Munk (born 1951) is primarily known for his YouTube nickname James Kalm as an uploader of videos about New York exhibitions, amongst others. He presents himself as a maker of contemporary paintings for several decades and of cubist paintings of urban imagery. Munk has received accolades for his drawings and mosaics. He differs from traditional mosaic artists by the manner in which he incorporates glass into his decorative paintings. His unique and innovative use of materials such as mirror, gold-leaf and glass mosaic affirmed him as a founding force of Kitsch Art and a leading member of New York Neo-Expressionism. Munk's work debuted in SoHo in 1981 with a double show at J. Fields Gallery and Gabrielle Bryers. Since then, he has overseen an international career. In addition to exhibiting in Brazil, France, Germany and the United States, Munk has received national and overseas, public and private commissions. He is well represented in important collections throughout Europe, South and North America and the Middle East. Most recently, Munk has been producing a series of paintings which tackle the subject of art itself through a historical and diagrammatic lens. Munk documents the New York art world in YouTube videos, using the name James Kalm. Timeline: 1979 Attended Art Students League, New York 1973-75 Attended University of Maryland at Ramstein, Germany while in US Army 1969-72 Attended Idaho State University, Pocatello, Idaho 1951 Born, Salt Lake City, Utah Select Group Exhibitions 2018 “Under Erasure” curated by Heather and Raphael Rubinstein at Pierogi Gallery New York 2016 "It Was Never Linear: Recent Painting" at the Sheldon Museum of Art Lincoln Neb. with: Robert Bordo, Dawn Clements, Lois Dodd, Michelle Grabner, Colin Prahl, Peter Saul, Barbara Takenaga, and Stanley Whitney 2014 "Some Artists" curated by Matthew Deleget at Minus Space. David Diao, Mary Beth Edelson, Alfred Jensen, George Maciunas, Loren Munk, Ward Shelley, John Zinsser 2013 "Coming Together: Surviving Sandy Year 1" curated by Phong Bui for the Dedalus Foundation, "The Decline and Fall of the Art World: Part I" curated by Nick Lawrence at Freight+Volume, N.Y. "Reticulate" at McKenzie Fine Art Inc., N.Y. "The Pyramids Along the Nile" at English Kills Gallery 2012 "When We Were Ancient" organized by Ethan Petitt at Teddy's Bar, Williamsburg "Heroes" curated by Julie Torres at Small Black Door, Ridgewood Queens, N.Y. 2011 "ABC123" curated by Janet Goleas at Eric Firestone Gallery, East Hampton, N.Y. "6 Who Paint" curated by Fred Valentine at Big & Small/Casual, Long Island City, N.Y. "It's All Good: Apocalypse Now" curated by Richard Timperio, Side Show Gallery, Brooklyn, N.Y. "Paper 2011" at Janet Kurnatowski Gallery, Brooklyn. "NEW year NEW work NEW faces" by Jason Andrew and Deborah Brown at Storefront Gallery. "Unfinished Pictures" curated by Kristin Calabrese at LACE, Los Angeles Cal. "It's All Good" curated by Richard Timperio at Side Show Gallery Brooklyn. 2010 "Wall to Wall" Daniel Weinberg Gallery Los Angeles California. Artists: Richard Artschwager, Lynda Benglis, Robert Bechtle, Billy Al Bengston, Tony Berlant...

Loren Munk (American, b. 1951), mixed media painting signed "Munk '89", 13" x 19" inches sheet, framed 20.25" x 26" inches. This one is African American kids in a park at the water fountain. Titled "Squart" (squirt) The artist Loren Munk (born 1951) is primarily known for his YouTube nickname James Kalm as an uploader of videos about New York exhibitions, amongst others. He presents himself as a maker of contemporary paintings for several decades and of cubist paintings of urban imagery. Munk has received accolades for his drawings and mosaics. He differs from traditional mosaic artists by the manner in which he incorporates glass into his decorative paintings. His unique and innovative use of materials such as mirror, gold-leaf and glass mosaic affirmed him as a founding force of Kitsch Art and a leading member of New York Neo-Expressionism. Munk's work debuted in SoHo in 1981 with a double show at J. Fields Gallery and Gabrielle Bryers. Since then, he has overseen an international career. In addition to exhibiting in Brazil, France, Germany and the United States, Munk has received national and overseas, public and private commissions. He is well represented in important collections throughout Europe, South and North America and the Middle East. Most recently, Munk has been producing a series of paintings which tackle the subject of art itself through a historical and diagrammatic lens. Munk documents the New York art world in YouTube videos, using the name James Kalm. Timeline: 1979 Attended Art Students League, New York 1973-75 Attended University of Maryland at Ramstein, Germany while in US Army 1969-72 Attended Idaho State University, Pocatello, Idaho 1951 Born, Salt Lake City, Utah Select Group Exhibitions 2018 “Under Erasure” curated by Heather and Raphael Rubinstein at Pierogi Gallery New York 2016 "It Was Never Linear: Recent Painting" at the Sheldon Museum of Art Lincoln Neb. with: Robert Bordo, Dawn Clements, Lois Dodd, Michelle Grabner, Colin Prahl, Peter Saul, Barbara Takenaga, and Stanley Whitney 2014 "Some Artists" curated by Matthew Deleget at Minus Space. David Diao, Mary Beth Edelson, Alfred Jensen, George Maciunas, Loren Munk, Ward Shelley, John Zinsser 2013 "Coming Together: Surviving Sandy Year 1" curated by Phong Bui for the Dedalus Foundation, "The Decline and Fall of the Art World: Part I" curated by Nick Lawrence at Freight+Volume, N.Y. "Reticulate" at McKenzie Fine Art Inc., N.Y. "The Pyramids Along the Nile" at English Kills Gallery 2012 "When We Were Ancient" organized by Ethan Petitt at Teddy's Bar, Williamsburg "Heroes" curated by Julie Torres at Small Black Door, Ridgewood Queens, N.Y. 2011 "ABC123" curated by Janet Goleas at Eric Firestone Gallery, East Hampton, N.Y. "6 Who Paint" curated by Fred Valentine at Big & Small/Casual, Long Island City, N.Y. "It's All Good: Apocalypse Now" curated by Richard Timperio, Side Show Gallery, Brooklyn, N.Y. "Paper 2011" at Janet Kurnatowski Gallery, Brooklyn. "NEW year NEW work NEW faces" by Jason Andrew and Deborah Brown at Storefront Gallery. "Unfinished Pictures" curated by Kristin Calabrese at LACE, Los Angeles Cal. "It's All Good" curated by Richard Timperio at Side Show Gallery Brooklyn. 2010 "Wall to Wall" Daniel Weinberg Gallery Los Angeles California. Artists: Richard Artschwager, Lynda Benglis, Robert Bechtle, Billy Al Bengston, Tony Berlant...

Israeli Tzahal, IDF Soldiers and Chassidic men praying and dancing at the Kotel, Western Wall in jerusalem israel. Fine oil painting. 24 x 18 canvas, 32.5 x 27.5 inches with frame. Simon Natan Karczmar (born November 1, 1903 in Warsaw , died 1982 in Safed ) - Polish and Israeli painter. He was born as Szmaja Karczmar, he studied at the Warsaw School of Fine Arts. He earned a living by importing fur from Russia, which he sold to a cousin who was a furrier. With time, he gained a lot of experience and became an excellent sorter. In 1929 he left for Paris , where he continued his studies in painting. In 1931 he met Nechuma ( Nadia) from Poland, whom he married. Because it was difficult to support the family out of the sale of paintings, he returned to the sorter's work, and his wife started working at perfume Les Lilas in one of the suburbs of Paris. During the Second World War, the persecution of Jews also affected France, so in 1941 he and his family left for Nice. Shortly thereafter the father of Nechuma was denounced to the Gestapo and murdered by a German militiaman. Nechuma was arrested and transported to Auschwitz , Simon joined the partisans at that time. After the war, Nechuma returned to France and reopened perfume. In 1951, the Karczmarów family decided to emigrate to Israel, Simon and his brother-in-law ran a metallurgical plant, but because of losses they had to shut it down. In 1955 they were invited by a friend to Canada, they lived in Montreal where Simon worked again as a fur sorter. In 1959 he got allergies and had to abandon his previous job, he was depressed due to bad financial situation. Simon Karczmar began to paint in a naive way memories of childhood, thanks to which he managed to give them an authentic character and show those places and times through the eyes of a child. His work received positive reviews, he had an individual exhibition at an art gallery in Montreal. In 1960, together with his wife, he left Canada and left for Mexico, where Simon co-organized the Museum of Film Art. At the Centro Deportivo there was a second individual exhibition of his works, and after that he was invited to exhibit paintings in two other galleries. He also received a job offer in the United States and Canada. In 1962 he went to Israel again, where he settled in the art colony in Safed and studied new painting techniques. Although he left France for Israel most of his work evokes his experiences in Eastern Europe. He traveled many times to New York , where he eagerly spent the winter. He died in Safed when he was 79 years old. The Portrait in Palestine, The Bezalel National Museum, Jerusalem 13 February, 1934 - 25 March, 1934 Artists: Boris Schatz, Hermann Struck, Jakob Steinhardt, Tadeusz Rychter, Simon Karczmar, Moshe Castel, Avigdor Stematsky, Shmuel Charuvi, Meir Gur Arie, Joseph Budko, Jacob Eisenberg and more. Simon Karczmar's paintings depict the world of his childhood, depict the everyday life of Polish Jews, their culture, customs, celebrations and holidays. You can see the figures of musicians, traders, buildings of Jewish districts and interiors of their houses. Thanks to the naive technique used, viewers look at the world of the painter's childhood through his eyes. The series of paintings entitled Shtetl depicts paintings remembered by the artist from his grandfather's stay in a small Jewish town near Vilnius In this series of images known collectively as Shtetl, (popularized by Sholem Aleichem, Marc Chagall and Chaim Goldberg) Karczmar draws inspiration from his childhood memories of the vacations he spent at his grandfather's house in Lithuania. The word shtetl is Yiddish for little town and refers to the villages with significant Jewish populations that could once be found throughout Eastern Europe. The nostalgia of Karczmar's renderings contrasts with the darker views of life for Jews revealed in the photographs by Roman Vishniac and drawings of Ephraim Moshe Lilien...

Provenance: Virginia Field, arts administrator; New York, N.Y. Assistant director for Asia House gallery. (she was friends with John von Wicht, Bernard Childs, John Ford and Andy Warhol) Johannes Von Wicht was born in Holstein, Germany on February 3, 1888. His mother moved the family to Oldenburg when Von Wicht was in elementary school and he began to visit the artist Gerhard Bakenhus. Von Wicht’s mother had arranged for him to apprentice at the studio of master painter F.W. Adels. There he learned to prepare paints with linseed oil and later commented on the lasting impression of colors throughout his career. Interior of a Farmhouse was his first painting completed in 1907. Gerhard Bakenhus was able to include the painting to in the Bremer Kunsthalle exhibition in 1908. Due to the critical success of this piece Von Wicht was accepted to the private art school of the Grand Duke of Hesse in Darmstadt. Fundamental themes of simplicity, nature, and poetry were instilled in the students. The students also studied ancient art, Chinese and Japanese calligraphy, as well as Mathias Grünewald, Albrecht Dürer, Martin...

Robin Winters (b. 1950) hand signed; 1986. Acrylic, rhoplex and powdered pigment on screenprint Dimensions: 36”h, 32”w Title: "Home" Provenance: Brooke Alexander Gallery, New York, New York. Gallery label verso. Robin Winters is known for his conceptual works in a wide variety of two- and three-dimensional media and performance/durational art. The reliquary and other recurring themes that appear in his works can be seen in the collection of sculptures and paintings offered in this sale (lots 170, 171, 173, 393, 396). Gallery label to reverse: Brooke Alexander Gallery, New York, New York. Provenance: Brooke Alexander Gallery, New York, New York. Robin Winters (born 1950 in Benicia, California) is an American conceptual, multi-disciplinary, artist and teacher based in New York. Winters is known for creating solo exhibitions containing an interactive durational performance component to his installations, sometimes lasting up to two months. Winters first emerged in the burgeoning Soho NYC art scene of the 1970s. An early practitioner of the Relational Aesthetics (social interaction as an art medium) Winters also created in works through sculpture, installation, performance, painting, drawing and prints. His art maintains a whimsical spirit, and he often returns to ongoing themes involving faces, boats, cars, bottles, hats and jesters or fools. Winters has incorporated such devices as blind dates, double dates, dinners, fortune telling, and free consultation in his performances. Throughout his career he has engaged in a wide variety of media, such as performance art, film, video, writing prose and poetry, photography, installation art, printmaking, drawing, painting, ceramic sculpture, bronze sculpture, and glassblowing. Winters was born in Benicia, California in 1950 to lawyer parents. As a child his hobby was collecting glass bottles found on the beach and under old buildings, which would later influence him as an artist. In 1968, Winters had his first durational performance, entitled Norman Thomas Travelling Museum. The artist drove a Volkswagen bus decorated in collage, many of the images relating to current events and politics. Inside was what the artist described as a “reliquary” containing many objects, including a bottle collection. Winters took the van to shopping centers and even as far as Mexico. That same year, Winters opted not to register for the military draft. Although he was deemed fit to serve, Winters refused. In 1975 the resulting legal proceedings finally came to a close after it was proven that the artist had been harassed by the local draft board. In his teens and early twenties, Winters became acquainted with several local artists who helped shape his aesthetic, most notably Manuel Neri and Robert Arneson. By the early 1970s, Winters was studying at the San Francisco Art Institute (SFAI) and had relocated to San Francisco. At this time Winters became friends with the Bay Area conceptual artists Terry Fox and Howard Fried, and participated in several of Fried's performance works. In 1972 Winters was accepted into the Whitney Independent Study Program in New York City. After coming to New York City, Winters helped support himself by working for various artists, among them the performance artist Joan Jonas and sculptor Donald Judd. In 1974, Winters performed The Secret Life of Bob-E or Bob-E Behind the Veil eight hours a day, five days a week for a month in his studio apartment. Behind a one-way mirror the audience could watch Winters play the character of Bob-E, whose goal was to make a monument for everyone in the world in the form of blue and yellow rubber top hats. By the end of the month the artist had constructed 262 hats. The following year, Winters was invited to take part in the Whitney Museum's 1975 Biennial Exhibition. Entitled W.B. Bearman Bags a Job or Diary of a Dreamer. These meetings led to the formation of the Group Collaborative Projects, or Colab, of which Winters is a founding member. Also in 1976, Winters formed the partnership “X&Y” with fellow artist Coleen Fitzgibbon that would last two years. Together they performed a series of shows in the Netherlands, most notably a show entitled Take the Money and Run. Performed at De Appel in Amsterdam, the show involved the artists robbing their audience. The following day the audience was given an apology, as well as the opportunity to retrieve any valuables and participate in a lottery to win the artists’ services. They also made a Super 8 film in NY called Rich-Poor, in which they asked people on the streets their thoughts on the rich and poor. In 1980 Winters participated in The Real Estate Show and in Absurdities at ABC No Rio. That same year he and artists Peter Fend, Coleen Fitzgibbon, Peter Nadin, Jenny Holzer, and Richard Prince also formed The Offices of Fend, Fitzgibbon, Holzer, Nadin, Prince & Winters. This short-lived collective was based out of an office on lower Broadway and offered “Practical Esthetic Services Adaptable to Client Situation”, as stated on their business card. Their goal was to offer their art as “socially helpful work for hire”. In June of that year Winters participated in The Times Square Show, Colab's most well-known exhibition. The month-long show took place in a four floor building on West 41st Street and was densely packed with art. To cap off a busy year, Winters also became one of the first artists to join the Mary Boone Gallery, showing a successful solo exhibition in 1981. His work was shown in the New York/New Wave show in 1981 at MoMA PS1 along with Jean-Michel Basquiat, Roberta Bayley, William S. Burroughs, David Byrne, Sarah Charlesworth, Larry Clark, Crash (John Matos), Ronnie Cutrone, Brian Eno, Peter Fend, Nan Goldin, Keith Haring, Ray Johnson, Joseph Kosuth, Marcus Leatherdale, Christopher Makos, Robert Mapplethorpe, Elaine Mayes, Frank Moore, Kenny Scharf and others. In 1982, Winters had his first solo exhibition in Los Angeles at the Richard Kuhlenschmidt Gallery. At the Mo David Gallery in 1984, Winters created an installation piece that consisted of a floor of plaster tiles. Underneath each tile, hidden from view, was a drawing. He designed the stage sets for the musician Nico, and assisted French artist Orlan, American artist Stuart Sherman, and American poet Gregory Corso. Two years later Winters was invited to take part in Chambres d’Amis (In Ghent there is Always a Free Room for Albrecht Durer) in Ghent, Belgium. In it, 51 artists created installations in 50 different sites, mostly private homes. Winters chose the home of a local art historian. The artist made 90 drawings based on images found in the large collection of art books in the home's library. He made two copies of each drawing and placed the originals in the books themselves. One set of copies was exhibited in the sponsoring museum, Museum van Hedendaagse, as "The Ghent Drawings". The drawings were also on display at Winters’ solo exhibition at Luhring Augustine & Hodes Gallery in New York City in 1987. In 1986, Winters had a solo exhibition at Maurice Keitelman Gallery in Brussels, Belgium, and the following year a solo exhibition at the Centre Régional d'Art Contemporain Midi-Pyrénées in Toulouse, France. Also in 1986, Winters' Playroom was held at the Institute for Contemporary Art in Boston, Massachusetts. The exhibition was part of Think Tank, a retrospective of Winters' work which traveled to the Stedelijk Museum in the Netherlands, the Centre Regional d’Art Contemporain in France, and the Contemporary Arts Center in Ohio. Winters spent a month in 1989 working with students at the San Francisco Art Institute. Never having worked with ceramics, he spent the month making numerous ceramic pieces, which were then shown in the aptly named One Month in San Francisco. Other components of the piece included Winters’ childhood bottle collection and a video showing each piece in the show filmed briefly next to a ruler.[ Also that year, Robin served as a visiting artist at the Pilchuck Glass School, where he met artist John Drury, who was then working as the school's artist liaison. In the summer of 1990, Winters interviewed fellow artist Kiki Smith for her eponymous book, which was published later that year. That same year (1990), Winters was invited by the Val Saint Lambert glass factory in Belgium to create glassworks in their facility. Winters, artists John Drury and Tracy Glover...

FLORA & FAUNA SERIES, c.1998, Fuji crystal archive paper. Unsigned, Photographer Jeffrey Rothstein focuses on different elements within Nature for his subject matter, ranging from f...

FLORA & FAUNA SERIES, c.1998, Fuji crystal archive paper. Unsigned. Photographer Jeffrey Rothstein focuses on different elements within Nature for his subject matter, ranging from f...

FLORA & FAUNA SERIES, c.1998, Fuji crystal archive paper. Unsigned. Photographer Jeffrey Rothstein focuses on different elements within Nature for his subject matter, ranging from f...

A beautiful wooded landscape scene with houses and trees. Painted on a masonite board. hand signed lower right. with framers label verso. Framed to 40 X 55 inches. 33 X 48 without the frame and mat. It is not dated. Lena Gurr (1897–1992), was an American woman artist who made paintings, prints, and drawings During the course of her career Gurr's compositions retained emotional content as they evolved from a naturalistic to a semi-abstract cubist style. Born into a Russian-Jewish Yiddish speaking immigrant family, she was the wife of Joseph Biel, also Russian-Jewish and an artist of similar genre and sensibility. Gurr used Lena Gurr as her professional name. After marrying Joseph Biel she was sometimes referred to as Lena Gurr Biel. Biel had been born in Grodno, Poland (later absorbed into Russia) and had lived in England, France, and Australia before coming to New York. An artist, he specialized in landscape paintings and silkscreen printing as well as photography. He studied art at the Russian Academy in Paris. After immigrating to the United States, he studied under George Grosz at the Arts Students League. Gurr was born in Brooklyn and, apart from brief stays in Manhattan and in Paris, lived there her whole life. This painting bears the influence of Lyonel Feininger an influential German American artist. Gurr began studying art at a young age. In 1919 she studied painting and printmaking at the Educational Alliance Art School and between 1920 and 1922 she won a scholarship to attend the Art Students League where she took classes with John Sloan and Maurice Sterne. In 1926 and 1928 Gurr participated in group shows at the Whitney Studio Club in Greenwich Village and in 1928 she also participated in the 12th annual exhibition of the Society of Independent Artists at the Waldorf Roof in New York. (Reviewing this show, Helen Appleton Read, the critic for the Brooklyn Daily Eagle, said "I made three discoveries on my first visit, Thomas Nagel, Eugenie McEvoy and Lena Gurr with two figure compositions which have something of Marie Laurencin or Helene Perdriat quality of naive sophistication.") The Waldorf Roof was a set of rooms on the top floor of the Waldorf Astoria Hotel, one of which had glass sides and a glass roof. The rooms were used for concerts, dances, benefits, and exhibitions.From 1929 to 1931 Gurr took a leave of absence from her teaching position to travel in France with Joseph Biel, an artist whom she had met while studying at the Art Students League. They spent time in Nice and Mentone but mainly in Paris. During the early months of 1931, while she was still abroad, her work appeared in group exhibitions held at the R. H. Macy department store and the Opportunity Gallery (opened by Gifford Beal). In 1932 she participated in three shows: a solo exhibition at the Brooklyn Museum, an annual exhibition of the New York Society of Women Artists, ( Its first president was Marguerite Zorach. Founding members included Agnes Weinrich, Anne Goldthwaite...

A fantastic vase of bold colorful flowers. signed and dated in Hebrew and English, Jerusalem 1989. Litvak's life as an artist started in 1976 when he left Kishinev (Bessarabia) for ...

Hand signed, limited edition on BFK Rives French art paper. I believe the title is Honeymoon. Jan Balet (20 July 1913 in Bremen – 31 January 2009 in Estavayer le Lac, Switzerland), was a German/US-American painter, graphic artist and illustrator. Affected by the folk art style of naive art he worked particularly as a graphic artist and as an Illustrator of children's books. His works exhibit a dry wit and refreshingly candid, whimsical, satirical view of life. His uncle was the famous painter and illustrator Benno Eggert. Many well-known personalities of the time were friends of his grandfather, i.e. the painters Hans Purrmann, Karl Caspar, Maria Caspar-Filser (cousin of his mother), the writer Martin Andersen Nexo, the Swabian poet Wilhelm Schussen as well as the poet and writer Oskar Wöhrle. In 1929, at the age of 17, he moved to Berlin at the invitation of his father and studied Drawing at the college of Arts and Crafts (Kunstgewerbeschule Ost am Schlesischen Bahnhof). A year later, he went to live with his mother and his grandmother, in Munich. Balet transferred his studies to the Munich College of Arts but was dismissed in 1932. He went on to study with Professor Ege, at a private school for commercial art. During this time he also worked at an institute for lithography and for the art gallery Wallach. Balet rented his first small studio at the age of nineteen, where he manufactured and sold hand colored Bavarian woodcuts. 1934 he passed the entrance examination to the Akademie der Bildenden Künste München and undertook further studies with Olaf Gulbransson. His work is of a popular style similar to Michel Delacroix, Charles Fazzino and James Rizzi. In early 1938 Balet was recruited by the German military and because his ancestor's passport was not complete, he was forbidden to associate further with the Akademie der Bildenden Künste München. Later that year Balet emigrated to the USA, settled in New York and painted rustic furniture for a living. One winter he jobbed as a skiing teacher in Vermont and occasionally jobbed as an advertising commercial artist. Among other projects, he painted the cafeteria of the largest of New York's department stores R.H. Macy. From time to time Balet's designs appeared in the fashion magazine Mademoiselle and in 1943 he became Art Director at the magazine. Balet became so successful as a commercial artist that he was able to give up paid employment and start his own business. He worked for the radio station CBS, magazines such as Vogue, House and Garden, House Beautiful, The Saturday Evening Post, Glamour, Good Housekeeping, This week. After the war ended in 1945 he acquired U.S. citizenship. Balet commuted between his studio in New York and an old, boat house in the dunes of Montauk, Long Island, which he had converted to a studio where he painted and drew. His first children's book Amos and the Moon was published in 1948. Despite what was regarded in the USA as fashionable art Abstract, Op-art and Pop Art, Balet continued to paint in his own naif style. Art work (Children books and sketchbooks) 1948 Amos and the moon, Henry Z. Walck Verlag New York 1949 Ned, Ed and the lion 1951 What makes an orchestra 1959 The five Rollatinis, J. B. Lippincott Co. Verlag New York 1965 Joanjo, Pharos Verlag Basel 1966 Das Geschenk Eine portugiesische Weihnachtsgeschichte, Betz-Verlag München 1967 Der König und der Besenbinder, Betz-Verlag München 1969 Der Zaun, Otto Maier Verlag München 1969 Ladismaus, Betz-Verlag München 1979 Ein Skizzenbuch, Windecker Winkelpresse 1980 Katzen-Skizzen, Windecker Winkelpresse 1981 Skizzen-Paare, Windecker Winkelpresse 1981 Die Leihkatze oder Wie man Katzen lieben lernt, Windecker Winkelpresse (Author: Otto Schönberger) 1982 Paris-Skizzen, Windecker Winkelpresse 1984 Hellas-Skizzen, Windecker Winkelpresse 1993 Wasser-Skizzen, Edition Toni Pongratz 1994 Die Zeppeline des Jan Balet, Zeppelin-Museum Friedrichshafen (Taschenbuch) 2008 Angekommen: Gedichte (Author: Hans Skupy) Publicationen, which Jan Balet illustrated 1945 Alarcon, P.A.: Tales from the Spanish, Allentown 1948 Hanle-Zack, D.: The golden ladle, Chicago-New York 1952 Wing, H.: Rosalinda, Chicago 1953 Wing, H.: The lazy lion...

Norman Rockwell (1894-1978) Benjamin Franklin. Originally created as cover illustration for 1926, The Saturday Evening Post, the original Post cover was published celebrating the then sesquicentennial (150 year) anniversary of the signing of the Declaration of Independence, with this limited edition print series created in honor of the bicentennial anniversary. The lithograph was hand proofed and printed by Eleanor Ettinger Gallery in October 1976, this is from the rare edition of 200 that were signed in pencil by Norman Rockwell. This cover is one of the Post's most significant since it draws a connection between the founding of the United States of America and the Saturday Evening Post itself. Impression on papier d'Arches. Hand signed in pencil by Norman Rockwell. hand editioned and with publishers blindstamp. Norman Percevel Rockwell (1894 – 1978) was an American author, painter and illustrator. His works have a broad popular appeal in the United States for their reflection of American culture. Rockwell is most famous for the cover illustrations of everyday life he created for The Saturday Evening Post magazine in a modern folk art style over nearly five decades. Among the best-known of Rockwell's works are the Willie Gillis series, Rosie the Riveter, The Problem We All Live With, Saying Grace, and the Four Freedoms series. He is also noted for his 64-year relationship with the Boy Scouts of America (BSA), during which he produced covers for their publication Boys' Life, calendars, and other illustrations. These works include popular images that reflect the Scout Oath and Scout Law such as The Scoutmaster, A Scout is Reverent and A Guiding Hand, among many others. Rockwell was also commissioned to illustrate more than 40 books, including Tom Sawyer and Huckleberry Finn as well as painting the portraits for Presidents Eisenhower, Kennedy, Johnson, and Nixon, as well as those of foreign figures, including Gamal Abdel Nasser and Jawaharlal Nehru. His portrait subjects included Judy Garland. One of his last portraits was of Colonel Sanders in 1973. His most popular calendar works: the "Four Seasons" illustrations for Brown & Bigelow that were published for 17 years beginning in 1947 and reproduced in various styles and sizes since 1964. He painted six images of classic Americana for Coca-Cola advertising. Illustrations for booklets, catalogs, posters (particularly movie promotions...

Norman Rockwell (1894-1978) First Airplane Ride/ Old Women Riding Airplane, 1938 Originally created as cover illustration for The Saturday Evening Post. Media print lithography on paper, this twelve-color lithograph was hand proofed and printed at Atelier Ettinger in December 1976. A/P Artist Proof impression on papier d'Arches. Hand signed in pencil by Norman Rockwell. hand editioned and with publishers blindstamp. Norman Percevel Rockwell (1894 – 1978) was an American author, painter and illustrator. His works have a broad popular appeal in the United States for their reflection of American culture. Rockwell is most famous for the cover illustrations of everyday life he created for The Saturday Evening Post magazine in a modern folk art style over nearly five decades. Among the best-known of Rockwell's works are the Willie Gillis series, Rosie the Riveter, The Problem We All Live With, Saying Grace, and the Four Freedoms series. He is also noted for his 64-year relationship with the Boy Scouts of America (BSA), during which he produced covers for their publication Boys' Life, calendars, and other illustrations. These works include popular images that reflect the Scout Oath and Scout Law such as The Scoutmaster, A Scout is Reverent and A Guiding Hand, among many others. Rockwell was also commissioned to illustrate more than 40 books, including Tom Sawyer and Huckleberry Finn as well as painting the portraits for Presidents Eisenhower, Kennedy, Johnson, and Nixon, as well as those of foreign figures, including Gamal Abdel Nasser and Jawaharlal Nehru. His portrait subjects included Judy Garland. One of his last portraits was of Colonel Sanders in 1973. His most popular calendar works: the "Four Seasons" illustrations for Brown & Bigelow that were published for 17 years beginning in 1947 and reproduced in various styles and sizes since 1964. He painted six images of classic Americana for Coca-Cola advertising. Illustrations for booklets, catalogs, posters (particularly movie promotions...

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...

A Surrealist Judaica scene of a bearded man (Rabbi) in a boat with Shabbat candlesticks. Sight size: 17.75" x 22.5". Overall size with frame: 26.5" x31.5" Naftali Bezem (Hebrew: נפתלי בזם‎‎; born November 27, 1924) is an Israeli painter, muralist, and sculptor. Bezem was born in Essen, Germany, in 1924. His early adolescence was spent under Nazi oppression, in constant fear for the safety of his parents, who perished in the Holocaust in the Polish Auschwitz concentration camp. Naftali emigrated to Mandate Palestine in 1939, at the age of fourteen with a Youth Aliyah group. From 1943 to 1946, he studied art, painting and sculpture, at the Bezalel Academy of Art and Design in Jerusalem with Israeli painter Mordecai Ardon. He then spent three years studying in Paris. He was published by Editions Empreinte in Paris, France. They published, Jean Michel Folon, Sempe, Raoul Ubac, Raymond Savignac, Cesar, Bengt Lindstrom , Paul Aizpiri and many other modern masters. In addition to painting and sculpture, Bezem created murals, wall reliefs, tapestry wall hangings, and stained glass windows. His most famous public works include a wall relief at Yad Vashem in Jerusalem and the ceiling mural in the main reception room at the President's Residence, Jerusalem. Awards and recognition In 1957, Bezem was a co-recipient of the Dizengoff Prize for Painting Group Exhibitions Orit Art Gallery, Tel Aviv Artists: Yosef Zaritsky, Marcel Janco, Lea Nikel, Robert Baser, Bezem, Michael Druks, Israeli Painting (Watercolors and Gouache) Artists: Pinchas Abramovich, Bezem, Naftali Nachum Gutman, Haim Gliksberg, Mordechai Levanon, Avigdor Stematsky, Avshalom Okashi...

SEASONS (1981) This is for the single print listed here. (not the outside folder or title sheet) Title: Sea Fan. This one is hand signed and dated verso. Seasons explores the seasons...

SEASONS (1981) This is for the single print listed here. (not the outside folder or title sheet) Title: Jewels. This one is hand signed and dated verso. Seasons explores the seasons ...

SEASONS (1981) This is for the single print listed here. (not the outside folder or title sheet) Title: Clock. This one is not hand signed although the rest in the portfolio were. (i...

Joseph Manobla, (Israeli, 1930-1979), The Western Wall (The Wailing Wall), Painted diorama sculptural relief, 12.5 x 15.75 inches (relief), 17 x 20.25 inches (including original pain...

Mixed media monotype or monoprint works with hand painting, chine colle, applied glitter. From Cheryl Pelavin Editions NYC. Helen Oji (American, born 1950) Born in Sacremento, CA. Helen Oji was highlighted in the early 1980s New York City art scene as an artist with a distinctive vision. She has exhibited her paintings, works on paper and prints including mixed media monotype or monoprint works with hand painting, chine colle, applied glitter etc. in numerous exhibitions in New York, nationally and Europe. In addition to her artwork, she collaborated with a range of performers/writers in creating set designs that were presented in New York City, London, and across the US. and in various corporate and private collections. Awards and honors include: Creative Artists Public Service Program, Ariana Foundation for the Arts, Inc. Mixed Media Grant , The Jane Voorhees Zimmerli Art Museum Commission, Recieved Artists Space Materials Grant, New York, NY Visiting Artist Fellowship, Brandywine Workshop, Philadelphia, PA Lives and works in New York, NY Select Exhibitions 1986 Intar Gallery, New York, NY (solo) 1984 Real Art Ways, Hartford, CT (solo) 1982 Nelson Gallery/University of California, Davis, CA (solo) 1981 Monique Knowlton Gallery, New York, NY (solo) 1980 Fine Arts Center/Wake Forest University, Winston-Salem , NC (solo) 1978 Soho Center for the Visual Artists, New York, NY Select Public Collections Museum of Modern Art, MoMA New York, NY The Brooklyn Museum of Art The New Museum of Contemporary Art, New York, NY Jacksonville Art Museum, Jacksonville, FL Museum of South Texas, Corpus Christi, TX The Jane Voorhees Zimmerli Art Museum, Rutgers State University of New Jersey, New Brunswick Selected Group Exhibitions 2019 Surface 9, ARENA at BD, curator, Renée Riccardo, Brooklyn, NY (forthcoming Nov 22) Plus 2 pix from 122, PS122 Gallery, New York, NY 2018 Donald Alberti & Helen Oji, Estrada Fine Art 2017 The Bedroom, The Women Artist Team, Joyce Goldstein Gallery, Chatham, NY 2013 Silhouettes, The EFA Foundation, Blackburn, 20/20, curator, Bill Carroll, New York, NY 2011 Social Photography II Exhibition, Carriage Trade, New York, NY 1998 Urban Encounters, New Museum of Contemporary Art, NYC 1995 Made to Order, The Alternative Museum, New York, NY Ancestors, Asian American Arts Centre & Kenkeleba House, New York, NY 1994 Robert Beauchamp, William Kent, Helen Oji, Shari Urquhart, Monique Knowlton Gallery/Kent, Kent CTThe Return Of Cadavre Exquis...

Title: Guide 32 color screenprint on 100% rag handmade, shaped deckle edged paper. with applied glitter. hand signed in pencil, stamped and numbered from edition of 33. Sandy Kinnee is known for paper making, printmaking and collage. Sandy Kinnee lives and works in Colorado Springs, CO. Kinnee was born on March, 30, 1947 in Port Huron, MI. He received his BFA from the University of Michigan in 1969 and MFA from Wayne State University in 1976. Kinnee has taught at Colorado College, the University of Colorado, Colorado Springs and the Colorado Springs Fine Art Center. Sandy Kinnee was awarded a Pollack-Krasner Foundation grant. His work bears some surface similarities to Sam Francis and Alan Shields works. This has the feel of the Pattern and Decoration art movement. His print works are represented in numerous public and private collections including The Metropolitan Museum of Art, New York, NY, Brooklyn Museum, Brooklyn, NY, Princeton University Art Museum, Princeton, NJ, University of Michigan Museum of Art, Ann Arbor, MI, New Britain Museum of American Art, New Britain, CT, Swissair, Zurich, CH Suchard Chocolate, Walt Disney World (Michael Graves designed Hotel, at), Westinghouse Art Collection, General Mills Art Collection. Select Solo Exhibitions 2019 Buell Theatre, Denver, CO 2019 McNichol’s Building, Denver, CO 2019 William Havu Gallery, Denver, CO 2017 Special Collections, Tutt Library, Colorado Springs, CO 2002 Visual Arts Gallery, Central Arizona College, Coolidge, AZ 1999 Art Selection, Zurich, Switzerland Select Group Exhibitions 2015 “Director’s Favorites: 1999–2015”, New Britain Museum of American Art, CT. 2008 “The Imbedded Image – Current Work In Hand Papermaking”, St. Louis, MO. 1999 Art Multiple, Dusseldorf, Germany 1999 SAGA/FICA Edition, Paris, France 1996 Kunstmessig, Olso, Norway 1994 Dresden Art Fair, Dresden, Germany 1993 Dusseldorf, Germany 1992 “Four Americans” Art Selection, Zurich, Switzerland 1990 Alumni Exhibition, University of Michigan, Ann Arbor, MI 1989 Virginia Miller Galleries, Coral Gables, FL 1984 “Watercolors”, Cunningham Memorial Art Gallery, Bakersfield, CA 1984 “Paper Transformed: A National Exhibition of Paper Art”, Terre Haute, IN 1984 “Paperworks”, Academy of Art College Gallery, San Francisco, CA 1983 “Fan and Kimono”, Kauffman Galleries, Houston, TX 1980 “In Celebration of Prints”, The Philadelphia Art Alliance, PA 1980 “Selected Prints”, Educational Testing Services, Princeton, NJ 1980 “Ten Western Printmakers”, a Traveling Exhibition, organized by WSAF 1980 “Its Pure Paper”, Lake Placid School of Art, Lake Placid, NY 1980 “Fire and Water”, Rockland Center for the Arts, West Nyack, NY 1979 “Fans”, Philadelphia Museum of Art, Philadelphia, PA 1978 “Paper as Medium”, traveling exhibition, organized by the Smithsonian Institution 1977 “Works on Handmade Paper”, National Collection of Fine Arts, Washington, DC 1977 “Paper Art”, Land Gallery, Scripps College, Claremont, CA 1976 “Works...

Title: Steal 32 color screenprint on 100% rag handmade, shaped deckle edged paper. hand signed in pencil, stamped and numbered from edition of 20. The piece below is one of a series...

Titled: Birds of a Feather Ann Chernow (Connecticut b. 1936) etching. hand signed 'Ann Chernow' in pencil lower right. Numbered '5/15' in pencil lower left. Titled in pencil lower center. Sheet measures 18-in. x 24-in. Image is smaller. please see photos. Ann Chernow, née Levy, born 1936 in New York City, is known for her portrait-style illustrations that evoke the images of female cinematic figures of the 1930s and 1940s. Born and raised in New York City, Chernow studied music and art from a young age and acquired an affinity for the arts. Chernow was exposed to several movies that left a lasting impression and prompted her to make the likenesses of leading ladies. Bette Davis, Joan Crawford, Norma Shearer and Katharine Hepburn were the subjects of some of her works in the late 1990s. Chernow has worked extensively in the mediums of lithograph, silkscreen, etching, and colored pencil. Her first formal art education was at the Memorial Art Gallery in Rochester in the early 1940s, where she attended art classes in the museum galleries. After her family moved to Flushing in 1946, she studied under a local Italian painter, Giuseppe Trotta. Years after taking lessons with Trotta, Chernow eventually entered the School of Fine Arts at Syracuse University in 1953, but transferred soon after to New York University, where she earned her Master of Arts degree in 1969. As an undergraduate and graduate at NYU (1955–69), Chernow studied under the direction of several artists. Her instructors and mentors included Howard Conant, Jules Olitski, Irving Sandler, Lawrence Alloway and Hale Woodruff, all of whom influenced her through their teachings and artistic viewpoints. Toward the end of her academic education and for a few years afterwards, she worked for the art educator Victor D’Amico, and taught at the studio school of the Museum of Modern Art (1966–71). In the 1950s, Chernow’s style was centered on colorful abstractions, which were influenced by Jean Dubuffet, who was famous during that period. She subsequently dabbled in a variety of styles in the 1970s, including pop art, huge billboard paintings, sepia drawings of individual women and colored pencil drawings. Feminist art. Already in 1968, she had begun to explore lithography, although she only began to work seriously in printmaking (both lithography and etching) in 1978. She reached the height of her career with a number of evocative paintings in the late 1980s and early 1990s, which depicted starlets of the 1930s and 1940s, as in Artist and Models (1998). In these later works, Chernow used close-ups of women who were quickly passed by the camera, as opposed to celebrated vintage Hollywood film...

Titled: Avalon Ann Chernow (Connecticut b. 1936) etching. hand signed 'Ann Chernow' in pencil lower right. Numbered '5/15' in pencil lower left. Titled in pencil lower center. Sheet measures 18-in. x 24-in. Image is smaller. please see photos. Ann Chernow, née Levy, born 1936 in New York City, is known for her portrait-style illustrations that evoke the images of female cinematic figures of the 1930s and 1940s. Born and raised in New York City, Chernow studied music and art from a young age and acquired an affinity for the arts. Chernow was exposed to several movies that left a lasting impression and prompted her to make the likenesses of leading ladies. Bette Davis, Joan Crawford, Norma Shearer and Katharine Hepburn were the subjects of some of her works in the late 1990s. Chernow has worked extensively in the mediums of lithograph, silkscreen, etching, and colored pencil. Her first formal art education was at the Memorial Art Gallery in Rochester in the early 1940s, where she attended art classes in the museum galleries. After her family moved to Flushing in 1946, she studied under a local Italian painter, Giuseppe Trotta. Years after taking lessons with Trotta, Chernow eventually entered the School of Fine Arts at Syracuse University in 1953, but transferred soon after to New York University, where she earned her Master of Arts degree in 1969. As an undergraduate and graduate at NYU (1955–69), Chernow studied under the direction of several artists. Her instructors and mentors included Howard Conant, Jules Olitski, Irving Sandler, Lawrence Alloway and Hale Woodruff, all of whom influenced her through their teachings and artistic viewpoints. Toward the end of her academic education and for a few years afterwards, she worked for the art educator Victor D’Amico, and taught at the studio school of the Museum of Modern Art (1966–71). In the 1950s, Chernow’s style was centered on colorful abstractions, which were influenced by Jean Dubuffet, who was famous during that period. She subsequently dabbled in a variety of styles in the 1970s, including pop art, huge billboard paintings, sepia drawings of individual women and colored pencil drawings. Feminist art. Already in 1968, she had begun to explore lithography, although she only began to work seriously in printmaking (both lithography and etching) in 1978. She reached the height of her career with a number of evocative paintings in the late 1980s and early 1990s, which depicted starlets of the 1930s and 1940s, as in Artist and Models (1998). In these later works, Chernow used close-ups of women who were quickly passed by the camera, as opposed to celebrated vintage Hollywood film...

Samuel Norkin (January 10, 1917 – July 30, 2011) was a Brooklyn, New York-born cartoonist who specialized in theater caricatures for more than even decades. His drawings of theater, opera, ballet and film celebrities appeared in Variety, Backstage, The Philadelphia Inquirer, The Washington Post, Los Angeles Times, The Boston Globe and many other publications. Norkin learned composition and anatomy from the muralist Mordi Gassner. He received a scholarship to the Metropolitan Art School after his high school graduation, and he later attended Cooper Union, the Brooklyn Museum Art School and the School of Fine and Industrial Art. During the 1940s, newspaper editors wanted to devote more space to new theatrical productions, but photo opportunities usually did not happen until a show opened. Norkin took advantage of the situation and gained access to rehearsals, performers, costume sketches, fittings and scenic designs, providing editors with illustrations prior to an opening. From 1940 to 1956, his theatrical illustrations were a regular feature in the New York Herald Tribune. Then for the next 26 years, he covered the performing arts for the Daily News. Since 1940, Norkin has had more than 4000 drawings published. When he began doing theatrical caricature, he supplied his own captions, which eventually prompted him to write articles and reviews. He was an art critic for the Carnegie Hall house program and a cultural reporter for the Daily News. Norkin's theater reminiscences and 266 drawings came together in the book Sam Norkin, Drawings, Stories (Heinemann, 1994), which was reviewed by David Barbour: A Norkin caricature cartoon is often densely packed with detail and may feature a great deal of solid black space. He also is more daring in his drafting; many of his pieces, in particular one from the Broadway production of The Phantom of the Opera, feature steeply raked lines which plunge vertiginously from top to bottom, to highly dramatic effect. On the other hand, many of Norkin's effects border on the surreal. His version of Michael Jeter and Jane Krakowski in Grand Hotel depicts the pair as a series of interrlated curves; Jeter, in particular, looks like a machine that you crank up and let loose on stage. His version of Constance Cummings as a stroke victim in Wings, uses cruelly sharp angles to create a Cubist deconstruction of the actress's face and limbs, which mirrors the disintegration of the character's mental functions. Norkin offers a wide-ranging collection of his works... He also showscases actors at different points in their careers (as in a trio of portraits of John Gielgud and Ralph Richardson) and different takes on different productions (he gives us a number of Salomes from the Metropolitan and New York City Operas). Exhibitions Artwork by Norkin has been exhibited in the Lincoln Center Library and Museum of the Performing Arts, the Museum of the City of New York, the Metropolitan Opera House, the Hudson River Museum in (Yonkers, New York) and various galleries. Awards In 1942, Sam Norkin drew Joan Roberts, who was then starring on Broadway in Oklahoma!. Various awards received over the years by Norkin include an award for "Outstanding Theater Art" from the League of American Theatres and Producers. (1980) and an award for “Lifetime Body of Work” (1995) from the Drama Desk, the association of drama critics, drama editors and drama reporters. Along with David Levine, Al Hirschfeld and Kin Platt he is one of the great artists of the American press. He received two awards from the National Cartoonists Society, the Special Features Award (1980) and the Silver T-Square Award (1984). The Cherry Orchard...

"Stand up Tragedy" - Jack Coleman, Marcus Chong & Charles Cioffi Samuel Norkin (January 10, 1917 – July 30, 2011) was a Brooklyn, New York-born cartoonist who specialized in theater caricatures, Illustration Art, for more than seven decades. His drawings of theater, opera, ballet and film celebrities appeared in Variety, Backstage, The Philadelphia Inquirer, The Washington Post, Los Angeles Times, The Boston Globe and many other publications. Norkin learned composition and anatomy from the muralist Mordi Gassner. He received a scholarship to the Metropolitan Art School after his high school graduation, and he later attended Cooper Union, the Brooklyn Museum Art School and the School of Fine and Industrial Art. During the 1940s, newspaper editors wanted to devote more space to new theatrical productions, but photo opportunities usually did not happen until a show opened. Norkin took advantage of the situation and gained access to rehearsals, performers, costume sketches, fittings and scenic designs, providing editors with illustrations prior to an opening. From 1940 to 1956, his theatrical illustrations were a regular feature in the New York Herald Tribune. Then for the next 26 years, he covered the performing arts for the Daily News. Since 1940, Norkin has had more than 4000 drawings published. When he began doing theatrical caricature, he supplied his own captions, which eventually prompted him to write articles and reviews. He was an art critic for the Carnegie Hall house program and a cultural reporter for the Daily News. Norkin's theater reminiscences and 266 drawings came together in the book Sam Norkin, Drawings, Stories (Heinemann, 1994), which was reviewed by David Barbour: A Norkin caricature cartoon is often densely packed with detail and may feature a great deal of solid black space. He also is more daring in his drafting; many of his pieces, in particular one from the Broadway production of The Phantom of the Opera, feature steeply raked lines which plunge vertiginously from top to bottom, to highly dramatic effect. On the other hand, many of Norkin's effects border on the surreal. His version of Michael Jeter and Jane Krakowski in Grand Hotel depicts the pair as a series of interrlated curves; Jeter, in particular, looks like a machine that you crank up and let loose on stage. His version of Constance Cummings as a stroke victim in Wings, uses cruelly sharp angles to create a Cubist deconstruction of the actress's face and limbs, which mirrors the disintegration of the character's mental functions. Norkin offers a wide-ranging collection of his works... He also showscases actors at different points in their careers (as in a trio of portraits of John Gielgud and Ralph Richardson) and different takes on different productions (he gives us a number of Salomes from the Metropolitan and New York City Operas). Exhibitions Artwork by Norkin has been exhibited in the Lincoln Center Library and Museum of the Performing Arts, the Museum of the City of New York, the Metropolitan Opera House, the Hudson River Museum in (Yonkers, New York) and various galleries. Awards In 1942, Sam Norkin drew Joan Roberts, who was then starring on Broadway in Oklahoma!. Various awards received over the years by Norkin include an award for "Outstanding Theater Art" from the League of American Theatres and Producers. (1980) and an award for “Lifetime Body of Work” (1995) from the Drama Desk, the association of drama critics, drama editors and drama reporters. Along with David Levine, Al Hirschfeld and Kin Platt he is one of the great artists of the American press. He received two awards from the National Cartoonists Society, the Special Features Award (1980) and the Silver T-Square Award (1984). Marcus Chong (né Wyatt; July 8, 1967) is an American actor. His best-known roles are Huey P. Newton in Panther (1995), directed by Mario Van Peebles and Tank the Operator in The Matrix Chong was born Marcus Wyatt in Seattle, Washington to an African-American father and a Chinese-American mother. His father, Martin Wyatt, was a sports reporter in San Francisco for KGO-TV. Chong was adopted in 1978 by Tommy Chong and his second wife Shelby Fiddis. Chong began acting at age nine. His first role was portraying the young Frankie Warner in the 1979 miniseries Roots: The Next Generations (1979). Wyatt was a guest star in Little House on the Prairie, in "Blind Journey" part 2. Chong originated the role of student Lee Cortez in the Broadway production of Stand-Up Tragedy, written by Bill Cain which opened at the Criterion Center Stage Right and closed in October 1990 after 13 performances. The short-lived role nevertheless earned him a 1991 Theatre World Award; he was also nominated Drama Desk Award for Outstanding Featured Actor in a Play. In the early 1990s, Chong played the recurring character Miguel Mendez on the TV show Street Justice. He later appeared in the Vanishing Son action series as Fu Qua Johnson. In 1999, Chong appeared as Tank the Operator in The Matrix. In May 2003, Chong filed a lawsuit at Los Angeles County Superior Court against Warner Bros and AOL Time Warner, saying Warner was in breach of a 1998 verbal agreement, and a 2000 contract to continue the character of Tank in the film's two sequels. It was reported that a breakdown in talks caused by his salary demands prompted The Wachowskis to write Chong's character out of the second and third films in the series. In 2001, Chong appeared in Season 3 of the TV series Law...

Samuel Norkin (January 10, 1917 – July 30, 2011) was a Brooklyn, New York-born cartoonist who specialized in theater caricatures for more than even decades. His drawings of theater, opera, ballet and film celebrities appeared in Variety, Backstage, The Philadelphia Inquirer, The Washington Post, Los Angeles Times, The Boston Globe and many other publications. Norkin learned composition and anatomy from the muralist Mordi Gassner. He received a scholarship to the Metropolitan Art School after his high school graduation, and he later attended Cooper Union, the Brooklyn Museum Art School and the School of Fine and Industrial Art. During the 1940s, newspaper editors wanted to devote more space to new theatrical productions, but photo opportunities usually did not happen until a show opened. Norkin took advantage of the situation and gained access to rehearsals, performers, costume sketches, fittings and scenic designs, providing editors with illustrations prior to an opening. From 1940 to 1956, his theatrical illustrations were a regular feature in the New York Herald Tribune. Then for the next 26 years, he covered the performing arts for the Daily News. Since 1940, Norkin has had more than 4000 drawings published. When he began doing theatrical caricature, he supplied his own captions, which eventually prompted him to write articles and reviews. He was an art critic for the Carnegie Hall house program and a cultural reporter for the Daily News. Norkin's theater reminiscences and 266 drawings came together in the book Sam Norkin, Drawings, Stories (Heinemann, 1994), which was reviewed by David Barbour: A Norkin caricature cartoon is often densely packed with detail and may feature a great deal of solid black space. He also is more daring in his drafting; many of his pieces, in particular one from the Broadway production of The Phantom of the Opera, feature steeply raked lines which plunge vertiginously from top to bottom, to highly dramatic effect. On the other hand, many of Norkin's effects border on the surreal. His version of Michael Jeter and Jane Krakowski in Grand Hotel depicts the pair as a series of interrlated curves; Jeter, in particular, looks like a machine that you crank up and let loose on stage. His version of Constance Cummings as a stroke victim in Wings, uses cruelly sharp angles to create a Cubist deconstruction of the actress's face and limbs, which mirrors the disintegration of the character's mental functions. Norkin offers a wide-ranging collection of his works... He also showscases actors at different points in their careers (as in a trio of portraits of John Gielgud and Ralph Richardson) and different takes on different productions (he gives us a number of Salomes from the Metropolitan and New York City Operas). Exhibitions Artwork by Norkin has been exhibited in the Lincoln Center Library and Museum of the Performing Arts, the Museum of the City of New York, the Metropolitan Opera House, the Hudson River Museum in (Yonkers, New York) and various galleries. Awards In 1942, Sam Norkin drew Joan Roberts, who was then starring on Broadway in Oklahoma!. Various awards received over the years by Norkin include an award for "Outstanding Theater Art" from the League of American Theatres and Producers. (1980) and an award for “Lifetime Body of Work” (1995) from the Drama Desk, the association of drama critics, drama editors and drama reporters. Along with David Levine, Al Hirschfeld and Kin Platt he is one of the great artists of the American press. He received two awards from the National Cartoonists Society, the Special Features Award (1980) and the Silver T-Square Award (1984). Sleuth is a 1970 play written by Anthony Shaffer. The Broadway production received the Tony Award for Best Play, and Anthony Quayle and Keith Baxter received the Drama Desk Award for Outstanding Performance. The play was adapted for feature films in 1972, 2007 and 2014. The play is set in the Wiltshire manor house of Andrew Wyke, an immensely successful mystery writer. Wyke's home reflects his obsession with the inventions and deceptions of fiction and his fascination with games and game-playing. He lures his wife's lover Milo Tindle to the house and convinces him to stage a robbery of her jewelry, a proposal that sets off a chain of events that leaves the audience trying to decipher where Wyke's imagination ends and reality begins. Shaffer said the play was partially inspired by one of his friends, composer Stephen Sondheim, whose intense interest in game-playing is mirrored by the character of Wyke, and by John Dickson...

Medium: etching Surface: paper Country: United States Signed in plate with initial G. Black and white illustration of a landscape with farmhouse (old barn). TIBOR GERGELY Budapest, Hungary, b. 1900, d. 1978 Tibor Gergely (1900-1978) was an artist and Illustrator. Born in Budapest, Hungary in 1900, he studied art briefly in Vienna, Austria, before emigrating to the United States in 1939, where he settled in New York City. Largely a self-taught artist, he contributed several covers to The New Yorker magazine during the 1940s. Among the most popular children's books Gergely illustrated are The Happy Man and His Dump Truck, Busy Day Busy People, The Little Red Caboose, The Fire Engine Book, Tootle, and Scuffy the Tugboat. Many of his better known books were published by Little Golden Books...

"Tristesse." (a state of melancholy sadness. "lamenting a lost love, he leaves us poised at the lip of a chasm of tristesse") Chassidic boy, Yeshiva student with open book. Judaica, Jewish scenes from a ghetto. Saul Yaffie, a.k.a. Paul Jeffay, (1898–1957) was a Scottish Jewish artist. Known for his charming French street scenes as well as his judaica work. This is signed in the plate and dated 1931 in the print. This is done in a style similar to the works of the early Bezalel School artists Hermann Struck and Jakob Steinhardt. This lithograph, by artist Paul Jeffay depicts a Judaic Shtetl interior scene with great charm and sensitivity. Saul Yaffie was born in Blythswood, Glasgow on 29 April 1898. His mother was Kate Yaffie (née Karkonoski), and his father, Bernard Yaffie, was a master tailor. Like many Russian Jews, Kate and Bernard Yaffie fled persecution in Russia during a wave of anti-Jewish pogroms triggered by the assassination of Tsar Alexander II in 1881. Saul's father was naturalised as a British citizen by the time that Saul himself was three; a Bernard Yaffie is recorded as living at Abbotsford Place in the old Gorbals, where the young Saul spent the early years of his childhood. The Yaffies were not unique in their situation: the Gorbals was the centre of Scotland's Jewish community and home to a large proportion of Glasgow's immigrants throughout the early 20th century. Over time, there was a movement to some of the more affluent communities in Glasgow, such as Pollokshields and Garnethill, as many Jewish families gradually improved their social and economic situation. Like these, the Yaffies also experienced a time of good fortune, moving to a more agreeable address on Sinclair Drive, Cathcart as Bernard's tailoring business prospered. Saul attended day classes in drawing and painting, modelling, and life drawing at The Glasgow School of Art from 1912 to 1919. During the First World War, he was required to interrupt his studies to serve in the King's Own Scottish Borderers in 1916/17. Although subject to military conscription, Yaffie reached the rank of corporal during his service. Prior to his conscription Yaffie engaged in munitions work, something that was recorded in the GSA's student registers. The post-war economic depression that affected the country during the 1920s, also affected the Yaffie family directly: Bernard Yaffie's business suffered greatly, and the family eventually emigrated to Canada. Saul did not emigrate with his family, choosing instead to stay in Europe, and relocate to jazz age Paris where he continued his artistic practice. Now married, Saul sought to escape persecution in Europe by returning to the UK before the Second World War with his wife, Estusia. The two settled in Manchester, but returned to France after the war. In his memoires ‘Bronze in My Blood’, German-born sculptor Benno Schotz...

"Qui a raison?" Chassidic boy, Yeshiva student with open book. Judaica, Jewish scenes from a ghetto. Saul Yaffie, a.k.a. Paul Jeffay, (1898–1957) was a Scottish Jewish artist. Known for his charming French street scenes as well as his judaica work. This is signed in the plate and dated 1931 in the print. This is done in a style similar to the works of the early Bezalel School artists Hermann Struck and Jakob Steinhardt. This lithograph, by artist Paul Jeffay depicts a Judaic Shtetl interior scene with great charm and sensitivity. Saul Yaffie was born in Blythswood, Glasgow on 29 April 1898. His mother was Kate Yaffie (née Karkonoski), and his father, Bernard Yaffie, was a master tailor. Like many Russian Jews, Kate and Bernard Yaffie fled persecution in Russia during a wave of anti-Jewish pogroms triggered by the assassination of Tsar Alexander II in 1881. Saul's father was naturalised as a British citizen by the time that Saul himself was three; a Bernard Yaffie is recorded as living at Abbotsford Place in the old Gorbals, where the young Saul spent the early years of his childhood. The Yaffies were not unique in their situation: the Gorbals was the centre of Scotland's Jewish community and home to a large proportion of Glasgow's immigrants throughout the early 20th century. Over time, there was a movement to some of the more affluent communities in Glasgow, such as Pollokshields and Garnethill, as many Jewish families gradually improved their social and economic situation. Like these, the Yaffies also experienced a time of good fortune, moving to a more agreeable address on Sinclair Drive, Cathcart as Bernard's tailoring business prospered. Saul attended day classes in drawing and painting, modelling, and life drawing at The Glasgow School of Art from 1912 to 1919. During the First World War, he was required to interrupt his studies to serve in the King's Own Scottish Borderers in 1916/17. Although subject to military conscription, Yaffie reached the rank of corporal during his service. Prior to his conscription Yaffie engaged in munitions work, something that was recorded in the GSA's student registers. The post-war economic depression that affected the country during the 1920s, also affected the Yaffie family directly: Bernard Yaffie's business suffered greatly, and the family eventually emigrated to Canada. Saul did not emigrate with his family, choosing instead to stay in Europe, and relocate to jazz age Paris where he continued his artistic practice. Now married, Saul sought to escape persecution in Europe by returning to the UK before the Second World War with his wife, Estusia. The two settled in Manchester, but returned to France after the war. In his memoires ‘Bronze in My Blood’, German-born sculptor Benno Schotz describes a Saul ‘Yaffe’, one of only three other Jewish students who attended The Glasgow School of Art at the time. (Schotz himself was exempt from joining the forces because he was ‘not yet a British subject’, and was engaged in war work in the drawing office of John Brown’s shipyards). On the outbreak of the war, Schotz writes, Yaffie won a poster competition to be displayed in Glasgow tramcars at the beginning of the 1914-18 war – his winning design depicted a woman with a child in her arms, fleeing from a fire behind her. While on leave from service, the young Saul told Schotz he had briefly been stationed in the same unit as Jewish American sculptor Jacob Epstein. This was most likely the 38th Battalion of the Royal Fusiliers, also known as ‘the Jewish Legion’, one of five Jewish battalions raised during WW1. ‘He told me how incongruous it was’, remembers Schotz, ‘to See Epstein scrubbing the floor of their hut, with a large diamond ring on his finger’. His work is included in the collection of the Ben Uri Museum in London along with Lucian Freud, David Bomberg, Mark Gertler, Josef Herman, Jankel Adler, Feliks Topolski...

"Sabbat." Sabbath. the piece is marked in the plate Admur Shlita (this might be the Munkatcher Rebbe or the Belzer Rebbe from before the war) Chassidic Rebbe, with open book. Judaica, Jewish scenes from a Shtetl. Saul Yaffie, a.k.a. Paul Jeffay, (1898–1957) was a Scottish Jewish artist. Known for his charming French street scenes as well as his judaica work. This is signed in the plate and dated 1931 in the print. This is done in a style similar to the works of the early Bezalel School artists Hermann Struck and Jakob Steinhardt. This lithograph, by artist Paul Jeffay depicts a Judaic Shtetl interior scene with great charm and sensitivity. Saul Yaffie was born in Blythswood, Glasgow on 29 April 1898. His mother was Kate Yaffie (née Karkonoski), and his father, Bernard Yaffie, was a master tailor. Like many Russian Jews, Kate and Bernard Yaffie fled persecution in Russia during a wave of anti-Jewish pogroms triggered by the assassination of Tsar Alexander II in 1881. Saul's father was naturalised as a British citizen by the time that Saul himself was three; a Bernard Yaffie is recorded as living at Abbotsford Place in the old Gorbals, where the young Saul spent the early years of his childhood. The Yaffies were not unique in their situation: the Gorbals was the centre of Scotland's Jewish community and home to a large proportion of Glasgow's immigrants throughout the early 20th century. Over time, there was a movement to some of the more affluent communities in Glasgow, such as Pollokshields and Garnethill, as many Jewish families gradually improved their social and economic situation. Like these, the Yaffies also experienced a time of good fortune, moving to a more agreeable address on Sinclair Drive, Cathcart as Bernard's tailoring business prospered. Saul attended day classes in drawing and painting, modelling, and life drawing at The Glasgow School of Art from 1912 to 1919. During the First World War, he was required to interrupt his studies to serve in the King's Own Scottish Borderers in 1916/17. Although subject to military conscription, Yaffie reached the rank of corporal during his service. Prior to his conscription Yaffie engaged in munitions work, something that was recorded in the GSA's student registers. The post-war economic depression that affected the country during the 1920s, also affected the Yaffie family directly: Bernard Yaffie's business suffered greatly, and the family eventually emigrated to Canada. Saul did not emigrate with his family, choosing instead to stay in Europe, and relocate to jazz age Paris where he continued his artistic practice. Now married, Saul sought to escape persecution in Europe by returning to the UK before the Second World War with his wife, Estusia. The two settled in Manchester, but returned to France after the war. In his memoires ‘Bronze in My Blood’, German-born sculptor Benno Schotz...

Larry Brown Long-time established New York painter as well as faculty member the The Cooper Union, Brown works in oil on canvas and tempera paints on paper. He deals with themes of science and universality. EDUCATION: 1970 M.F.A. in Painting, University of Arizona 1967 BA in Painting, Washington State University SELECT GROUP EXHIBITIONS: Mixed Company: Women Choose Men, AIR Gallery, New York, NY Easy Breezy, Sears-Peyton Gallery, New York, NY From Stone and Plate: Contemporary Prints from Tamarind Institute, California State University Change of View Tamarind Institute Gallery, Albuquerque, NM Animal As Muse, The Norton Museum of Art, W. Palm Beach, FL Painting--Larry Brown, Joseph Haske, David Schoffman, Helander Gallery, New York, NY Paper Houses, David Beitzel Gallery, New York, NY Curators Choice, Albright-Knox Art Gallery, Buffalo, NY Current Trends in Abstraction-- Larry Brown, Bill Drew...

Larry Brown Long-time established New York painter as well as faculty member the The Cooper Union, Brown works in oil on canvas and tempera paints on paper. He deals with themes of science and universality. EDUCATION: 1970 M.F.A. in Painting, University of Arizona 1967 BA in Painting, Washington State University SELECT GROUP EXHIBITIONS: Mixed Company: Women Choose Men, AIR Gallery, New York, NY Easy Breezy, Sears-Peyton Gallery, New York, NY From Stone and Plate: Contemporary Prints from Tamarind Institute, California State University Change of View Tamarind Institute Gallery, Albuquerque, NM Animal As Muse, The Norton Museum of Art, W. Palm Beach, FL Painting--Larry Brown, Joseph Haske, David Schoffman, Helander Gallery, New York, NY Paper Houses, David Beitzel Gallery, New York, NY Curators Choice, Albright-Knox Art Gallery, Buffalo, NY Current Trends in Abstraction-- Larry Brown, Bill Drew...

Roy Lichtenstein Mermaid Original lithograph on Arches paper from the estate of one of the original donors to the sculpture. 8 Color litho on pap...

Moshe Avni was born in 1937, in Kibbutz Kfar Blum in the Upper Galilee in Israel. Presently, he lives and paints in Jerusalem. During the years 1956-1957, he studied Painting and Graphic Arts in the Bezalel Art School in Jerusalem, supported by a Betzalel School Scholarship. He studied with and was guided by the painter Leo Roth, z”l (1914-2002), from Kibbutz Afikim. Moshe Avni has participated in Workshops and Courses in the framework of the Kibbutz Movement and the Israeli Artists’ Organization. He has received scholarships from both the Sharett Fund and from the Norman Fund. In 1979, Moshe Avni was accepted to the Israeli Artists’ Organization. Exhibitions 2011 In the Jerusalem House of Quality – 16-22 December 2011 2009 In the Neighborhood Center of Beit haKerem, Jerusalem 2003 In Moshav Batzra, Israel 1984 In the Artists’ Quarter, Rishon leZion, Israel 1979 In the House of Culture for Young People, Kfar Saba, Israel 1977 In the “New Gallery”, Tel Aviv, Israel 1973 In the “New Gallery”, Tel Aviv, Israel 1970 In “The House of Uri and Rami Nechushtan” in Ashdot Yaacov, Israel Horses & People, New Gallery, Tel Aviv 1965 Journalists House - Sokolov House, Tel Aviv, Israel Exhibitions of Young Artists in “House of Helena Rubenstein”, Tel Aviv, Israel Private Exhibitions in Jerusalem, Tel Aviv, and more. Group Exhibitions Kiryat Shmona 1957 Artists: Noemi Schindler...

Moshe Avni was born in 1937, in Kibbutz Kfar Blum in the Upper Galilee in Israel. Presently, he lives and paints in Jerusalem. During the years 1956-1957, he studied Painting and Graphic Arts in the Bezalel Art School in Jerusalem, supported by a Betzalel School Scholarship. He studied with and was guided by the painter Leo Roth, z”l (1914-2002), from Kibbutz Afikim. Moshe Avni has participated in Workshops and Courses in the framework of the Kibbutz Movement and the Israeli Artists’ Organization. He has received scholarships from both the Sharett Fund and from the Norman Fund. In 1979, Moshe Avni was accepted to the Israeli Artists’ Organization. Exhibitions 2011 In the Jerusalem House of Quality – 16-22 December 2011 2009 In the Neighborhood Center of Beit haKerem, Jerusalem 2003 In Moshav Batzra, Israel 1984 In the Artists’ Quarter, Rishon leZion, Israel 1979 In the House of Culture for Young People, Kfar Saba, Israel 1977 In the “New Gallery”, Tel Aviv, Israel 1973 In the “New Gallery”, Tel Aviv, Israel 1970 In “The House of Uri and Rami Nechushtan” in Ashdot Yaacov, Israel Horses & People, New Gallery, Tel Aviv 1965 Journalists House - Sokolov House, Tel Aviv, Israel Exhibitions of Young Artists in “House of Helena Rubenstein”, Tel Aviv, Israel Private Exhibitions in Jerusalem, Tel Aviv, and more. Group Exhibitions Kiryat Shmona 1957 Artists: Noemi Schindler...

Vintage Magnum press photo. Shot in the 60's by Inge Morath, printed in the 80's. Arthur Miller peers out from Saul Steinberg mask. (with Marilyn Monroe...

This listing is for the one Silkscreen serigraph piece listed here. Mexico City, 1945. First edition. plate signed, limited edition of 1000, these serigraph plates depict various types of traditional and folk art indigenous clothing and costume styles from around Mexico. The illustrations depict the cultures of many different states in Mexico, including Oaxaca, Chiapas, Jalisco and Veracruz. Carlos Mérida (December 2, 1891 – December 21, 1985) was a Guatemalan artist who was one of the first to fuse European modern painting to Latin American themes, especially those related to Guatemala and Mexico. He was part of the Mexican muralism movement in subject matter but less so in style, favoring a non-figurative and later geometric style rather than a figurative, narrative style. Mérida is best known for canvas and mural work, the latter including elements such as glass and ceramic mosaic on major constructions in the 1950s and 1960s. One of his major works, on the Benito Juarez housing complex, was completely destroyed with the 1985 Mexico City earthquake, but a monument to it exists at another complex in the south of the city. Carlos Mérida was born Carlos Santiago Ortega in Guatemala City to Serapio Santiago Mérida and Guadalupe Ortega Barnoya. He later changed his name what is known by as he thought it was more sonorous. His brothers and children also took the Mérida name later on. He was of mixed Spanish/Maya-Quiché heritage which he promoted during his life. As a young child, Mérida had both music and art lessons, and his first passion was music, which led to piano lessons. He studied at a trade school called the Instituto de Artes y Oficios, then the Instituto de Ciencias y Letras. Here he began to have a reputation for the avant garde. Merída’s first trip to the United States was in 1917, where he met writer Juan José Tablada. Mérida made several trips to Europe over his lifetime to both study art and work as an artist and diplomat. His early trips in the 1920s and 1930s put him in touch with both avant garde movements in Europe as well as noted Latin American artists, especially those from Mexico. His last trip was in 1950s. In 1963, he donated canvases, graphic pieces and mural sketches to the Universidad Nacional Autónoma de Mexico. Merida was one of a number of artists such as Diego Rivera and Gerardo Murillo who became committed to promoting the handcrafts and folk art of Mexico and Central America, with a particular interest in those of Guatemala, often featuring Mayan textiles or elements in their decoration in his artwork. He died in Mexico City at the age of 94 on December 21, 1985. As there was little opportunity for artists in Guatemala, in 1910, Mérida traveled to Paris with a friend named Carlos Valenti on a German cargo ship. From then until 1914, he lived and worked in Paris and traveled much of Europe. This put him in touch with European avant garde artists such as Van Dagen, Amedeo Modigliani, Pablo Picasso and Piet Mondrian as well as Latin American artists studying in Europe such as Diego Rivera, Jorge Enciso, Ángel Zárraga and Dr. Atl. He exhibited his work in venues such as the Independent Salon and the Giroux Gallery in Paris. Mérida has forty five exhibitions in the United States and eighteen in Mexico from 1928 to 1948. These included an exhibition with Rufino Tamayo at the Art Center of New York (1930), the John Becker and Valentine galleries in New York (1930), the Club de Escritores de México and the Galería Posada in Mexico City (1931), the Stendhal Gallery and the Stanley Rose...

This listing is for the one Silkscreen serigraph piece listed here. Mexico City, 1945. First edition. plate signed, limited edition of 1000, these serigraph plates depict various types of traditional and folk art indigenous clothing and costume styles from around Mexico. The illustrations depict the cultures of many different states in Mexico, including Oaxaca, Chiapas, Jalisco and Veracruz. Carlos Mérida (December 2, 1891 – December 21, 1985) was a Guatemalan artist who was one of the first to fuse European modern painting to Latin American themes, especially those related to Guatemala and Mexico. He was part of the Mexican muralism movement in subject matter but less so in style, favoring a non-figurative and later geometric style rather than a figurative, narrative style. Mérida is best known for canvas and mural work, the latter including elements such as glass and ceramic mosaic on major constructions in the 1950s and 1960s. One of his major works, on the Benito Juarez housing complex, was completely destroyed with the 1985 Mexico City earthquake, but a monument to it exists at another complex in the south of the city. Carlos Mérida was born Carlos Santiago Ortega in Guatemala City to Serapio Santiago Mérida and Guadalupe Ortega Barnoya. He later changed his name what is known by as he thought it was more sonorous. His brothers and children also took the Mérida name later on. He was of mixed Spanish/Maya-Quiché heritage which he promoted during his life. As a young child, Mérida had both music and art lessons, and his first passion was music, which led to piano lessons. He studied at a trade school called the Instituto de Artes y Oficios, then the Instituto de Ciencias y Letras. Here he began to have a reputation for the avant garde. Merída’s first trip to the United States was in 1917, where he met writer Juan José Tablada. Mérida made several trips to Europe over his lifetime to both study art and work as an artist and diplomat. His early trips in the 1920s and 1930s put him in touch with both avant garde movements in Europe as well as noted Latin American artists, especially those from Mexico. His last trip was in 1950s. In 1963, he donated canvases, graphic pieces and mural sketches to the Universidad Nacional Autónoma de Mexico. Merida was one of a number of artists such as Diego Rivera and Gerardo Murillo who became committed to promoting the handcrafts and folk art of Mexico and Central America, with a particular interest in those of Guatemala, often featuring Mayan textiles or elements in their decoration in his artwork. He died in Mexico City at the age of 94 on December 21, 1985. As there was little opportunity for artists in Guatemala, in 1910, Mérida traveled to Paris with a friend named Carlos Valenti on a German cargo ship. From then until 1914, he lived and worked in Paris and traveled much of Europe. This put him in touch with European avant garde artists such as Van Dagen, Amedeo Modigliani, Pablo Picasso and Piet Mondrian as well as Latin American artists studying in Europe such as Diego Rivera, Jorge Enciso, Ángel Zárraga and Dr. Atl. He exhibited his work in venues such as the Independent Salon and the Giroux Gallery in Paris. Mérida has forty five exhibitions in the United States and eighteen in Mexico from 1928 to 1948. These included an exhibition with Rufino Tamayo at the Art Center of New York (1930), the John Becker and Valentine galleries in New York (1930), the Club de Escritores de México and the Galería Posada in Mexico City (1931), the Stendhal Gallery and the Stanley Rose...

This listing is for the one Silkscreen serigraph piece listed here. Mexico City, 1945. First edition. plate signed, limited edition of 1000, these serigraph plates depict various types of traditional and folk art indigenous clothing and costume styles from around Mexico. The illustrations depict the cultures of many different states in Mexico, including Oaxaca, Chiapas, Jalisco and Veracruz. Carlos Mérida (December 2, 1891 – December 21, 1985) was a Guatemalan artist who was one of the first to fuse European modern painting to Latin American themes, especially those related to Guatemala and Mexico. He was part of the Mexican muralism movement in subject matter but less so in style, favoring a non-figurative and later geometric style rather than a figurative, narrative style. Mérida is best known for canvas and mural work, the latter including elements such as glass and ceramic mosaic on major constructions in the 1950s and 1960s. One of his major works, on the Benito Juarez housing complex, was completely destroyed with the 1985 Mexico City earthquake, but a monument to it exists at another complex in the south of the city. Carlos Mérida was born Carlos Santiago Ortega in Guatemala City to Serapio Santiago Mérida and Guadalupe Ortega Barnoya. He later changed his name what is known by as he thought it was more sonorous. His brothers and children also took the Mérida name later on. He was of mixed Spanish/Maya-Quiché heritage which he promoted during his life. As a young child, Mérida had both music and art lessons, and his first passion was music, which led to piano lessons. He studied at a trade school called the Instituto de Artes y Oficios, then the Instituto de Ciencias y Letras. Here he began to have a reputation for the avant garde. Merída’s first trip to the United States was in 1917, where he met writer Juan José Tablada. Mérida made several trips to Europe over his lifetime to both study art and work as an artist and diplomat. His early trips in the 1920s and 1930s put him in touch with both avant garde movements in Europe as well as noted Latin American artists, especially those from Mexico. His last trip was in 1950s. In 1963, he donated canvases, graphic pieces and mural sketches to the Universidad Nacional Autónoma de Mexico. Merida was one of a number of artists such as Diego Rivera and Gerardo Murillo who became committed to promoting the handcrafts and folk art of Mexico and Central America, with a particular interest in those of Guatemala, often featuring Mayan textiles or elements in their decoration in his artwork. He died in Mexico City at the age of 94 on December 21, 1985. As there was little opportunity for artists in Guatemala, in 1910, Mérida traveled to Paris with a friend named Carlos Valenti on a German cargo ship. From then until 1914, he lived and worked in Paris and traveled much of Europe. This put him in touch with European avant garde artists such as Van Dagen, Amedeo Modigliani, Pablo Picasso and Piet Mondrian as well as Latin American artists studying in Europe such as Diego Rivera, Jorge Enciso, Ángel Zárraga and Dr. Atl. He exhibited his work in venues such as the Independent Salon and the Giroux Gallery in Paris. Mérida has forty five exhibitions in the United States and eighteen in Mexico from 1928 to 1948. These included an exhibition with Rufino Tamayo at the Art Center of New York (1930), the John Becker and Valentine galleries in New York (1930), the Club de Escritores de México and the Galería Posada in Mexico City (1931), the Stendhal Gallery and the Stanley Rose...

This listing is for the one Silkscreen serigraph piece listed here. Mexico City, 1945. First edition. plate signed, limited edition of 1000, these serigraph plates depict various types of traditional and folk art indigenous clothing and costume styles from around Mexico. The illustrations depict the cultures of many different states in Mexico, including Oaxaca, Chiapas, Jalisco and Veracruz. Carlos Mérida (December 2, 1891 – December 21, 1985) was a Guatemalan artist who was one of the first to fuse European modern painting to Latin American themes, especially those related to Guatemala and Mexico. He was part of the Mexican muralism movement in subject matter but less so in style, favoring a non-figurative and later geometric style rather than a figurative, narrative style. Mérida is best known for canvas and mural work, the latter including elements such as glass and ceramic mosaic on major constructions in the 1950s and 1960s. One of his major works, on the Benito Juarez housing complex, was completely destroyed with the 1985 Mexico City earthquake, but a monument to it exists at another complex in the south of the city. Carlos Mérida was born Carlos Santiago Ortega in Guatemala City to Serapio Santiago Mérida and Guadalupe Ortega Barnoya. He later changed his name what is known by as he thought it was more sonorous. His brothers and children also took the Mérida name later on. He was of mixed Spanish/Maya-Quiché heritage which he promoted during his life. As a young child, Mérida had both music and art lessons, and his first passion was music, which led to piano lessons. He studied at a trade school called the Instituto de Artes y Oficios, then the Instituto de Ciencias y Letras. Here he began to have a reputation for the avant garde. Merída’s first trip to the United States was in 1917, where he met writer Juan José Tablada. Mérida made several trips to Europe over his lifetime to both study art and work as an artist and diplomat. His early trips in the 1920s and 1930s put him in touch with both avant garde movements in Europe as well as noted Latin American artists, especially those from Mexico. His last trip was in 1950s. In 1963, he donated canvases, graphic pieces and mural sketches to the Universidad Nacional Autónoma de Mexico. Merida was one of a number of artists such as Diego Rivera and Gerardo Murillo who became committed to promoting the handcrafts and folk art of Mexico and Central America, with a particular interest in those of Guatemala, often featuring Mayan textiles or elements in their decoration in his artwork. He died in Mexico City at the age of 94 on December 21, 1985. As there was little opportunity for artists in Guatemala, in 1910, Mérida traveled to Paris with a friend named Carlos Valenti on a German cargo ship. From then until 1914, he lived and worked in Paris and traveled much of Europe. This put him in touch with European avant garde artists such as Van Dagen, Amedeo Modigliani, Pablo Picasso and Piet Mondrian as well as Latin American artists studying in Europe such as Diego Rivera, Jorge Enciso, Ángel Zárraga and Dr. Atl. He exhibited his work in venues such as the Independent Salon and the Giroux Gallery in Paris. Mérida has forty five exhibitions in the United States and eighteen in Mexico from 1928 to 1948. These included an exhibition with Rufino Tamayo at the Art Center of New York (1930), the John Becker and Valentine galleries in New York (1930), the Club de Escritores de México and the Galería Posada in Mexico City (1931), the Stendhal Gallery and the Stanley Rose...

This listing is for the one Silkscreen serigraph piece listed here. Mexico City, 1945. First edition. plate signed, limited edition of 1000, these serigraph plates depict various types of traditional and folk art indigenous clothing and costume styles from around Mexico. The illustrations depict the cultures of many different states in Mexico, including Oaxaca, Chiapas, Jalisco and Veracruz. Carlos Mérida (December 2, 1891 – December 21, 1985) was a Guatemalan artist who was one of the first to fuse European modern painting to Latin American themes, especially those related to Guatemala and Mexico. He was part of the Mexican muralism movement in subject matter but less so in style, favoring a non-figurative and later geometric style rather than a figurative, narrative style. Mérida is best known for canvas and mural work, the latter including elements such as glass and ceramic mosaic on major constructions in the 1950s and 1960s. One of his major works, on the Benito Juarez housing complex, was completely destroyed with the 1985 Mexico City earthquake, but a monument to it exists at another complex in the south of the city. Carlos Mérida was born Carlos Santiago Ortega in Guatemala City to Serapio Santiago Mérida and Guadalupe Ortega Barnoya. He later changed his name what is known by as he thought it was more sonorous. His brothers and children also took the Mérida name later on. He was of mixed Spanish/Maya-Quiché heritage which he promoted during his life. As a young child, Mérida had both music and art lessons, and his first passion was music, which led to piano lessons. He studied at a trade school called the Instituto de Artes y Oficios, then the Instituto de Ciencias y Letras. Here he began to have a reputation for the avant garde. Merída’s first trip to the United States was in 1917, where he met writer Juan José Tablada. Mérida made several trips to Europe over his lifetime to both study art and work as an artist and diplomat. His early trips in the 1920s and 1930s put him in touch with both avant garde movements in Europe as well as noted Latin American artists, especially those from Mexico. His last trip was in 1950s. In 1963, he donated canvases, graphic pieces and mural sketches to the Universidad Nacional Autónoma de Mexico. Merida was one of a number of artists such as Diego Rivera and Gerardo Murillo who became committed to promoting the handcrafts and folk art of Mexico and Central America, with a particular interest in those of Guatemala, often featuring Mayan textiles or elements in their decoration in his artwork. He died in Mexico City at the age of 94 on December 21, 1985. As there was little opportunity for artists in Guatemala, in 1910, Mérida traveled to Paris with a friend named Carlos Valenti on a German cargo ship. From then until 1914, he lived and worked in Paris and traveled much of Europe. This put him in touch with European avant garde artists such as Van Dagen, Amedeo Modigliani, Pablo Picasso and Piet Mondrian as well as Latin American artists studying in Europe such as Diego Rivera, Jorge Enciso, Ángel Zárraga and Dr. Atl. He exhibited his work in venues such as the Independent Salon and the Giroux Gallery in Paris. Mérida has forty five exhibitions in the United States and eighteen in Mexico from 1928 to 1948. These included an exhibition with Rufino Tamayo at the Art Center of New York (1930), the John Becker and Valentine galleries in New York (1930), the Club de Escritores de México and the Galería Posada in Mexico City (1931), the Stendhal Gallery and the Stanley Rose...

Jerusalem Wailing Wall Photo with couple at night. This is for one Photograph from the portfolio entitled "Jerusalem: City of Mankind," The mounting is 14 X 17 inches. the actual photo measurement is between 9.25 X 14 to 10.5 X 13.5 inches (22.9 X 35.6 to 26.7 X 34.3 cm.) This is hand signed on mount recto; and stamped on the reverse with photographers name and copyright info. In a folding jacket with a printed credit and title. The first copy was awarded to the President of the United States, the second to the President of the State of Israel, the third to the Mayor of Jerusalem and the fourth to the Baron Edmond de Rothschild. Rare Cornell Capa and Baron Edmond De Rothschild “Jerusalem: City Of Mankind” Photo Album 1973. It has been produced by the international fund for concerned photography, INC, New York for the women’s division of the American Friends of the Israel Museum, New York. 15 copied were reserved for participating photographers. Color prints are made by dye transfer process from original transparencies and black and white enlargements are made from original negatives under the photographers supervision. Design and production – Arnold Skolnick / Bhupendra Karia. Color prints by Berkey K & L Custom Services INC, New York. Black and white prints by Igor Bakht Werner Braun – Moonrise over the Knesset Robert Burroughs – At the Western Wall. Cornell Capa – View from the Israel Museum sculpture garden. Leonard Freed – Reading from Sephardic Torah scrolls. Ernst Haas – In the Arab quarter, Old City. Charles Harbutt – Easter, Holy fire. Ron Havilio – Wallscape. Bhupendra Karia – Midday prayers, Al Aqsa...

signed lower right. size includes frame. The French artist Claude Hemeret was born on May 23, 1929. After classical studies at the lycée du Parc Imperial in Nice, he started at the l...

Yoshio Aoyama (Japanese, 1894-1996) "Nature Morte". Oil on canvas. 1981. Signed 'Aoyama' (upper left). Signed and titled 'Nature Morte' verso. 15" x 18" ...

Terence La Noue was born in Hammond, Indiana in 1941. He received a Bachelor of Fine Arts from Ohio Wesleyan University in 1964. After going to Berlin as a Fulbright Meister Student ...