Lions Gallery

Bernhard Leitner, (Austrian, 1938) From a portfolio "Sound : Space" "Ton : Raum" Self published by artist in 1975/1976, Limited edition of 50 Hand signed in pencil by artist. Acc...

This is from the original first edition 1923 printing. there was a much later edition done after these originals. These are individually hand signed in pencil by artist as issued. This listing is for the one print. the other documentation is included here for provenance and is not included in this listing. The various images inspired by the Jewish Mysticism and rabbis and mystics of jerusalem and Kabbalah is holy, dramatic and optimistic Rubin succeeded to evoke the spirit of life in Israel in those early days. They are done in a modern art style influenced by German Expressionism, particularly, Ernst Barlach, Ernst Ludwig Kirchner, and Franz Marc, as introduced to Israel by Jakob Steinhardt, Hermann Struck and Joseph Budko. Reuven Rubin 1893 -1974 was a Romanian-born Israeli painter and Israel's first ambassador to Romania. Rubin Zelicovich (later Reuven Rubin) was born in Galati to a poor Romanian Jewish Hasidic family. He was the eighth of 13 children. In 1912, he left for Ottoman-ruled Palestine to study art at Bezalel Academy of Art and Design in Jerusalem. Finding himself at odds with the artistic views of the Academy's teachers, he left for Paris, France, in 1913 to pursue his studies at the École Nationale Supérieure des Beaux-Arts. He was of the well known Jewish artists in Paris along with Marc Chagall and Chaim Soutine, At the outbreak of World War I, he was returned to Romania, where he spent the war years. In 1921, he traveled to the United States with his friend and fellow artist, Arthur Kolnik. In New York City, the two met artist Alfred Stieglitz, who was instrumental in organizing their first American show at the Anderson Gallery. Following the exhibition, in 1922, they both returned to Europe. In 1923, Rubin emigrated to Mandate Palestine. Rubin met his wife, Esther, in 1928, aboard a passenger ship to Palestine on his return from a show in New York. She was a Bronx girl who had won a trip to Palestine in a Young Judaea competition. He died in 1974. Part of the early generation of artists in Israel, Joseph Zaritsky, Arieh Lubin, Reuven Rubin, Sionah Tagger, Pinchas Litvinovsky, Mordecai Ardon, Yitzhak Katz, and Baruch Agadati; These painters depicted the country’s landscapes in the 1920s rebelled against the Bezalel school of Boris Schatz. They sought current styles in Europe that would help portray their own country’s landscape, in keeping with the spirit of the time. Rubin’s Cezannesque landscapes from the 1920s were defined by both a modern and a naive style, portraying the landscape and inhabitants of Israel in a sensitive fashion. His landscape paintings in particular paid special detail to a spiritual, translucent light. His early work bore the influences of Futurism, Vorticism, Cubism and Surrealism. In Palestine, he became one of the founders of the new Eretz-Yisrael style. Recurring themes in his work were the bible, the prophet, the biblical landscape, folklore and folk art, people, including Yemenite, Hasidic Jews and Arabs. Many of his paintings are sun-bathed depictions of Jerusalem and the Galilee. Rubin might have been influenced by the work of Henri Rousseau whose naice style combined with Eastern nuances, as well as with the neo-Byzantine art to which Rubin had been exposed in his native Romania. In accordance with his integrative style, he signed his works with his first name in Hebrew and his surname in Roman letters. In 1924, he was the first artist to hold a solo exhibition at the Tower of David, in Jerusalem (later exhibited in Tel Aviv at Gymnasia Herzliya). That year he was elected chairman of the Association of Painters and Sculptors of Palestine. From the 1930s onwards, Rubin designed backdrops for Habima Theater, the Ohel Theater and other theaters. His biography, published in 1969, is titled My Life - My Art. He died in Tel Aviv in October 1974, after having bequeathed his home on 14 Bialik Street and a core collection of his paintings to the city of Tel Aviv. The Rubin Museum opened in 1983. The director and curator of the museum is his daughter-in-law, Carmela Rubin. Rubin's paintings are now increasingly sought after. At a Sotheby's auction in New York in 2007, his work accounted for six of the ten top lots. Along with Yaacov Agam and Menashe Kadishman he is among Israel's best known artists internationally. Education 1912 Bezalel Academy of Arts and Design, Jerusalem 1913-14 École des Beaux Arts, Paris and Académie Colarossi, Paris Select Group Exhibitions Eged - Palestine Painters Group Eged - Palestine Painters Group, Allenby Street, Tel Aviv 1929 Artists: Chana Orloff, Abraham Melnikoff, Rubin, Reuven Nahum Gutman, Sionah Tagger,Arieh Allweil, Jewish Artists Association, Levant Fair, Tel Aviv, 1929 Artists: Ludwig Blum,Eliyahu Sigad, Shmuel Ovadyahu, Itzhak Frenel Frenkel,Ozer Shabat, Menahem Shemi...

Heavily textured abstract print in a serigraph and terragraph technique. It has a raised texture to the surface, A beautiful piece. This listing is for the one print, the cover justification sheet and the photograph are just included for provenance. This is from the limited edition of 100. Hand signed and numbered on colophon page. (They are not signed and numbered on each print) Arches paper. Dimensions: 15.75 X 15.25 These have a texture that feels like a painting. Done in Jaffa Israel based on the Hebrew Bible. Jewish, Judaica interest. Emil Schumacher is among the best-known exponents of Art Informel in Germany. His painting style, which he initially developed in the 1950s under the influence of Wols, is marked by dark, brownish black or brilliant thick red colours and a graffiti like sign language that endow the pictures the expressive character of old cracked masonry. Emil Schumacher (29 August 1912 in Hagen, Westfalen – 4 October 1999 in San José, Ibiza) was a German artist and painter. He was an important representative of abstract expressionism in post-war Germany. As an 18-year-old, Emil Schumacher undertakes a four-week-long bicycle tour to Paris, France. 1932–1935: Studies graphic design at the School of Applied Arts in Dortmund intending to become a graphic designer in advertising. 1935–1939: Independent artist without participating in exhibits. He undertakes study trips by bicycle to the Netherlands and Belgium. 1939–1945: Service obligation as draftsman in an arms factory, the Akkumulatoren–Werke of Hagen. Since 1945: Immediately after end of war, new start as independent artist. 1947: First solo exhibit in the Studio für neue Kunst. Co-founder of the artist group Junger Westen. 1954: Participates in the Willem Sandberg...

Joyce Treiman Ink on paper, framed under glass; signed in pencil lower right; Dimensions: 16 1/2 x 13 3/4 inches; 18 3/4 x 14 3/4 inches frame. Joyce Wahl Treiman was an American painter, printmaker, sculptor and teacher. Her work ranged from "the impishly perverse and humorously paradoxical to the brilliant and profound." She was known as an excellent draftsperson throughout her career. She made several trips to Europe to study the old masters, and the human figure is central in her work. In her later paintings she is known to have inserted self-portraits. She attended Stephens College in Columbia, Missouri, and then studied at the State University of Iowa (today the University of Iowa) under the influential painter Philip Guston. During World War II she worked as a commercial artist but resigned when she began to have success with exhibitions of her work in Chicago and New York. In 1945 she married Kenneth Treiman, and son Donald, now an Architect, was born in 1950. The Treimans, along with Rene and Rose Wahl, moved to Los Angeles in 1960. She was in an exhibit of Tamarind prints...

Yaacov Agam, Israeli (b. 1928) Hand signed and dated This is a great example of bold, graphic, mod design. Along with Reuven Rubin and Menashe Kadishman he is among Israel's best kn...

Mimi Gross Grooms (American, born 1940) first print, black and white woodcut or woodblock print on paper "to... Happy Happy Birthday Lots of love and...

Contemporary Jewish artist Ken Goldman, born: 1960, Memphis Tenn. Education: Pratt Institute, Masters of industrial Design, 1985 Brooklyn College, B.A Fine Arts, 1981 Made Aliyah: 1985-member Kibbutz Shluchot Art in the collection of Mishkan LeOmanut Ein Harod Israel - Wolfson Museum Jerusalem Israel - Rodeph Shalom - Philadelphia Museum of Jewish Art Shows 2017 - Here Is Your Ketubbah Museum Of Art Ein Harod Israel 2016 - Ima Ilya – Hebrew University Gallery – Jerusalem Israel 2016 - It Was Evening it was Morning – Rishon Le Zion Community gallery Israel 2016 - Jerusalem Biennial select works Leichtag Foundation – San Diego 2015 - Some Body Jewish - solo show - Jewish Museum Of Philadelphia Congregation Rodeph Shalom - Philadelphia 2015 - Rooted in Time - Rishon LeZion City Gallery 2015 - Black and White - Neve Schechter Tel Aviv 2015 - Rooted - Manny Cantor Center - New York 2015 - To Forgive and Remember - Reshaping American Consciousness - Derfner Judaica Museum - New York 2015 - Magenim Jewish Cuts - En Harod Museum of Art Israel 2015 - Fields of Dreams - Living Shmita in the modern world - Yeshiva University Museum New York 2015 - The Second Jerusalem Biennial - The Fine Line- Achim Hasid Gallery - Jerusalem Israel 2015 - The Second Jerusalem Biennial - Ima Iyla'a- Hechal Shlomo Museum -Jerusalem Israel 2015 - Vashti The Untold Story -Neve Schechter Gallery Tel Aviv 2015 - Active Hands - Crafts by Soldiers - Craft in America Museum - California 2014 - Through the Others Eyes - Wolfson Museum - Jerusalem Israel 2014 - Off Label - The Laurie Tisch Gallery - New york - curated by Tobi Kahn 2013 - The first Biennial of Jewish art Jerusalem Israel 2013 - Golden Ghetto of Venice - competition- second prize 2013 - First Prize in Museum of Imajewnation Four Cups of Freedom competition 2012 - First Prize-Cover thy Head - Morris and Sally Justein Heritage Museum - Toronto, Canada 2012 - Portraits of Cain - Ben Gurion University gallery Chaim Maor curator 2010 - Zimmun - Mishkan Le Omanut Ein Harod Israel 2010 - Seduced by the Sacred - Charter Oak Foundation Hartford Ct 2007 - “Kabbalah dolls” chosen and marketed by F.A.O. Schwarz at annual toy auditions. 2006 - City of Jerusalem – competition- original succah model designs - “best in concept” 2003 - Temple Judea Museum - Judith Altman Memorial Judaica Competition - “It Holds Light”- finalist 2001 - “FromWithin” – solo exhibition Mishkan Le Omanut, Museum of Art, Ein Harod, Israel. 1999 – The Philip and Sylvia Spertus Judaica Prize – The Havdalah spice...

Alejandra Icaza Born in Bilbao, Spain in 1966. Lives and works in Madrid. Icaza studied at Saint Martins College in London (1985) and at The New York Studio School of Drawing, Painting and Sculpture in...

Genre: Contemporary Subject: Abstract Medium: Mixed Media, Collage Surface: Paper Country: Spain Dimensions: 14" x 11" Dimensions w/Frame: 15" x 12" Alejandra Icaza Born in Bilbao, Spain in 1966. Lives and works in Madrid. Icaza studied at Saint Martins College in London (1985) and at The New York Studio School of Drawing, Painting and Sculpture in New York...

Genre: Surrealism Subject: Abstract Medium: Mixed Media Surface: Board Country: France Dimensions w/Frame: 26" x 21 3/4 Signed and signed with thumbprint Born ca.1949 in Slovenia, (then Austria later Yugoslavia) autodidact; Communist Political prisoner; Escapes to Italy; 1980, is established in France; 1991, enters Guinness for a sale at 150 million francs, record for a living artist. He geometrizes in the strictest way the figuration by declining all the blues of his palette, with their gradations. Perspectives lurk around minimalism, Towards the discovery of America...

Joan Miro, Spanish (1893–1983) Vintage lithograph poster from Arte Paris for a Marlborough Gallery show in London, England Signed in the plate Rece...

MALCAH ZELDIS ''Basketball'', 1988, gouache on paper Hand signed and dated bottom right, titled in pencil on paper verso Malcah Zeldis (born Mildred ...

This is from a hand signed, limited edition (edition of 125) folio or full page lithographs some having a poem verso. The individual sheets are not signed or numbered. This listing is just for the one sheet, not for the cover sheet or the signed sheet. This was printed at Mourlot in Paris, France, on velin D'Arches paper. Apel les Fenosa i Florensa (1899 - 1989) lived in Spain. Apelles Fenosa is known for Expressionist Sculpture. Artist's alternative names: Apel·les Fenosa, Apelles Fenosa Spanish Sculptor Fenosa was born in Barcelona, Spain in 1899 and as a young man worked in the studio of sculptor Enrique Casanovas where he came into contact with the ideas and adherents of the Modernist Movement and its influence in Barcelona, Paris and other European cities. In 1917 he founded together with Joan Rebull, Josep Granyer and Josep Viladomat the group The Evolutionists. He arrived in Paris in 1921. There he quickly gravitated into the Parisian avant garde artist community and became friends with Pablo Picasso, who became an early patron of his work, buying a significant number of his sculptures, and with the sculptor Max Jacob. By 1924 Fenosa was exhibiting in Paris and in his native city of Barcelona. Max Jacob wrote the preface to the catalogs of Fenosa's first Paris exhibition, and his show at the Zborowski gallery in 1928. In 1931 Fenosa was in Catalonia when the Second Spanish Republic was declared. There he remained in order to work with the anarchist movement and participate in the Republican ranks during the Spanish Civil War. He participated in the Venice Biennale in 1936 and with the coming to power of the Franco Fascist regime left Spain once again to settle in Paris. In 1942, he met the painter and poet, Paul Eluard, who became a close friend. In 1944, the Comite de Liberation du Limousin (Organization for the Liberation of the Limousin) commissions a sculpture to commemorate the Nazi killings of Oradour-sur-Glane. He creates the "Monument aux Martyrs d'Oradour-sur-Glane" (Monument to the Martyrs of Oradour) presently in Limoges. From 1946 Fenosa exhibited individually or collectively in Paris, London, Barcelona, ​​Madrid, Prague, New York, Tokyo, Rabat, Osaka, Casablanca, Carrara. His personal exhibition catalogs are prefaced by the most famous writers and poets of his time, including Paul Eluard, Jean Cocteau, Jules Supervielle, Josep Carner, Alexandre Cirici-Pellicer, Francis Ponge, Pablo Neruda, Michel Cournot, Roger Caillois, Salvador Espriu. He was part of a generation of Spanish and Catalan artists that included Jose Amat Pages, Ramon Pichot, Alfredo Opisso Cardona, Ramon Aguilar More, Juan Cardona Llados, Josep Miquel Serrano, Ignacio Zuloaga Y Zabaleta, Andre Beaudin, Francisco Domingo Y Segura, Jose Armet Y Portanel, Jose Ventosa Domenech, Antonio Vila Arrufat, Montserrat Gudiol...

This is from a hand signed, limited edition (edition of 125) folio or full page lithographs some having a poem verso. The individual sheets are not signed or numbered. This listing ...

This is from a hand signed, limited edition (edition of 125) folio or full page lithographs some having a poem verso. The individual sheets are not signed or numbered. This listing is just for the one sheet, not for the cover sheet or the signed sheet. This was printed at Mourlot in Paris, France, on velin D'Arches paper. Apel les Fenosa i Florensa (1899 - 1989) lived in Spain. Apelles Fenosa is known for Expressionist Sculpture. Artist's alternative names: Apel·les Fenosa, Apelles Fenosa Spanish Sculptor Fenosa was born in Barcelona, Spain in 1899 and as a young man worked in the studio of sculptor Enrique Casanovas where he came into contact with the ideas and adherents of the Modernist Movement and its influence in Barcelona, Paris and other European cities. In 1917 he founded together with Joan Rebull, Josep Granyer and Josep Viladomat the group The Evolutionists. He arrived in Paris in 1921. There he quickly gravitated into the Parisian avant garde artist community and became friends with Pablo Picasso, who became an early patron of his work, buying a significant number of his sculptures, and with the sculptor Max Jacob. By 1924 Fenosa was exhibiting in Paris and in his native city of Barcelona. Max Jacob wrote the preface to the catalogs of Fenosa's first Paris exhibition, and his show at the Zborowski gallery in 1928. In 1931 Fenosa was in Catalonia when the Second Spanish Republic was declared. There he remained in order to work with the anarchist movement and participate in the Republican ranks during the Spanish Civil War. He participated in the Venice Biennale in 1936 and with the coming to power of the Franco Fascist regime left Spain once again to settle in Paris. In 1942, he met the painter and poet, Paul Eluard, who became a close friend. In 1944, the Comite de Liberation du Limousin (Organization for the Liberation of the Limousin) commissions a sculpture to commemorate the Nazi killings of Oradour-sur-Glane. He creates the "Monument aux Martyrs d'Oradour-sur-Glane" (Monument to the Martyrs of Oradour) presently in Limoges. From 1946 Fenosa exhibited individually or collectively in Paris, London, Barcelona, ​​Madrid, Prague, New York, Tokyo, Rabat, Osaka, Casablanca, Carrara. His personal exhibition catalogs are prefaced by the most famous writers and poets of his time, including Paul Eluard, Jean Cocteau, Jules Supervielle, Josep Carner, Alexandre Cirici-Pellicer, Francis Ponge, Pablo Neruda, Michel Cournot, Roger Caillois, Salvador Espriu. He was part of a generation of Spanish and Catalan artists that included Jose Amat Pages, Ramon Pichot, Alfredo Opisso Cardona, Ramon Aguilar More, Juan Cardona Llados, Josep Miquel Serrano, Ignacio Zuloaga Y Zabaleta, Andre Beaudin, Francisco Domingo Y Segura, Jose Armet Y Portanel, Jose Ventosa Domenech, Antonio Vila Arrufat, Montserrat Gudiol...

This is from a hand signed, limited edition (edition of 125) folio or full page lithographs some having a poem verso. The individual sheets are not signed or numbered. This listing ...

This is from a hand signed, limited edition (edition of 125) folio or full page lithographs some having a poem verso. The individual sheets are not signed or numbered. This listing is just for the one sheet, not for the cover sheet or the signed sheet. This was printed at Mourlot in Paris, France, on velin D'Arches paper. Apel les Fenosa i Florensa (1899 - 1989) lived in Spain. Apelles Fenosa is known for Expressionist Sculpture. Artist's alternative names: Apel·les Fenosa, Apelles Fenosa Spanish Sculptor Fenosa was born in Barcelona, Spain in 1899 and as a young man worked in the studio of sculptor Enrique Casanovas where he came into contact with the ideas and adherents of the Modernist Movement and its influence in Barcelona, Paris and other European cities. In 1917 he founded together with Joan Rebull, Josep Granyer and Josep Viladomat the group The Evolutionists. He arrived in Paris in 1921. There he quickly gravitated into the Parisian avant garde artist community and became friends with Pablo Picasso, who became an early patron of his work, buying a significant number of his sculptures, and with the sculptor Max Jacob. By 1924 Fenosa was exhibiting in Paris and in his native city of Barcelona. Max Jacob wrote the preface to the catalogs of Fenosa's first Paris exhibition, and his show at the Zborowski gallery in 1928. In 1931 Fenosa was in Catalonia when the Second Spanish Republic was declared. There he remained in order to work with the anarchist movement and participate in the Republican ranks during the Spanish Civil War. He participated in the Venice Biennale in 1936 and with the coming to power of the Franco Fascist regime left Spain once again to settle in Paris. In 1942, he met the painter and poet, Paul Eluard, who became a close friend. In 1944, the Comite de Liberation du Limousin (Organization for the Liberation of the Limousin) commissions a sculpture to commemorate the Nazi killings of Oradour-sur-Glane. He creates the "Monument aux Martyrs d'Oradour-sur-Glane" (Monument to the Martyrs of Oradour) presently in Limoges. From 1946 Fenosa exhibited individually or collectively in Paris, London, Barcelona, ​​Madrid, Prague, New York, Tokyo, Rabat, Osaka, Casablanca, Carrara. His personal exhibition catalogs are prefaced by the most famous writers and poets of his time, including Paul Eluard, Jean Cocteau, Jules Supervielle, Josep Carner, Alexandre Cirici-Pellicer, Francis Ponge, Pablo Neruda, Michel Cournot, Roger Caillois, Salvador Espriu. He was part of a generation of Spanish and Catalan artists that included Jose Amat Pages, Ramon Pichot, Alfredo Opisso Cardona, Ramon Aguilar More, Juan Cardona Llados, Josep Miquel Serrano...

This is from a hand signed, limited edition (edition of 125) folio or full page lithographs some having a poem verso. The individual sheets are not signed or numbered. This listing ...

This is from a hand signed, limited edition (edition of 125) folio or full page lithographs some having a poem verso. The individual sheets are not signed or numbered. This listing ...

This is from a hand signed, limited edition (edition of 125) folio or full page lithographs some having a poem verso. The individual sheets are not signed or numbered. This listing is just for the one sheet, not for the cover sheet or the signed sheet. This was printed at Mourlot in Paris, France, on velin D'Arches paper. Apel les Fenosa i Florensa (1899 - 1989) lived in Spain. Apelles Fenosa is known for Expressionist Sculpture. Artist's alternative names: Apel·les Fenosa, Apelles Fenosa Spanish Sculptor Fenosa was born in Barcelona, Spain in 1899 and as a young man worked in the studio of sculptor Enrique Casanovas where he came into contact with the ideas and adherents of the Modernist Movement and its influence in Barcelona, Paris and other European cities. In 1917 he founded together with Joan Rebull, Josep Granyer and Josep Viladomat the group The Evolutionists. He arrived in Paris in 1921. There he quickly gravitated into the Parisian avant garde artist community and became friends with Pablo Picasso, who became an early patron of his work, buying a significant number of his sculptures, and with the sculptor Max Jacob. By 1924 Fenosa was exhibiting in Paris and in his native city of Barcelona. Max Jacob wrote the preface to the catalogs of Fenosa's first Paris exhibition, and his show at the Zborowski gallery in 1928. In 1931 Fenosa was in Catalonia when the Second Spanish Republic was declared. There he remained in order to work with the anarchist movement and participate in the Republican ranks during the Spanish Civil War. He participated in the Venice Biennale in 1936 and with the coming to power of the Franco Fascist regime left Spain once again to settle in Paris. In 1942, he met the painter and poet, Paul Eluard, who became a close friend. In 1944, the Comite de Liberation du Limousin (Organization for the Liberation of the Limousin) commissions a sculpture to commemorate the Nazi killings of Oradour-sur-Glane. He creates the "Monument aux Martyrs d'Oradour-sur-Glane" (Monument to the Martyrs of Oradour) presently in Limoges. From 1946 Fenosa exhibited individually or collectively in Paris, London, Barcelona, ​​Madrid, Prague, New York, Tokyo, Rabat, Osaka, Casablanca, Carrara. His personal exhibition catalogs are prefaced by the most famous writers and poets of his time, including Paul Eluard, Jean Cocteau, Jules Supervielle, Josep Carner, Alexandre Cirici-Pellicer, Francis Ponge, Pablo Neruda, Michel Cournot, Roger Caillois, Salvador Espriu. He was part of a generation of Spanish and Catalan artists that included Jose Amat Pages, Ramon Pichot, Alfredo Opisso Cardona, Ramon Aguilar More, Juan Cardona Llados, Josep Miquel Serrano, Ignacio Zuloaga Y Zabaleta, Andre Beaudin, Francisco Domingo Y Segura, Jose Armet Y Portanel, Jose Ventosa Domenech, Antonio Vila Arrufat, Montserrat Gudiol...

Francois Gilot, (1921-) studied English Literature at Cambridge University, and then, encouraged by her father, studied international law, though she secretly also took art lessons at the same time. In 1943, during her first exhibition in Paris, Gilot (then 21) met Pablo Picasso (who was 61) for the first time. In 1946, Gilot started a 10-year relationship with the notorious womanizer and had two of his children,Claude and Paloma. As a result of her relationship with Picasso, Gilot "became both a witness and a participant in one of the last great periods of the modern art movement in Europe. Their circle included poets, philosophers, writers, and many of the legends of the art world, such as Braque, Chagall, Cocteau and Matisse. In 1953, Gilot left Picasso and the home they shared in Vallauris and moved back to Paris. "Lithographs are printed from stones and each stone is an echo of my artistic voice," said Gilot. "Many artists use their art as a personal catharsis. I have never done that. I am more intellectual. Each artistic process -- oils, lithographs, monotypes -- allows me a different freedom and suits a different mood." While Gilot did her first lithograph in 1950 at the Mourlot Atelier, the same studio used by Picasso, Henri Matisse, Marc Chagall, Jean Miro and Jean Dubuffet, it was in the 1970s that she really began to experiment with the process. "In the beginning I turned to lithography because I wanted to show off my technical skills. Now I am more interested in color," said Gilot. "I also thought that lithographs would make my works more accessible to young collectors." While her oils are priced up to $100,000, her lithographs begin at $2,000 and her monotypes range from $1,000 to $2,500. HONORS Officier de la Legion d'Honneur, Presidence de la Republique, France Chevalier de la Legion d'Honneur, Ministere de la Culture, France SELECTED MUSEUM COLLECTIONS Metropolitan Museum of Art, New York Musee d'Art Moderne, Paris Musee Picasso, Antibes, France National Acadamy of Design, New York Musee de Tel Aviv, Tel Aviv, Israel Museum of Modern Art, New York Bibliotheque Nationale, Paris (complete collection of original prints) SELECTED IMPORTANT EXHIBITION CATALOGUES 2012 Françoise Gilot...

Erwin Pfrang, German (b. 1951) Graphite Pencil on paper Framed 20 X 20.5, sheet 12.5 X 13 Hand signed lower left Erwin Pfrang (born 1951, in Munich) is a German painter and printmaker. Pfrang studied at the Academy of Fine Arts in Munich from 1974–79. Later he spent many years as an independent artist in Montepulciano, Val d’Orcia and Catania, Italy, interrupted by stays in Munich and Augsburg. He presently lives and works in Berlin. Erwin Pfrang is the grandson of the Munich folk comedian Konstantin Pfrang. Carla Schulz-Hoffmann makes an attempt at characterising the painter: “An artist such as Erwin Pfrang inhabits an alternative world, a tiny microcosm of subjectivity, and lives that life uncompromisingly, with all the limitations and hardships that it entails. Among twentieth-century artists a comparable stance can be encountered perhaps in Jean Fautrier, but certainly in Otto Wols. His oeuvre relates in its figuration to Bosch or James Ensor and his oil painting to Lucian Freud in its painterly quality. Erwin Pfrang is represented by gallerists Fred Jahn, Munich (Exhibition: Don’t Forget Your Mask: Don’t (Part I: Don’t Forget Your Mask), Forget (Part II: Don’t Forget Your Mask), Your Mask (Part III: Don’t Forget Your Mask)Artists: Imi Knoebel, Barry Le Va, Karel Appel, Alexi Tsioris, William N. Copley, Isa Genzken...

Erwin Pfrang, German (b. 1951) Graphite, Colored Pencil on paper Framed 20.5/8 X 16.5/8 sheet 6 X 7.75 Erwin Pfrang (born 1951, in Munich) is a German painter and printmaker. Pfrang studied at the Academy of Fine Arts in Munich from 1974–79. Later he spent many years as an independent artist in Montepulciano, Val d’Orcia and Catania, Italy, interrupted by stays in Munich and Augsburg. He presently lives and works in Berlin. Erwin Pfrang is the grandson of the Munich folk comedian Konstantin Pfrang. Carla Schulz-Hoffmann makes an attempt at characterising the painter: “An artist such as Erwin Pfrang inhabits an alternative world, a tiny microcosm of subjectivity, and lives that life uncompromisingly, with all the limitations and hardships that it entails. Among twentieth-century artists a comparable stance can be encountered perhaps in Jean Fautrier, but certainly in Otto Wols. His oeuvre relates in its figuration to Bosch or James Ensor and his oil painting to Lucian Freud in its painterly quality. Erwin Pfrang is represented by gallerists Fred Jahn, Munich (Exhibition: Don’t Forget Your Mask: Don’t (Part I: Don’t Forget Your Mask), Forget (Part II: Don’t Forget Your Mask), Your Mask (Part III: Don’t Forget Your Mask)Artists: Imi Knoebel, Barry Le Va, Karel Appel, Alexi Tsioris, William N. Copley, Isa Genzken...

Charles Wildbank (American, b. 1948) Photorealist Still Life Painting "Candy Sticks", Acrylic on canvas Signed in bottom right corner recto Charles Bourke Wildbank, native New Yor...

John Altoon (1925-1969) UNTITLED, 1966, color lithograph, hand signed in pencil and inscribed trail proof II, sheet 29 ¾ x 41 ¼, printed by Gemini G.E.L.,...

Guinovart, Josep (Spanish/Catalan, 1927-2007), Untitled Abstract, 1984, lithograph on paper, hand signed, dated and marked E.A. (artist's proof) in pencil at bottom, full sheet 26.75 x 22 inches, unframed. Josep Guinovart...

MICHAEL HAFFTKA "The Wave" Hand signed lower right "Hafftka" Oil and pastel on paper, 30.5" x 22.25". Framed 39" x 31.5". Michael Hafftka (born 1953) is an American figurative expressionist painter and musician, composer, living in New York City. Hafftka was born in Manhattan, New York (1953) to Eva and Simon Hafftka, European refugees and Holocaust survivors. He was raised in the Bronx and attended public schools. His work is represented in the permanent collections of a number of museums, including: The Metropolitan Museum of Art, New York Museum of Modern Art, Brooklyn Museum of Art, San Francisco Museum of Modern Art, Carnegie Museum of Art, New York Public Library, McNay Art Museum, Housatonic Museum of Art, Arizona State University Art Museum, National Gallery of Art, and Yeshiva University Museum. He was included in the show Jewish Themes/Contemporary American Artists II, The Jewish Museum, New York, Hannelore Baron...

Moonstruck 1994 3D porcelain ceramic plate. limited edition. Red Grooms (born Charles Rogers Grooms on June 7, 1937) is an American multimedia artist best known for his colorful pop-art constructions depicting frenetic scenes of modern urban life. Grooms was given the nickname "Red" by Dominic Falcone (of Provincetown's Sun Gallery) when he was starting out as a dishwasher at a restaurant in Provincetown and was studying with Hans Hofmann. Grooms was born in Nashville, Tennessee during the middle of the Great Depression. He studied at the Art Institute of Chicago, then at Nashville's Peabody College. In 1956, Grooms moved to New York City, to enroll at the New School for Social Research. A year later, Grooms attended a summer session at the Hans Hofmann School of Fine Arts in Provincetown, Massachusetts. There he met experimental animation pioneer Yvonne Andersen, with whom he collaborated on several short films. Grooms follows in the tradition of William Hogarth and Honoré Daumier, who were canny commentators on the human condition. In 1969, Peter Schjeldahl compared Grooms to Marcel Duchamp, because both embodied "a movement of one man that is open to everybody." In the spring of 1958, Grooms, Yvonne Andersen and Lester Johnson each painted twelve-foot by twelve-foot panels, which they erected with telephone poles on a parking lot adjacent an amusement park in Salisbury, MA. Inspired by artist-run spaces such as New York's Hansa Gallery and Phoenix, and Provincetown's Sun Gallery, Grooms and painter Jay Milder opened the City Gallery in Grooms' second-floor loft in the Flatiron District. When Phoenix refused to show Claes Oldenburg, Grooms and Milder dropped out of Phoenix and City Gallery presented Oldenberg's first New York exhibition, as well as that of Jim Dine. Other artists who showed at City Gallery include Stephen Durkee, Mimi Gross (daughter of Chaim Gross and Red grooms wife), Bob Thompson, Lester Johnson, and Alex Katz. Inspired by George Méliès's 1902 film A Trip to the Moon...

This is from a limited edition portfolio of original lithographs print Fernand Mourlot in Paris in 1958 from work done in collaboration with Bonnard which began in 1928. A walled city with a mosque with a minaret with Arabs standing in the foreground. This is from the rare first edition, No. VII of 20 unbound sets, specially printed for Hans P. Kraus, with Henry de Montherlant inscription to him signed and dated March 3, 1960 These are not individually hand signed or numbered. On BFK Rives French velin art paper Pierre Bonnard (1867 – 1947) was a French painter, illustrator and printmaker, known especially for the stylized decorative qualities of his paintings and his bold use of color. A founding member of the Post-Impressionist group of avant-garde painters Les Nabis, (the Naive artists) his early work was strongly influenced by the work of Paul Gauguin, as well as the prints of Hokusai and other Japanese artists. Bonnard was a leading figure in the transition from Impressionism to Modernism. He painted landscapes, urban scenes, portraits and intimate domestic scenes, where the backgrounds, colors and painting style usually took precedence over the subject. Pierre Bonnard was born in Fontenay-aux-Roses, Hauts-de-Seine on 3 October 1867. His mother, Élisabeth Metzdorff, was from Alsace. His father, Eugène Bonnard, was from the Dauphiné, and was a senior official in the French Ministry of War. He had a brother, Charles, and a sister, Andrée, who in 1890 married the composer Claude Terrasse. He received his education in the Lycée Louis-le-Grand and Lycée Charlemagne in Vanves. He showed a talent for drawing and water colors, as well as caricatures. He painted frequently in the gardens of his parent's country home at Grand-Lemps near the Cote Saint-André in the Dauphiné. He also showed a strong interest in literature. He received his baccalaureate in the classics, and, to satisfy his father, between 1886 and 1887 earned his license in law, and began practicing as a lawyer beginning in 1888. While he was studying law, he also attended art classes at the Académie Julian in Paris. At the Académie Julien he met his future friends and fellow artists, Paul Sérusier, Maurice Denis, Gabriel Ibels and Paul Ranson. In 1888 Bonnard was accepted by the École des Beaux-Arts, where he met Édouard Vuillard and Ker Xavier Roussel. He also sold his first commercial work of art, a design for poster for France-Champagne, which helped him convince his family that he could make a living as an artist. He set up his first studio at on rue Lechapelais and began his career as an artist. From 1893 until her death, Bonnard lived with Marthe de Méligny (1869–1942), and she was the model for many of his paintings, including many nude works. Her birth name was Maria Boursin, but she had changed it before she met Bonnard. They married in 1925. In the years before their marriage, Bonnard had love affairs with two other women, who also served as models for some of his paintings, Renée Monchaty (the partner of the American painter Harry Lachmann) and Lucienne Dupuy de Frenelle, the wife of a doctor; it has been suggested that Bonnard may have been the father of Lucienne's second son. Renée Monchaty committed suicide shortly after Bonnard and de Méligny married. In 1891 he met Toulouse-Lautrec and in December 1891 showed his work at the annual exhibition of the Société des Artistes Indépendants. In the same year Bonnard also began an association with La Revue Blanche, for which he and Edouard Vuillard designed frontispiece In March 1891, his work was displayed with the work of the other Nabis at the Le Barc de Boutteville. The style of Japanese graphic arts became an important influence on Bonnard. In 1893 a major exposition of works of Utamaro and Hiroshige was held at the Durand-Rouel Gallery, and the Japanese influence, particularly the use of multiple points of view, and the use of bold geometric patterns in clothing, such as checkered blouses, began to appear in his work. Because of his passion for Japanese art, his nickname among the Nabis became Le Nabi le trés japonard. He devoted an increasing amount of attention to decorative art, designing furniture, fabrics, fans and other objects. He continued to design posters for France-Champagne, which gained him an audience outside the art world. In 1892 he began to produce lithographs, and painted two of his early notable works, Le Corsage a carreaux and La Partie de croquet. He also made a series of illustrations for the music books of his brother-in-law, Claude Terrasse. In 1895 he became an early participant of the movement of Art Nouveau, designing a stained glass window, called Maternity, for Tiffany. In 1895 he had his first individual exposition of paintings, posters and lithographs at the Durand-Ruel Gallery. He also illustrated a novel, Marie, by Peter Nansen, published in series by in La Revue Blanche. The following year he participated in a group exposition of Nabis at the Ambroise Vollard Gallery. In 1899, he took part in another major exposition of works of the Nabis. Throughout the early 20th century, as artistic styles appeared and disappeared with almost dizzying speed, Bonnard kept refining and revising his personal style, and exploring new subjects and media, but keeping the distinct characteristics of his work. Working in his studio at 65 rue de Douai in Paris, he presented paintings at the Salon des Independents in 1900, and also made 109 lithographs for Parallèment, a book of poems by Verlaine. He also took part in an exhibition with the other Nabis at the Bernheim Jeune gallery. He presented nine paintings at the Salon des Independents in 1901. In 1905 he produced a series of nudes and of portraits, and in 1906 had a personal exposition at the Bernheim-Jeune Gallery. In 1908 he illustrated a book of poetry by Octave Mirbeau, and made his first long stay in the South of France, at the home of the painter Manguin in Saint-Tropez. in 1909, and in 1911 began a series of decorative panels, called Méditerranée, for the Russian art patron Ivan Morozov. During the years of the First World War, Bonnard concentrated on nudes and portraits, and in 1916 completed a series of large compositions, including La Pastorale, Méditterranée, La Paradis Terreste and Paysage de Ville. His reputation in the French art establishment was secure; in 1918 he was selected, along with Renoir, as an honorary President of the Association of Young French Artists. In the 1920s, he produced illustrations for a book by Andre Gide (1924) and another by Claude Anet (1923). He showed works at the Autumn Salon in 1923, and in 1924 was honored with a retrospective of sixty-eight of his works at the Galerie Druet. In 1925 he purchased a villa in Cannes. In 1938 his works and Vuillard were featured at an exposition at the Art Institute of Chicago. The outbreak of World War II in September 1939, forced Bonnard to depart Paris for the south of France, where he remained until the end of the war. Under the German occupation, he refused to paint an official portrait of the French collaborationist leader, Marechal Petain, but accepted a commission to paint a religious painting of Saint Francis de Sales...

Printed by Pierre Chave, Vence, published by Bianchi Frères in Nice, France ink on watermarked chiffon de Mandeure paper, hand signed in pencil lower right, "PH Dureux," numbered 4/5...

Maplewood Township Homestead, Winter, 1993 Fabulous American landscape photography of a rural landscape scene. from small hand signed edition of 20 Large Format Chromogenic print on Kodak Professional Paper The sheets are approximately 30 X 56 inches the images are around 16 X 48.25 inches Some of them are cut a bit irregularly, they should all mat out fine for framing. These are vintage large-format architectural chromogenic print photographs hand signed and dated and hand numbered from the edition of 20 in the lower margin. The collection depicts attractive examples of Mackenzie's wide-lens studies of architecture, such as barns and abandoned houses, set into richly colored landscapes. Maxwell MacKenzie is an award-winning professional and fine-art photographer based in Washington, DC and Minnesota. Over the past thirty-five years, his photographic assignments have taken him to 20 states and a dozen foreign countries, including Austria, the Bahamas, Bermuda, Brazil, Brussels, England, France, Greece, Morocco, Norway, Sweden, and Wales. Three books of Mackenzie's fine-art photographs have been published: Abandonings, (1995), color panoramic photographs of his native Otter Tail County, MN, which was awarded the Silver Medal Award for Excellence from Photo District News; American Ruins, Ghosts on the Landscape, (2001) black & white panoramics made in Montana, Idaho, Minnesota, Wisconsin and the Dakotas; and Markings, (2007), color abstract aerials made from his self-piloted, powered-parachute, a 300 pound, ultra-light aircraft. MacKenzie’s work is included in the permanent collection of The Phillips Collection as well as hundreds of private and corporate collections, including Exxon, Citibank, Deloitte & Touche, Dow Jones, Fannie Mae, The New York Hospital, Goldman Sachs, JP Morgan, the Union Bank of Switzerland, Phillip Morris, and the Washington Post. His fine-art photographs of the American West are also included in numerous American Embassy collections including Bogota, Lima, Lagos, and Moscow. His work has been exhibited in dozens of museums and galleries all over the country, including solo shows at The Contemporary Art Center of Virginia, Virginia Beach; The American Institute of Architects, DC; The Nordic Heritage Museum, in Seattle, WA; The Piedmont Arts Association, Martinsville, VA; the Julie Saul Gallery in NYC, the DNJ Gallery in LA; The Gallatin River Gallery, in Big Sky, MT; Anne Reed Gallery in Sun Valley, ID; The International Photography Hall of Fame, in Oklahoma, City; the Bivins Gallery at Duke University, NC; the University of Minnesota – Morris; the New York Mills Regional Cultural Center, MN; The Virginia Foundation for Architecture, Richmond, and the Addison-Ripley Gallery in DC. Mr. MacKenzie attended the University of Pennsylvania, and received a Bachelor of Arts degree, with a dual major in Architecture and Photography from Bennington College, Vermont, with advanced study in photography at the Corcoran College of Art + Design as well as the Maine and Santa Fe Photo Workshops. MacKenzie received a $ 10,000 Grant from the Graham Foundation for Advanced Studies in the Fine Arts in support of his “TOBACCO” Project, which was exhibited at the National Headquarters of the American Institute of Architects in 2003. He has also been awarded Artist Fellowship Grants from the DC Commission on the Arts, the National Endowment for the Arts, and, in 1995, MacKenzie was named the Candace DeVries Olesen Alumni Fellow at Bennington, and delivered an illustrated all-college lecture entitled: "Art and Commerce: Balancing Two Worlds.” In 2010, he was awarded a one-month artist residency at the Vermont Studio Center. Mr MacKenzie has taught one-week workshops and assorted master classes at The International Center of Photography in New York, The Palm Beach Photo...

Everts Township Homestead, Summer, 1993 Fabulous American landscape photography of a rural landscape scene. from small hand signed edition of 20 Large Format Chromogenic print on Ko...

Title: Red Pod, CV110V, San Diego, 1997 Fabricated, hammered copper, colored pencils, patina. This is not signed. It bears a label on the interior and the artist has kindly confirmed the attribution to me. Helen Shirk...

This is a stylized figurative abstract expressionist nude. This one is hand signed and dated. From the style we are estimating it to the 1970's They have abstract stylized erotic male and female nude elements to them some have a stylized American flag. Carmen Louis Cicero (born 1926) is an American figurative abstract painter from Newark, New Jersey. Cicero attended the New Jersey State Teachers College (now Kean University) from 1947 to 1951. Cicero studied painting under Hans Hofmann and Robert Motherwell at Hunter College in 1953. He received an MFA from Montclair State University in 1991.Cicero started as an abstract painter and use automatism in his drawings of memories of places. In 1957, Cicero had his first solo show at the Peridot Gallery, New York, showing with fellow artists Louise Bourgeois and Philip Guston. In the early 1960s, Cicero’s canvases began to be populated with intense, expressionist figures. These works positioned him as one of the earliest figurative expressionist painters of his generation. In 1971 a studio fire destroyed the work still in his possession. He moved to New York to a studio loft on the Bowery and started over in a dramatically different figurative style. In the 1990s, Cicero's style changed again, from figurative expressionism to visionary realism/surrealism reminiscent of magic realism. His work spans three periods and styles Abstract Expressionism, Figurative Expressionism, and surrealist “visionary.” In the late 1970s and 1980s and produced a body of work that was well received both uptown on Madison Avenue and downtown during the heyday of the East Village art scene. He was represented by the Berta Walker Gallery. He lives in New York City and Truro on Cape Cod. He is also an accomplished jazz musician. Cicero taught painting at Sarah Lawrence College 1959 to 1968. Cicero was a professor of painting at Montclair State University from 1970 through 2001. A monograph, The Art of Carmen Cicero was published in 2013 by Schiffer Publishing in Atglen, PA. Awards Guggenheim Fellowship 1957-58 and 63-64 Ford Foundation, Purchase Prizes 1961 and 65 Jackson Pollock- Lee Krasner Foundation Grant, 2008 Jacob Lawrence and Gwendolyn Knight Lawrence...

Konrad Cramer, 1888-1963 was a painter, photographer, printer, and illustrator. Based in the fertile Woodstock, New York, artistic community along with Yasuo Kuniyoshi and Russell Lee, Cramer was both educator and artist. He ran a summer school for miniature camera photography in the 1930s and later taught one of the first American college courses in photography at Bard College. Although he began as a painter of abstract, geometric forms in bold colors, Cramer is most known as a photographer. Konrad Cramer was born and raised in Wurzburg, Germany. Cramer studied to be an artist at the Karlsruhe Academy under Ludwig Schmidt-Reutte and Ernest Schurth. He became interested in the German avant-garde early in his schooling, he was a member of the Blaue Reiter, exposed and encouraged by the experimental works of Wassily Kandinsky and Franz Marc. An additional influence on Cramer's artistic development was the Cubist landscapes of Paul Cézanne. Florence Ballin Cramer opened a gallery on 57th Street in 1919, encouraged by the sculptor Elie Nadelman. Florence Gallery exhibited and sold the works of living artists. Although it only survived briefly, it was the first New York gallery to show works by Yasuo Kuniyoshi, Alexander Brook, Ernest Fiene, and Stefan Hirsch. Cramer then settled with his wife in Woodstock, New York, where Ballin had painted with the Art Students League each summer since 1906. Cramer established a reputation as one of Woodstock's most modern painters with an impressive series of abstract paintings exhibited at the MacDowell Club in 1913. In the 1920s Cramer developed a personal representational style which blended modern and regional influences. Cramer received a Rockefeller grant in 1920 to study educational methods for craftsmen in Germany and France. In 1922 he took a teaching position at the Woodstock School of Painting and helped establish the Woodstock Artists Association, where he served as a director. While teaching and painting, Cramer also applied his artistic talent to illustration and textile design. Konrad Cramer first exhibited at the Whitney Studio Club in 1924 and participated in the Whitney Museum of American Art's first and second biennials in 1933 and 1935. He was also included in the 1935 exhibition Abstract Painting in America at the Whitney. Cramer was later included in the Whitney Museum exhibition Pioneers of Modern Art in America in 1946. In the 1930s Cramer participated in many other museum invitationals, including: the Carnegie International (1929, 1933, 1937, 1938); the Pennsylvania Academy of the Fine Arts (1934, 1936), and the Corcoran Gallery of Art (1935, 1937). In 1934 Konrad Cramer and his wife travelled to Mexico where they produced many paintings and drawings. Back in Woodstock in 1935, Cramer briefly joined the (WPA) Federal Art Project, administering the regional program in Woodstock. In the mid-1930s Cramer took up photography to clarify aesthetic issues in his painting. Cramer had gotten to know Alfred Stieglitz upon his arrival in America in 1911 and wrote an essay about 291 Gallery for Stieglitz's magazine Camera Work in 1914. Through Stieglitz and then in the 1930s fellow Woodstockers like Russell Lee, Cramer became interested in the possibilities of photography and began working with it as an artistic medium. In the 1950s Cramer collaborated on a traveling exhibition and book of abstract photographs with Manuel Komroff...

Brad Howe (born 1959) is an American sculptor from California. His work has been exhibited domestically and internationally. This is done in a bold and colorful Pop Art style reminiscent of the work of the Memphis Milano Group. Brad Howe was born in 1959 in Riverside, California. As a student of International Relations at Stanford University, Howe attended the University of São Paulo to specialize in Literature and Economic History. It was there that he discovered his passion for art and architecture that would eventually lead to his first exhibitions. He started his career as a sculptor in Brazil, using stainless steel, aluminum and polyurethane. He credits sculptor Alexander Calder as an early influence in his work. Since then, he has exhibited in over eighteen countries worldwide and his works have been placed in collections in more than 32 countries, including Brazil, Mexico, France, Germany, South Korea and United States. His work can also be found at various universities including Massachusetts Institute of Technology (MIT) in Boston, Temple University in Philadelphia, and UCLA. Monumental and Public Art have become a major focus of his career. Over the past ten years, he has completed over 30 public projects in 7 different countries. One of his sculptures can be seen in the city of Palo Alto, California. Moreover, as part of the Beverly Hills Centennial Arts of Palm Installation, he designed four sculptures outside the Beverly Hills City Hall, on North Santa Monica Boulevard in Beverly Hills, California. The Crocker Art Museum (Sacramento, California), the Honolulu Museum of Art, the Lancaster Museum of Art and History (Lancaster, California), and the Pasadena Museum of California Art (Pasadena, California) are among the museums holding work by Brad Howe. His work was included in the Arts of Palm exhibition in Beverly Hills, palm trees by prominent artists including Brad Howe, Michael McMillen, Mike Stilkey, Peter Shire, Peter Alexander and Ryan Schmidt. His studio is actively completing site-specific commissions and installations for cities, universities, museums, and private corporations. Brad Howe also actively participates in group gallery shows with smaller works that serve as models, or maquettes, for his large-scale pieces. SELECT GROUP EXHIBITS: On The Road: American Abstraction, David Klein Gallery, Detroit, Michigan Properties of Light, George Billis Gallery, Los Angeles, California Blur the Lines, Brad Howe and Takashi Murakami, Asian Art Works, Busan, Korea Brad Howe, Zachary Thornton, Lopez-Herrera, Thomas Punzmann Fine Arts, Frankfurt, Germany Gary Komarin and Brad Howe, Galerie Proarta, Zurich, Switzerland Color Balance, Marco Casentini and Brad Howe, Melissa Morgan...

Titled: Side by side 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...

Abstract Composition, 1959 Lithograph This was from a portfolio which included works by Yosl Bergner, Menashe Kadishman, Yosef Zaritsky, Aharon Kahana, Moshe Tamir and Michael Gross. Joseph (Yossef) Zaritsky (Hebrew: יוסף זריצקי‎; September 1, 1891 – November 30, 1985) was one of Israel's greatest artists and one of the early promoters of modern art in the Land of Israel both during the period of the Yishuv (Palestine, the body of Jewish residents in the Land of Israel before the establishment of the State of Israel) and after the establishment of the State. In 1948 Zaritsky was one of the founders of the "Ofakim Hadashim" group. In his works he created a uniquely Israeli style of abstract art, which he sought to promote by means of the group. For this work he was awarded the Israel Prize for painting in 1959. Joseph Zaritsky was born in 1891 in Borispol, in the Poltava Oblast (province), in the Southwestern portion of the Russian Empire (today the Kiev Oblast of the Ukraine), to a large, traditional Jewish family. His parents, Golda and Joseph Ben Ya'acov, were farmers with National-Zionist leanings. One of the main expressions of this was their devoting of two rooms in their home to the study of Hebrew and reading. From 1910 to 1914 he studied art at the Academy of Arts in the city of Kiev. Among the artists that influenced Zaritsky was the Russian Symbolist painter Mikhail Vrubel...

'Lo faro il litterato tutta la vita' Photo Lithography on rag paper hand signed lower right in pencil: Kounellis numbered 37/90. Provenance: The Collection of Ileana Sonnabend (Mrs Leo Castelli) & the Estate of Nina Castelli Sundell I have seen this piece identified as being 1969 and I have seen it as 1972. Jannis Kounellis (Greek: Γιάννης Κουνέλλης; 23 March 1936 – 16 February 2017) was a Greek Italian contemporary artist based in Rome. A key figure associated with Arte Povera, he studied at the Accademia di Belle Arti in Rome. Kounellis was born in Piraeus, Greece in 1936. He lived in Greece during the Second World War and Greek Civil War before he moved to Rome in 1956. From 1960 to 1966, Kounellis went through a period of only exhibiting paintings. In some of his first exhibitions, Kounellis began stenciling numbers, letters, and words onto his canvases, often reflecting advertisements and signs seen on the street. In 1960 he began to introduce found sculptural objects such as actual street signs into his work, exhibiting at Galleria La Tartaruga. This same year he donned one of his stencil paintings as a garment and created a performance in his studio to demonstrate himself literally becoming one with his painting. This newfound convergence of painting, sculpture, and performance was Kounellis' way out of traditional art. By 1961 he began to paint on newspaper to reflect his feelings towards modern society and politics. From 1963, Kounellis introduced found objects in his artworks, among them live animals but also fire, earth, burlap sacks, and gold. He replaced the canvas with bed frames, doorways, windows or simply the gallery itself. Kounellis' work from the 1980s, which also consisted of sculptures and performances using unusual materials, traveled all over Europe. In 1974, he performed with Edward Kienholz, Wolf Vostell and other artists in Berlin at the ADA – Aktionen der Avantgarde. His work has become integral to numerous renowned, international museums' collections. In 1967, Kounellis became associated with Arte Povera, a movement theorized by curator Germano Celant as a major shift from work on flat surfaces to installations. Kounellis participated in the exhibition 'Arte Povera – e IM Spazio' at the La Bertesca Gallery in Genoa curated by Celant, Arte povera means literally ‘poor art’ but the word poor here refers to the movement’s signature exploration of a wide range of materials beyond the traditional ones of oil paint on canvas, bronze, or carved marble. Materials used by the artists included soil, rags and twigs. Leading artists were Giovanni Anselmo, Alighiero Boetti, Pier Paolo Calzolari, Luciano Fabro, Piero Gilardi, Jannis Kounellis, Mario Merz, Marisa Merz, Giulio Paolini, Pino Pascali, Giuseppe Penone, Michelangelo Pistoletto, Emilio Prini and Gilberto Zorio. They worked in many different ways. They worked in painting, sculpture and photography and made performances and installations, creating works of large physical presence as well as small-scale gestures. To solidify the movement, Celant curated yet another group show, 'Arte Povera', which was exhibited at the De' Foscherari gallery in Bologna in 1968 with similar artists. In the same year Kounellis exhibited 'Senza titolo (Untitled)', which consisted of raw wool, rope and a wooden structure all leaning against a wall. Finally, Kounellis was also included in 'RA3 Arte Povera + Azioni povere' which was organized by Marcello Rumma and curated by Celant. In 1967, Kounellis installed "live birds in cages along with rose-shaped, cloth cut-outs pinned to canvas" alongside his painting. Through this shift in his work, "Kounellis was more interested in anarchical freedom from linguistic norms and conventional materials. The space of the gallery and the exhibition site in general were transformed into a stage where real life and fiction could join in a suspension of disbelief." The viewers became part of the scene of these living natural sources of energy within the gallery space. He continued his involvement with live animals later in 1969, when he exhibited twelve living horses, as if they were cars, in the Galleria l'Attico's new location in an old garage in Via Beccaria. Gradually, Kounellis introduced new materials, such as propane torches, smoke, coal, meat, ground coffee, lead, and found wooden objects into his installations. He also looked beyond the gallery environment to historical (mostly industrial) sites. In 1997, Kounellis installed thirteen wardrobes and two doors that were sealed in lead along a scaffolding ledge that blocked the entry to a central hall. In 1968, in an interview by Marisa Volpi, Kounellis stated that incidental adjustments are certain as aspects that can indicate the human liberty of life. Selected Solo Exhibitions 1960: La Tartaruga gallery, Rome 1969: Attico Gallery, Rome 1981: Van Abbemuseum, Eindhoven 1982: Whitechapel Art Gallery, London 1988: Castle of Rivoli, Turin 1996: Museo Nacional Centro de Arte Reina Sofía, Madrid 2005: Albertina, Vienna 2007: Neue Nationalgalerie, Berlin 2007: Kounellis - Jaffa Port...