Lions Gallery Drawings and Watercolor Paintings

Born in 1918 in Budapest, Hungary, Engel began his professional career in animation as a color designer at the Walt Disney studio. Although his credits include work on such classics as Disney’s Bambi...

Original vintage gouache painting on poster board by Emma Heinzelmann (Hungarian, born 1930). Hungarian Peasant art, children fairytale themes, in psychedelic pop colors of the era. This framed painting depicts figures, a rooster and angels in flying above. Artist signature on farm gate. Housed in chrome mid century frame. Framed: 19.5 X 25.5 image is 15 X 21. Emma Heinzelmann ( Nyírbátor , March 14 , 1930 - ) Munkácsy Prize-winning Hungarian graphic designer and illustrator. Heinzelmann is a Hungarian children's book illustrator and graphic poster artist, who started her career during the 1950’s. She has a very unique drawing style that resembles children’s book illustrations. Working in psychedelic pop colors of the era. She Initially she studied to be a costume designer but she soon turned to graphic design. She graduated in 1950 from the clothing design department at the Junior High School in Török Pál Street which operated under the name Szépmíves Lyceum from 1946 to 1950. His master was György Farkas, a ceramicist, painter and sculptor. She creates her compositions using mainly watercolor and gouache paint. She often worked on illustrations for children’s books, since her style fits their themes. Her posters show the same playful Hungarian Folk Art style. She has produced artwork in almost all areas of applied graphics. posters, commemorative cards, designed album covers, postcards, advertising graphics, slide films, animation and cartoons. Her drawings were published in Dörmögő Dömötör and Kisdobos among others as well as in children's magazines. An entire generation of children grew up with her book illustrations, reading the fairy tales of Wilhelm Hauff or Hans Christian Andersen. Her story books and drawings are known well beyond our borders. She illustrated nearly 80 storybooks. She is a contemporary of Maurice Sendak and William Steig. Her work is of the same genre as the iconic Polish Cyrk poster artists. In her original fine art graphics grotesque and bitter elements often prevail, her figures are playfully ironic. Her drawings are made in a variety of ways, from pencil drawings to watercolor painting to collage techniques, from decorative spot effects to lace-like line drawings. She is no stranger to a kind of Art Nouveau influence, but it is always individual. It was never beautiful, but over the years its color scheme changed, thus confirming the lines of József Somogyi quoted earlier. She had several individual exhibitions, and for more than 10 years as a member of the Papp-Gábor group, her works could be seen in Dorottya Street. In 2009 , the book of art historian András Székely was published by Holnap Könyvkiadó under the title Emma Heinzelmann: fairy tales in the drawing. Awards and recognitions Lot Prize (International Poster Biennale, Warsaw) (1972) Ministry of Culture Award (1977, 1979) Brno Graphic Biennale (Bronze Award) (1980) Worker's Award (1984) Children's Book of the Year Award (1984) IBBY Andersen Diploma (1988) Hamburg Lifetime Achievement Award (1990) Albert Star Award (1992) Noémi Ferenczy Award (2005) Munkácsy Award (1984) Solo Exhibitions: Thought Bookstore, Budapest (1965) Cultural Center, Nyíregyháza (1974) Little Gallery, Komárom (1982) Art Gallery, Budapest. (1990) Vác (2010) Selected group exhibitions: International Children's Book Fair and Exhibition, Bologna (1971-1975) International Graphic Biennale, Brno (1966-1985) BIB (Children's book illustration biennial), Bratislava (1970-1985) XXXVI. Venice Biennale, Venice (1972) ARC. International Poster Biennale, Warsaw (1972) International Poster Triennale (B) (1972-1974) Weekdays, graphic exhibition, (1975) Calligraphy and typography, Institute of Cultural Relations, Budapest (1977) "Falrahányt pea", graphic exhibition, Institute of Cultural Relations, Budapest.(1978) International Poster Triennale (B) (1978) National Poster Exhibitions, Art Gallery, Budapest (1978)(1980) International Poster Exhibition (IR) (1979) Slide films: Fairy tales with Emma Heinzelmann's drawings: Under the Shore (1981) Goose Party (1981) Take a Little Trumpet (1982) The Bremen Town...

Original vintage gouache painting on poster board by Emma Heinzelmann (Hungarian, born 1930). Hungarian Peasant art, children fairytale themes, in psychedelic pop colors of the era.This painting that depicts figures including a crowned pig, and a princess in a bed. Artist signature above bed. Housed in chrome mid century frame. Framed: 19.5 X 25.5 image is 14.75 X 21.25. Emma Heinzelmann ( Nyírbátor , March 14 , 1930 - ) Munkácsy Prize-winning Hungarian graphic designer and illustrator. Heinzelmann is a Hungarian children's book illustrator and graphic poster artist, who started her career during the 1950’s. She has a very unique drawing style that resembles children’s book illustrations. Working in psychedelic pop colors of the era. She Initially she studied to be a costume designer but she soon turned to graphic design. She graduated in 1950 from the clothing design department at the Junior High School in Török Pál Street which operated under the name Szépmíves Lyceum from 1946 to 1950. His master was György Farkas, a ceramicist, painter and sculptor. She creates her compositions using mainly watercolor and gouache paint. She often worked on illustrations for children’s books, since her style fits their themes. Her posters show the same playful Hungarian Folk Art style. She has produced artwork in almost all areas of applied graphics. posters, commemorative cards, designed album covers, postcards, advertising graphics, slide films, animation and cartoons. Her drawings were published in Dörmögő Dömötör and Kisdobos among others as well as in children's magazines. An entire generation of children grew up with her book illustrations, reading the fairy tales of Wilhelm Hauff or Hans Christian Andersen. Her story books and drawings are known well beyond our borders. She illustrated nearly 80 storybooks. She is a contemporary of Maurice Sendak and William Steig. Her work is of the same genre as the iconic Polish Cyrk poster artists. In her original fine art graphics grotesque and bitter elements often prevail, her figures are playfully ironic. Her drawings are made in a variety of ways, from pencil drawings to watercolor painting to collage techniques, from decorative spot effects to lace-like line drawings. She is no stranger to a kind of Art Nouveau influence, but it is always individual. It was never beautiful, but over the years its color scheme changed, thus confirming the lines of József Somogyi quoted earlier. She had several individual exhibitions, and for more than 10 years as a member of the Papp-Gábor group, her works could be seen in Dorottya Street. In 2009 , the book of art historian András Székely was published by Holnap Könyvkiadó under the title Emma Heinzelmann: fairy tales in the drawing. Awards and recognitions Lot Prize (International Poster Biennale, Warsaw) (1972) Ministry of Culture Award (1977, 1979) Brno Graphic Biennale (Bronze Award) (1980) Worker's Award (1984) Children's Book of the Year Award (1984) IBBY Andersen Diploma (1988) Hamburg Lifetime Achievement Award (1990) Albert Star Award (1992) Noémi Ferenczy Award (2005) Munkácsy Award (1984) Solo Exhibitions: Thought Bookstore, Budapest (1965) Cultural Center, Nyíregyháza (1974) Little Gallery, Komárom (1982) Art Gallery, Budapest. (1990) Vác (2010) Selected group exhibitions: International Children's Book Fair and Exhibition, Bologna (1971-1975) International Graphic Biennale, Brno (1966-1985) BIB (Children's book illustration biennial), Bratislava (1970-1985) XXXVI. Venice Biennale, Venice (1972) ARC. International Poster Biennale, Warsaw (1972) International Poster Triennale (B) (1972-1974) Weekdays, graphic exhibition, (1975) Calligraphy and typography, Institute of Cultural Relations, Budapest (1977) "Falrahányt pea", graphic exhibition, Institute of Cultural Relations, Budapest.(1978) International Poster Triennale (B) (1978) National Poster Exhibitions, Art Gallery, Budapest (1978)(1980) International Poster Exhibition (IR) (1979) Slide films: Fairy tales with Emma Heinzelmann's drawings: Under the Shore (1981) Goose Party (1981) Take a Little Trumpet (1982) The Bremen Town...

Harriet Gans, photographer who showed her work in New York galleries and museums A native of Manhattan, Ms. Gans was a graduate of the University of California, Berkeley, and held a master's in psychology from Columbia University. She was a professor of photography at Pace University. She had solo exhibitions at the Julie Saul and Pindar Galleries in New York. She contributed studies of flowers to the In Bloom Traveling Exhibit at the Museum of Modern Art in 1990. an exhibition, "In Celebration of Harriet Gans: Artists of the MacDowell Colony," consisting of 56 works by 16 painters and print makers In photography, she explored nature, mythology and spirituality, producing work that was shown in solo and group exhibitions; the Museum of Modern Art included her flower studies in its 1990 traveling show, "In Bloom." Ms. Gans also contributed to The New York Times and other publications, and taught in the art department of Pace University The photographer's later work was divided into three phases, each of which is represented in the Krasdale show. These include luminous arrangements of seed pods photographed against a black background, vivid abstractions of flowers in various stages of bloom and decay and the haunting "Longing" series, in which eternal mysteries are poignantly captured. The curators have underscored the themes in Ms. Gans's life and work with paintings and graphics by artists like Benny Andrews, Heidi Fasnacht, Clare Romano...

Judith Yellin She has exhibited at: Ben-Uri Gallery, London Nora Gallery, Jerusalem Atelier 97, Tel-Aviv The Artists House, Jerusalem Katz Gallery, Tel-Aviv Ezry Gallery, Jerusalem Stern Gallery, Paris Old Jaffa...

Joanne Seltzer was born in Philadelphia, Pennsylvania and raised in Charleston, West Virginia. After having majored in journalism at Northwestern University (she graduated in 1963), she gained her fine arts degree at the University of Michigan. Ms. Seltzer has also attended the New School for Social Research, the Pratt Institute and New York University, at Which she gained invaluable experience in photography, silkscreen and design. In Addition, Ms. Seltzer has lectured at several institutions, including the school of Visual Arts in New York, the University of Virginia and the University of Iowa. she is in the collection of the Brooklyn Museum and the Indianapolis Museum of Art and has showed at Un jardin secret - Collection Monique Dorsel et Emile Lanc - Centre de la Gravure et de l'Image imprimée, La Louvière along with Jean Tinguely, Francois Morellet, Georg Baselitz, Berto Lardera...

Harriet Gans, photographer who showed her work in New York galleries and museums A native of Manhattan, Ms. Gans was a graduate of the University of California, Berkeley, and held a master's in psychology from Columbia University. She was a professor of photography at Pace University. She had solo exhibitions at the Julie Saul and Pindar Galleries in New York. She contributed studies of flowers to the In Bloom Traveling Exhibit at the Museum of Modern Art in 1990. an exhibition, "In Celebration of Harriet Gans: Artists of the MacDowell Colony," consisting of 56 works by 16 painters and print makers In photography, she explored nature, mythology and spirituality, producing work that was shown in solo and group exhibitions; the Museum of Modern Art included her flower studies in its 1990 traveling show, "In Bloom." Ms. Gans also contributed to The New York Times and other publications, and taught in the art department of Pace University The photographer's later work was divided into three phases, each of which is represented in the Krasdale show. These include luminous arrangements of seed pods photographed against a black background, vivid abstractions of flowers in various stages of bloom and decay and the haunting "Longing" series, in which eternal mysteries are poignantly captured. The curators have underscored the themes in Ms. Gans's life and work with paintings and graphics by artists like Benny Andrews, Heidi Fasnacht, Clare Romano...

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

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

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

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

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

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

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

Boris deutsch was born in krasnagorka lithuania june 4 1892 died in los angeles 1978.Entered the polytechnic school in riga 1905.School of applied arts berlin 1912. Settled in l.A. 1...

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

An original animation drawing from the CBS-TV broadcast of Sendak's "REALLY ROSIE" - (this was the first time "Rosie" appeared anywhere other than Sendak's original book) - this cel is from the PIERRE, "I DONT CARE" sequence. this is the original pencil drawing from the 1970s. it is from the estate of the film producer Dan Hunn. Maurice Bernard Sendak, June 10, 1928-2012 Dubbed by one critic “the Picasso of children’s literature” and once addressed by former President Bill Clinton as “the King of Dreams,” Maurice Sendak illustrated nearly a hundred picture books throughout a career that spanned more than 60 years. Some of his best known books include Chicken Soup...

An original animation drawing from the CBS-TV broadcast of Sendak's "REALLY ROSIE" - (this was the first time "Rosie" appeared anywhere other than Sendak's original book) - this cel is from the PIERRE, "I DONT CARE" sequence. this is the original pencil drawing from the 1970s. it is from the estate of the film producer Dan Hunn. Maurice Bernard Sendak, June 10, 1928-2012 Dubbed by one critic “the Picasso of children’s literature” and once addressed by former President Bill Clinton as “the King of Dreams,” Maurice Sendak illustrated nearly a hundred picture books throughout a career that spanned more than 60 years. Some of his best known books include Chicken Soup...

An original animation cel drawing from the CBS-TV broadcast of Sendak's "REALLY ROSIE" - (this was the first time "Rosie" appeared anywhere other than Sendak's original book) - this cel is from the PIERRE, "I DONT CARE" sequence. this is the original vintage acetate drawing/painting from the 1970s. it is from the estate of the film producer Dan Hunn. I cannot say definitively that it is by Maurice Sendak's hand. He definitely worked on this project and the provenance is impeccable. They are quite rare and unusual. Maurice Bernard Sendak, June 10, 1928-2012 Dubbed by one critic “the Picasso of children’s literature” and once addressed by former President Bill Clinton as “the King of Dreams,” Maurice Sendak illustrated nearly a hundred picture books throughout a career that spanned more than 60 years. Some of his best known books include Chicken Soup...

Katarzyna LIBROWICZ Polish French painter studied at the Academy of Fine Arts in Warsaw and arrived in France in 1937 . She studied with André Lhote in Montparnasse Paris and exhib...

Susan Shatter ranks among the best contemporary American watercolor painters. Shatter studied at the Skowhegan School of Painting and Sculpture before receiving a BFA from Pratt inst...

Michael Beck (American, b. 1943) Watercolor painting on paper, 1986 "First Fruits", Hand signed, dated and titled along lower margins Gallery label verso, Matted and framed under plexiglass, Dimensions: 38"h x 58"w (sight), 48"h x 67"w (frame) Provenance: Property from a Major Corporate Art Collection; Corporate Art Directions, NYC Michael Beck (b. 1943) ( American Photo Realist artist) was born in San Diego California. In 1971, he attended the California College of Arts and Crafts and was awarded the James D. Phelan Award in the Visual Arts, juried by artists Wayne Thiebaud and June Livingston. In June of 2014, he was awarded a Jackson Pollock- Lee Krasner Foundation award. Michael Beck was part of the early Photo Realist Movement in California among other contemporaries like Robert Bechtle, Charles Bell, Chuck Close, Robert Cottingham and Richard Estes and Audrey Flack. Choosing vintage childrens toys as his subject matter. Michael Beck’s artwork stands out for its distinct subjects of toys and objects from a previous era. These unique items include vintage rocking horses...

MALCAH ZELDIS Circus, Trapeze Artists, Horse rider and Acrobats gouache on paper Hand signed and dated bottom right. titled in pencil on paper verso. Fr...

MALCAH ZELDIS Circus, Trapeze Artists, Horse rider and Acrobats gouache on paper Hand signed and dated bottom right. titled in pencil on paper verso. Fr...

MALCAH ZELDIS Circus, Trapeze Artists and Acrobats gouache on paper Hand signed and dated bottom right. titled in pencil on paper verso. Framed to 15 X ...

MALCAH ZELDIS Reclining Woman Wine and Cigarettes gouache on paper Hand signed and dated bottom right. titled in pencil on paper verso. Matted to 13 X 1...

MALCAH ZELDIS Bull gouache on paper Hand signed and dated bottom right. titled in pencil on paper verso. Malcah Zeldis (born Mildred Brightman; 1931) is an American folk art painte...

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

30X21.25 without the frame. Mixed Media painting and drawing on paper. Lawrence Kupferman had a long and illustrious career as an artist and educator. His work has been exhibited at ...

Beautiful painting of the Kotel Hamaravi The Western (Wailing) Wall in Jerusalem, Israel. sight is 27X19 inches. Shmuel Katz (Hebrew: שמואל כ"ץ‎) (August 18, 1926 – March 26, 2010) ...

the piece without the original frame measures 18X7.5 inchesThis is a wonderful watercolor by one of America's most treasured artists, Chaim Gross. Throughout his lifetime Gross has gone through tragedy and a real test of faith however, he has the unique ability to focus and direct his expression to the most joyful and beautiful works of art, such as the present lot. For more than sixty years Chaim Gross's art has expressed optimistic, affirming themes. His acrobats, cyclists, and mothers and children convey joyfulness, exuberance, love, and intimacy. This aspect of his work remained consistent with his Hasidic heritage, which teaches that "only in his childlike happiness is man nearest to God." Chaim Gross, born in Wolowa, Austria in 1904, was educated at the Beaux Arts Institute of Design and at the Art Student's League in New York. Chaim Gross's work was greatly influenced by his experiences during a period of international conflict, World War II. He had moved to Kolomyya from Wolowa to get a better education, but the Germans came to occupy, killing, raping, and looting. Gross and his family were chased from one village to the next. He wrote, "We were sleeping on roofs and in the fields, with the sound of cannon fire...

German outsider Naive artist born in 1922. has exhibited in Germany in 1969 worked in painting, gouache and linocuts. Expressionist Folk Art style.

Framed 33 X 45.5 image is 29 X 41.5 Hand signed lower left Signed and titled verso Sylvia Carewe (1906-1981) was an American woman artist, painter, writer and poet. Born in New York City to Russian immigrant parents, Louis and Esther Kerewsky, she changed her surname to "Carewe" in 1930. Carewe attended Columbia University and studied further with Yasuo Kuniyoshi at Atelier 17 in New York, with Hans Hoffman in New York and Provincetown, Massachusetts, and at the New School for Social Research. During World War II Carewe worked as an advertising copywriter and artist for agencies in New York. She became a prolific abstract artist in a range of media, including tapestry designs for the Aubusson tapestry carpet company in France, felt banners, collage reliefs, and what she termed "blown paintings," which were assemblages (predominantly of children's toy components) overlaid with spray paint. One of the most common subjects in her semi abstract paintings was New York City at night. She also worked in traditional artistic media, including watercolors, oils, lithographs and pastels. In October 1944, she married Marvin Small (formerly Smalheiser, executive for Carter's Little Liver Pills). They had one child, John Marvin, in June 1947. Carewe had her first one-woman show in Poughkeepsie in 1947, after which she opened in New York City at the ACA Gallery in 1948. She had some twenty other American solo shows and her works hung in many exhibits across the United States as well as in France, Belgium and the Netherlands. Her works are represented in the permanent collections of the Whitney Museum, Musée de l'Arte Moderne, Paris, Brandeis University, the Butler Art Institute, Howard University, the Tel Aviv Museum and the National Museum in Djakarta, Indonesia. Her work has been described by French critics as "violent, colorful art, in hard contrasts, not exempt from cold lyricism." ["Les Girls...

Pastel or Tempera on paper. Judaica Shtetl scene of village. Anatoli Lwowitch Kaplan was a Russian painter, sculptor and printmaker, whose works often reflect his Jewish origins. h...

Pastel or Tempera on paper. Judaica Shtetl scene of village. Anatoli Lwowitch Kaplan was a Russian painter, sculptor and printmaker, whose works often reflect his Jewish origins. h...

Pastel or Tempera on paper. Judaica Shtetl scene of village. Anatoli Lwowitch Kaplan was a Russian painter, sculptor and printmaker, whose works often reflect his Jewish origins. h...

Chaim Gross (American, 1904-1991) Watercolor with pencil painting Rabbi Klezmer music concert, flute player. Hand signed framed: 15 X 28.5, paper: 9.5 X 23 Chaim Gross (March 17, 1904 – May 5, 1991) was an American modernist sculptor and educator. Gross was born to a Jewish family in Austrian Galicia, in the village of Wolowa (now known as Mezhgorye, Ukraine), in the Carpathian Mountains. In 1911, his family moved to Kolomyia (which was annexed into the Ukrainian USSR in 1939 and became part of newly independent Ukraine in 1991). When World War I ended, Gross and brother Avrom-Leib went to Budapest to join their older siblings Sarah and Pinkas. Gross applied to and was accepted by the art academy in Budapest and studied under the painter Béla Uitz, though within a year a new regime under Miklos Horthy took over and attempted to expel all Jews and foreigners from the country. After being deported from Hungary, Gross began art studies at the Kunstgewerbeschule in Vienna, Austria shortly before immigrating to the United States in 1921. Gross's studies continued in the United States at the Beaux-Arts Institute of Design, where he studied with Elie Nadelman and others, and at the Art Students League of New York, with Robert Laurent. He also attended the Educational Alliance Art School, studying under Abbo Ostrowsky, at the same time as Moses Soyer and Peter Blume. In 1926 Gross began teaching at The Educational Alliance, and continued teaching there for the next 50 years. Louise Nevelson was among his students at the Alliance (in 1934), during the time she was transitioning from painting to sculpture. In the late 1920s and early 1930s he exhibited at the Salons of America exhibitions at the Anderson Galleries and, beginning in 1928, at the Whitney Studio Club. In 1929, Gross experimented with printmaking, and created an important group of 15 linocuts and lithographs of landscapes, New York City streets and parks, women in interiors, the circus, and vaudeville. The entire suite is now in the collection of the Philadelphia Museum of Art. Gross returned to the medium of printmaking in the 1960s, and produced approximately 200 works in the medium over the next two decades. For more than sixty years Chaim Gross's art has expressed optimistic, affirming themes, Judaica, balancing acrobats, cyclists, trapeze artists and mothers and children convey joyfulness, modernism, exuberance, love, and intimacy. This aspect of his work remained consistent with his Jewish Hasidic heritage, which teaches that only in his childlike happiness is man nearest to God. In March 1932 Gross had his first solo exhibition at Gallery 144 in New York City. For a short time they represented Gross, as well as his friends Milton Avery, Moses Soyer, Ahron Ben-Shmuel and others. Gross was primarily a practitioner of the direct carving method, with the majority of his work being carved from wood. Other direct carvers in early 20th-century American art include William Zorach, Jose de Creeft, and Robert Laurent. Works by Chaim Gross can be found in major museums and private collections throughout the United States, with substantial holdings (27 sculptures) at the Hirshhorn Museum and Sculpture Garden. A key work from this era, now at the Smithsonian American Art Museum, is the 1932 birds-eye maple Acrobatic Performers, which is also only one and one quarter inch thick. In 1933 Gross joined the government's PWAP (Public Works of Art Project), which transitioned into the WPA (Works Progress Administration), which Gross worked for later in the 1930s. Under these programs Gross taught and demonstrated art, made sculptures that were placed in schools and public colleges, made work for Federal buildings including the Federal Trade Commission Building, and for the France Overseas and Finnish Buildings at the 1939 New York World's Fair. Gross was also recognized during these years with a silver medal at the Exposition universelle de 1937 in Paris, and in 1942, with a purchase prize at the Metropolitan Museum of Art's "Artists for Victory" exhibition for his wood sculpture of famed circus performer Lillian Leitzel. In 1949 Gross sketched Chaim Weizmann, Israeli President, at several functions in New York City where Weizmann was speaking, Gross completed the bust in bronze later that year. Gross returned to Israel for three months in 1951 (the second of many trips there in the postwar years) to paint a series of 40 watercolors of life in various cities. This series was exhibited at the Jewish Museum (Manhattan) in 1953. He also did some important Hebrew medals. In the 1950s Gross began to make more bronze sculptures alongside his wood and stone pieces, and in 1957 and 1959 he traveled to Rome to work with famed bronze foundries including the Nicci foundry. At the end of the decade Gross was working primarily in bronze which allowed him to create open forms, large-scale works and of course, multiple casts. Gross's large-scale bronze The Family, donated to New York City in 1991 in honor of Mayor Ed Koch, and installed at the Bleecker Street Park at 11th street, is now a fixture of Greenwich Village. In 1959, a survey of Gross's sculpture in wood, stone, and bronze was featured in the exhibit Four American Expressionists curated by Lloyd Goodrich at the Whitney Museum of American Art, with work by Abraham Rattner, Doris Caesar, and Karl Knaths. In 1976, a selection from Gross's important collection of historic African sculpture, formed since the late 1930s, was exhibited at the Worcester Art Museum in the show The Sculptor's Eye: The African Art Collection of Mr. and Mrs. Chaim Gross. Gross was elected into the National Academy of Design as an Associate member, and became a full Academician in 1981. In 1984, he was inducted into the American Academy of Arts and Letters, with Jacob Lawrence and Lukas Foss. In the fall of 1991, Allen Ginsberg gave an important tribute to Gross at the American Academy of Arts and Letters, which is published in their Proceedings. In 1994, Forum Gallery, which now represents the Chaim Gross estate, held a memorial exhibition featuring a sixty-year survey of Gross's work.In March 1932 Gross had his first solo exhibition at Gallery 144 in New York City. For a short time they represented Gross, as well as his friends Milton Avery, Moses Soyer, Ahron Ben-Shmuel and others. Gross was primarily a practitioner of the direct carving method, with the majority of his work being carved from wood. Other direct carvers in early 20th-century American art include William Zorach, Jose de Creeft, and Robert Laurent. Works by Chaim Gross can be found in major museums and private collections throughout the United States, with substantial holdings (27 sculptures) at the Hirshhorn Museum and Sculpture Garden. A key work from this era, now at the Smithsonian American Art Museum, is the 1932 birds-eye maple Acrobatic Performers, which is also only one and one quarter inch thick. In 1933 Gross joined the government's PWAP (Public Works of Art Project), which transitioned into the WPA (Works Progress Administration), which Gross worked for later in the 1930s. Under these programs Gross taught and demonstrated art, made sculptures that were placed in schools and public colleges, made work for Federal buildings including the Federal Trade Commission Building, and for the France Overseas and Finnish Buildings at the 1939 New York World's Fair. Gross was also recognized during these years with a silver medal at the Exposition universelle de 1937 in Paris, and in 1942, with a purchase prize at the Metropolitan Museum of Art's "Artists for Victory" exhibition for his wood sculpture of famed circus performer Lillian Leitzel. In 1949 Gross sketched Chaim Weizmann, President of Israel, at several functions in New York City where Weizmann was speaking, Gross completed the bust in bronze later that year. Gross returned to Israel for three months in 1951 (the second of many trips there in the postwar years) to paint a series of 40 watercolors of life in various cities. This series was exhibited at the Jewish Museum (Manhattan) in 1953. In the 1950s Gross began to make more bronze sculptures alongside his wood and stone pieces, and in 1957 and 1959 he traveled to Rome to work with famed bronze foundries including the Nicci foundry. At the end of the decade Gross was working primarily in bronze which allowed him to create open forms, large-scale works and of course, multiple casts. Gross's large-scale bronze The Family, donated to New York City in 1991 in honor of Mayor Ed Koch, and installed at the Bleecker Street Park at 11th street, is now a fixture of Greenwich Village. In 1959, a survey of Gross's sculpture in wood, stone, and bronze was featured in the exhibit Four American Expressionists curated by Lloyd Goodrich at the Whitney Museum of American Art, with work by Abraham Rattner, Doris Caesar, and Karl Knaths. In 1976, a selection from Gross's important collection of historic African sculpture, formed since the late 1930s, was exhibited at the Worcester Art Museum in the show The Sculptor's Eye: The African Art Collection of Mr. and Mrs. Chaim Gross. Gross was elected into the National Academy of Design as an Associate member, and became a full Academician in 1981. In 1984, he was inducted into the American Academy of Arts and Letters, with Jacob Lawrence and Lukas Foss. In the fall of 1991, Allen Ginsberg gave an important tribute to Gross at the American Academy of Arts and Letters, which is published in their Proceedings. In 1994, Forum Gallery, which now represents the Chaim Gross estate, held a memorial exhibition featuring a sixty-year survey of Gross's work. Gross was a professor of printmaking and sculpture at both the Educational Alliance and the New School for Social Research in New York City, as well as at the Brooklyn Museum Art School, the MoMA art school, the Art Student's League and the New Art School (which Gross ran briefly with Alexander Dobkin...

Pastel or Tempera on paper. Judaica Shtetl scene of village. A Jew with Talith and Tefillin in front of the Synagogue. Anatoli Lwowitch Kaplan was a Russian painter, sculptor and pri...

Pastel or Tempera on paper. Judaica Shtetl scene of village. This one depicts a Klezmer musician fiddler playing his violin. Anatoli Lwowitch Kaplan ...

Pastel or Tempera on paper. Judaica Shtetl scene of village. Anatoli Lwowitch Kaplan was a Russian painter, sculptor and printmaker, whose works often reflect his Jewish origins. h...

Large brush on paper painting. signed and dated. Rome, Italy 1962. Peter Chinni is an internationally celebrated artist, painter, printmaker and sculptor of Italian descent. At 19 Chinni enrolled in the Art Students League in New York City where he studied under Kenneth Hayes Miller, Julian Levi...

Abstract harbor scene with boats, in bold, vivid colors on heavy mould made paper. Hand signed and dated, 1980 22 X 30 not frame Robert Freiman, deaf from birth, was born in March 1917 in New York City. He attended an oral program near his home and later transferred to the Lexington School for the Deaf when he was six. Early in his childhood, his love for drawing, painting and studying became apparent, and as an adult, he continued his studies in New York at the National Academy of Design, Pratt Institute, the Art Students League and the Parsons School of Design. In Paris, France he studied at the Ecole des Beaux Arts. Bob Freiman was especially focused on painting portraits and figures in motion in various mediums, especially the mixed-media combination of watercolor, acrylic and pen. Among his subjects were acrobats, ballet dancers, cyclists and other athletes. He as well focused on abstracts for a time, discovering new media in his works with quick brushwork and expressive movements. In the latter part of his career, his style became abstract and surreal with images of metaphysical landscapes with architectural elements such as arches, towers, pyramids and castles floating in the air. The famed art critic Pierre Rouve wrote: “It is therefore refreshing to see them revitalized by the colourist wealth and virile handwriting of Robert Freiman, probably the best American water-colorist since John Marin. He worked in Provincetown and Nantucket and regularly exhibited there. He showed at Doll & Richards gallery of Boston alongside John Chetcuti, Lloyd Goodrich, Tod Lindenmuth, William Meyerowitz, Dwight Shepler, Elizabeth O'Neill Verner, Stanley Woodward, Andrew Wyeth, and others. His work bears the influence of the mid century school of Paris in particular Jean Carzou. He was a regular exhibitor at the Sidewalk Art...

A sensitive portrait beautifully rendered in watercolor and gouache. Mid century. I am guessing from the 1940s it is not dated. Robert Philipp (February 2, 1895 – November 22, 1981) was an American painter influenced by Impressionism and Post-Impressionism, and known for his nudes, still lifes, and portraits of attractive women and Hollywood stars. Noted art critic Henry McBride called Philipp one of America's top six painters of his generation. He was an instructor of painting at the Art Students League of New York for 33 years. WPA Era. Philipp was Secretary of the National Academy of Design, and National Academician, Benjamin Franklin Fellow, Royal Society of Arts in London. He was married to model and fellow artist Rochelle ("Shelly") Post, who frequently posed for him until her death in 1971. His compositions and painting style have been compared to the art of Edgar Degas and Pierre-Auguste Renoir. Philip won prizes in most of the important exhibitions of his time, and his paintings are in numerous museums and important private collections. In 1940, Philipp was invited to Los Angeles by Hollywood mogul Louis B. Mayer to paint portraits of Metro-Goldwyn-Mayer movie stars. The same year, Walter Wanger, producer of The Long Voyage Home, directed by John Ford and based on plays by Eugene O'Neill, contracted with Reeves Lewenthal, head of the Associated American Artists gallery in Manhattan, to bring nine well-known artists to the set and paint scenes from the movie and portraits of the actors in character. The artists included Robert Philipp, Thomas Hart Benton, Grant Wood, Ernest Fiene, George Schreiber, Luis Quintanilla...

Chaim Gross (American, 1904-1991) Watercolor painting Rabbinical Talmudic Discussion Hand signed 17 x 29 framed, paper 10 x 22 Chaim Gross (March 17, 1904 – May 5, 1991) was an American modernist sculptor and educator. Gross was born to a Jewish family in Austrian Galicia, in the village of Wolowa (now known as Mezhgorye, Ukraine), in the Carpathian Mountains. In 1911, his family moved to Kolomyia (which was annexed into the Ukrainian USSR in 1939 and became part of newly independent Ukraine in 1991). When World War I ended, Gross and brother Avrom-Leib went to Budapest to join their older siblings Sarah and Pinkas. Gross applied to and was accepted by the art academy in Budapest and studied under the painter Béla Uitz, though within a year a new regime under Miklos Horthy took over and attempted to expel all Jews and foreigners from the country. After being deported from Hungary, Gross began art studies at the Kunstgewerbeschule in Vienna, Austria shortly before immigrating to the United States in 1921. Gross's studies continued in the United States at the Beaux-Arts Institute of Design, where he studied with Elie Nadelman and others, and at the Art Students League of New York, with Robert Laurent. He also attended the Educational Alliance Art School, studying under Abbo Ostrowsky, at the same time as Moses Soyer and Peter Blume. In 1926 Gross began teaching at The Educational Alliance, and continued teaching there for the next 50 years. Louise Nevelson was among his students at the Alliance (in 1934), during the time she was transitioning from painting to sculpture. In the late 1920s and early 1930s he exhibited at the Salons of America exhibitions at the Anderson Galleries and, beginning in 1928, at the Whitney Studio Club. In 1929, Gross experimented with printmaking, and created an important group of 15 linocuts and lithographs of landscapes, New York City streets and parks, women in interiors, the circus, and vaudeville. The entire suite is now in the collection of the Philadelphia Museum of Art. Gross returned to the medium of printmaking in the 1960s, and produced approximately 200 works in the medium over the next two decades. For more than sixty years Chaim Gross's art has expressed optimistic, affirming themes, Judaica, balancing acrobats, cyclists, trapeze artists and mothers and children convey joyfulness, modernism, exuberance, love, and intimacy. This aspect of his work remained consistent with his Jewish Hasidic heritage, which teaches that only in his childlike happiness is man nearest to God. In March 1932 Gross had his first solo exhibition at Gallery 144 in New York City. For a short time they represented Gross, as well as his friends Milton Avery, Moses Soyer, Ahron Ben-Shmuel and others. Gross was primarily a practitioner of the direct carving method, with the majority of his work being carved from wood. Other direct carvers in early 20th-century American art include William Zorach, Jose de Creeft, and Robert Laurent. Works by Chaim Gross can be found in major museums and private collections throughout the United States, with substantial holdings (27 sculptures) at the Hirshhorn Museum and Sculpture Garden. A key work from this era, now at the Smithsonian American Art Museum, is the 1932 birds-eye maple Acrobatic Performers, which is also only one and one quarter inch thick. In 1933 Gross joined the government's PWAP (Public Works of Art Project), which transitioned into the WPA (Works Progress Administration), which Gross worked for later in the 1930s. Under these programs Gross taught and demonstrated art, made sculptures that were placed in schools and public colleges, made work for Federal buildings including the Federal Trade Commission Building, and for the France Overseas and Finnish Buildings at the 1939 New York World's Fair. Gross was also recognized during these years with a silver medal at the Exposition universelle de 1937 in Paris, and in 1942, with a purchase prize at the Metropolitan Museum of Art's "Artists for Victory" exhibition for his wood sculpture of famed circus performer Lillian Leitzel. In 1949 Gross sketched Chaim Weizmann, Israeli President, at several functions in New York City where Weizmann was speaking, Gross completed the bust in bronze later that year. Gross returned to Israel for three months in 1951 (the second of many trips there in the postwar years) to paint a series of 40 watercolors of life in various cities. This series was exhibited at the Jewish Museum (Manhattan) in 1953. He also did some important Hebrew medals. In the 1950s Gross began to make more bronze sculptures alongside his wood and stone pieces, and in 1957 and 1959 he traveled to Rome to work with famed bronze foundries including the Nicci foundry. At the end of the decade Gross was working primarily in bronze which allowed him to create open forms, large-scale works and of course, multiple casts. Gross's large-scale bronze The Family, donated to New York City in 1991 in honor of Mayor Ed Koch, and installed at the Bleecker Street Park at 11th street, is now a fixture of Greenwich Village. In 1959, a survey of Gross's sculpture in wood, stone, and bronze was featured in the exhibit Four American Expressionists curated by Lloyd Goodrich at the Whitney Museum of American Art, with work by Abraham Rattner, Doris Caesar, and Karl Knaths. In 1976, a selection from Gross's important collection of historic African sculpture, formed since the late 1930s, was exhibited at the Worcester Art Museum in the show The Sculptor's Eye: The African Art Collection of Mr. and Mrs. Chaim Gross. Gross was elected into the National Academy of Design as an Associate member, and became a full Academician in 1981. In 1984, he was inducted into the American Academy of Arts and Letters, with Jacob Lawrence and Lukas Foss. In the fall of 1991, Allen Ginsberg gave an important tribute to Gross at the American Academy of Arts and Letters, which is published in their Proceedings. In 1994, Forum Gallery, which now represents the Chaim Gross estate, held a memorial exhibition featuring a sixty-year survey of Gross's work.In March 1932 Gross had his first solo exhibition at Gallery 144 in New York City. For a short time they represented Gross, as well as his friends Milton Avery, Moses Soyer, Ahron Ben-Shmuel and others. Gross was primarily a practitioner of the direct carving method, with the majority of his work being carved from wood. Other direct carvers in early 20th-century American art include William Zorach, Jose de Creeft, and Robert Laurent. Works by Chaim Gross can be found in major museums and private collections throughout the United States, with substantial holdings (27 sculptures) at the Hirshhorn Museum and Sculpture Garden. A key work from this era, now at the Smithsonian American Art Museum, is the 1932 birds-eye maple Acrobatic Performers, which is also only one and one quarter inch thick. In 1933 Gross joined the government's PWAP (Public Works of Art Project), which transitioned into the WPA (Works Progress Administration), which Gross worked for later in the 1930s. Under these programs Gross taught and demonstrated art, made sculptures that were placed in schools and public colleges, made work for Federal buildings including the Federal Trade Commission Building, and for the France Overseas and Finnish Buildings at the 1939 New York World's Fair. Gross was also recognized during these years with a silver medal at the Exposition universelle de 1937 in Paris, and in 1942, with a purchase prize at the Metropolitan Museum of Art's "Artists for Victory" exhibition for his wood sculpture of famed circus performer Lillian Leitzel. In 1949 Gross sketched Chaim Weizmann, President of Israel, at several functions in New York City where Weizmann was speaking, Gross completed the bust in bronze later that year. Gross returned to Israel for three months in 1951 (the second of many trips there in the postwar years) to paint a series of 40 watercolors of life in various cities. This series was exhibited at the Jewish Museum (Manhattan) in 1953. In the 1950s Gross began to make more bronze sculptures alongside his wood and stone pieces, and in 1957 and 1959 he traveled to Rome to work with famed bronze foundries including the Nicci foundry. At the end of the decade Gross was working primarily in bronze which allowed him to create open forms, large-scale works and of course, multiple casts. Gross's large-scale bronze The Family, donated to New York City in 1991 in honor of Mayor Ed Koch, and installed at the Bleecker Street Park at 11th street, is now a fixture of Greenwich Village. In 1959, a survey of Gross's sculpture in wood, stone, and bronze was featured in the exhibit Four American Expressionists curated by Lloyd Goodrich at the Whitney Museum of American Art, with work by Abraham Rattner, Doris Caesar, and Karl Knaths. In 1976, a selection from Gross's important collection of historic African sculpture, formed since the late 1930s, was exhibited at the Worcester Art Museum in the show The Sculptor's Eye: The African Art Collection of Mr. and Mrs. Chaim Gross. Gross was elected into the National Academy of Design as an Associate member, and became a full Academician in 1981. In 1984, he was inducted into the American Academy of Arts and Letters, with Jacob Lawrence and Lukas Foss. In the fall of 1991, Allen Ginsberg gave an important tribute to Gross at the American Academy of Arts and Letters, which is published in their Proceedings. In 1994, Forum Gallery, which now represents the Chaim Gross estate, held a memorial exhibition featuring a sixty-year survey of Gross's work. Gross was a professor of printmaking and sculpture at both the Educational Alliance and the New School for Social Research in New York City, as well as at the Brooklyn Museum Art School, the MoMA art school, the Art Student's League and the New Art School (which Gross ran briefly with Alexander Dobkin...

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...

Erwin Pfrang, German (b. 1951) Graphite on paper Partner Exchange (2001) Framed 21 X 14.5 sheet 13.75 X 7.25 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 De Wolf Brownell (American, 1822 - 1909) Watercolor on paper depicting several plants in close proximity Hand dated and inscribed "Br...

Charles De Wolf Brownell (American, 1822 - 1909) Watercolor on paper depicting a pumpkin on a flowering vine Hand dated and inscribed "Lyme ...

Charles De Wolf Brownell (American, 1822 - 1909) Watercolor on paper of maple leaves against the sky, Hand dated and inscribed "Papaw - E.H....

Genre: German Expressionist Subject: Woman Medium: gouache paint Surface: Paper board This is hand signed lower right. Framed it measures 17.25 X 15.5, sheet 12 X 10 This came from a Jewish estate. there was no additional paperwork or provenance. Julius Mordecai Pincas (March 31, 1885 – June 5, 1930), known as Pascin Jules...

LARRY HOROWITZ (American b. 1956) "Purple Mountains," 1988, pastel on paper Hand signed and dated L/R, "Horowitz '88," Dimensions sight 19 1/2" x 23", framed, 26 1/2" x 30 1/2". Larry Horowitz is an American landscape painter. He was born in 1956 in New York City and graduated from SUNY Purchase and immediately won the prestigious and coveted position as apprentice to Wolf Kahn. Horowitz's work captures the beauty of the American landscape with expert use of texture and color that invites imagination and discovery. Although he paints en plein air, he has a firm grounding in abstract expressionism through his education with former students from the Bauhaus and Hans Hofmann school. He has combined both points of view to develop his unique language. His work follows in the tradition of great Modernist American landscape painters Arthur Dove, Georgia O'Keefe and Charles Burchfield but with a more modern, Fauvist color palette. He was included in the show "In the Country, By the Sea" at Madelyn Jordan Gallery along with David Kimball Anderson, Stanley Boxer, Byron Browne, Derek Buckner, Richard Diebenkorn, Larry Kelsey, Gary Komarin, and Susan Wides. Horowitz has also shown at Images Gallery along with Gary Bukovnik, Helen Frankenthaler, Larry Horowitz, Alex Katz, Robert Motherwell, Don Nice, Philip Pearlstein, Joseph Raffael, Hunt Slonem, Carol Summers and Neil Welliver. Horowitz has exhibited extensively both in the US and Canada and is included in numerous private, corporate and public collections. LARRY HOROWITZ Born in 1956 in New York City EDUCATION 1971-76 Private study with Maxim Bugzester, New York, NY 1974 Art Students League, New York, NY 1974-78 B.F.A., State University of New York, Purchase, NY ART FAIRS 2019 Art New York Pier 94 presented by Art Miami, New York, NY 2017 Art Market SF, San Francisco, CA 2017 Seattle Art Fair, Seattle, WA 2015 Art Silicon Valley, CA 2014 Boston International Art Fair, Boston, MA ONE-PERSON EXHIBITIONS 2022 Franklin Bowles Galleries, New York, NY 2022 Hagan Fine Art, Charleston, SC 2021 Elder Gallery, Charlotte, NC 2021 Trinity Galleries, St. John, New Brunswick, Canada ​2020 Cove Gallery, Wellfleet, MA 2020 Lorimer Gallery, Prince Edward Island, Canada 2019 Eisenhauer Gallery, Edgartown, MA 2018 Elder Gallery of Contemporary Art, Charlotte, NC 2016 Art Gallery at the Rockefeller Park Preserve, Pleasantville, NY 2015 Newbury Fine Art, Boston, MA ​2015 Chandon Winery Gallery, Yountville, CA 2013 Meredith Long & Co., Houston, TX 2011 Munson Gallery, Chatham, MA 2010 Franklin Bowles Galleries, San Francisco, CA 2010 Cove Gallery, Wellfleet, MA 2010 Aerie Art Gallery, Rehoboth Beach...

Emilio Cruz (1938-2004) Bonnie and Clyde Pastel on paper Hand signed lower right Dimensions Framed H 15-7/8" W 18-1/2", Sight H 13-1/2" W 16-1/8" Emilio Antonio Cruz (1938 – 2004) was a Cuban American artist who lived most of his life in New York City. His work is held in several major museums in the United States. Emilio Antonio Cruz was an American Artist of Cuban descent. He was born in the Bronx on March 15, 1938. He studied at the Art Students League of New York with Edwin Dickinson, George Grosz and Frank J. Reilly and at The New School in New York City, and finally at the Seong Moy School of Painting and Graphic Arts in Provincetown, Massachusetts. As a young artist in the 1960s, Cruz was connected with other artists who were applying abstract expressionism concepts to figurative art such as Lester Johnson, Red Grooms, Mimi Gross, Bob Thompson and Jan Muller. He combined human and animal figures with imagery from archaeology and natural history to create disturbing, dreamlike paintings. Cruz received a John Hay Whitney Fellowship and awards from the Joan Mitchell Foundation and from the National Endowment for the Arts. In the late 1968, Emilio and wife Patricia Cruz moved to St. Louis to work with Julius Hemphill and the Black Artists Group. He served as director for the visual arts program, which also included painters Oliver Jackson and Manuel Hughes. In addition to artistic contributions, the couple participated in city-wide civil rights protests and rent strikes. Cruz moved to Chicago and taught at the School of the Art Institute of Chicago during the 1970s, where he exhibited widely and was represented by the Walter Kelly Gallery. He wrote two plays, Homeostasis: Once More the Scorpion and The Absence Held Fast to Its Presence. These were first performed at the Open Eye Theater in New York in 1981, and later were included in the World Theater Festival in Nancy and Paris, France, and in Italy. In 1982 he returned to New York where he began to exhibit again. In the late 1980s he resumed teaching at the Pratt Institute and at New York University. Harry Rand, Curator of 20th Century Painting and Sculpture at the Smithsonian American Art Museum, described Emilio Cruz as one of the important pioneers of American Modernism of the 1960s for his fusion of Abstract Expressionist art with figuration. Geno Rodriguez, Curator and Executive Director of The Alternative Museum, wrote in 1985, "Emilio Cruz, is a brilliant and impassioned artist whose current paintings are monumental, imbued with intelligence, fury and an apt sense of irony. They reflect the turbulent world within which we live." Geoffrey Jacques wrote in 1990, "Emilio Cruz paints humanity’s essence. Mythology and archeology are the foremost concerns of the painter Emilio Cruz. Dinosaurs, skeletal humans and fossil-like images are used in his work as metaphoric signposts in a consideration of the basic questions of existence." Art historian and curator Paul Staiti wrote in 1997, "Emilio Cruz's Homo sapiens series is a strange and haunting genealogy of the modern soul... What is at stake here more than biopolitical culture, is the remystification of the body and mapping of consciousness ... For all the trauma, explicit and implicit, Cruz's style is masterful, classical, even beautiful." Exhibitions Cruz held his first solo exhibition at the Zabriskie Gallery in New York in 1963. Afterwards his work was included in many group and solo exhibitions, including the Anita Shapolsky Gallery in 1986 and 1991, museum exhibitions at the Studio Museum in Harlem in 1987, the Pennsylvania Academy of the Fine Arts in 1997. In 1994, Cruz's work was shown as part of the American contingent at the IV Bienal Internacional de Pintura en Cuenca, Ecuador. Other American artists exhibiting at this show were Donald Locke...

This is a great Judaica Israel landscape. The Old City of Jerusalem during the British Mandate in Palestine. 24.5 x 31 image 16 x 22.5 Isidor Ascheim (איזידור אשהיים; 1891-1968) was a German-born Israeli painter and printmaker. Isidor Ascheim was born in Margonin (present-day Poland) in 1891. He was raised in an Orthodox, Judaic, Jewish family and served during World War I. In 1919-23, Ascheim studied under the German Expressionist Otto Mueller in Breslau and was influenced by Erich Heckel of the Die Brücke (The Bridge) group. He immigrated to Mandate Palestine in 1940 and settled in Jerusalem. He was married to the Israeli painter Margot Lange-Ascheim. He taught at the Bezalel School of Art (amongst his students were David Palombo, David Rakia, Aharon Bezalel, Kopel Gurwin and more) and served as its director for several years. He also taught at the Avni Institute in Tel Aviv along with Moshe Mokadi. Marcel Janco and Aaron Giladi. Ascheim's art is based on a direct impression of nature, life and the human form. His oeuvre represents a continuous connection with nature and the human figure, usually executed with a dark palette, the legacy of his German Expressionist roots. He was a contemporary of Jacob Steinhardt, Mordecai Ardon, Josef Budko and Hermann Struck. Awards and recognition In 1953, Ascheim was a co-recipient of the Dizengoff Prize for Painting. In 1955, he received the Jerusalem Prize for Art. In 1956, he participated in the Venice Biennale, Italy Selected collections Fine Arts Museum of San Francisco Israel Museum, Jerusalem References Isidor Aschheim: Drawings & Prints [Izidor Ashhaim: rishumim ve-hedpesim] . Jerusalem: Israel Museum, 1966. Talpir, Gabriel. "100 Artists in Israel". Tel-Aviv: Gazith Art Publishing, 1971. Isidor Ascheim was born in Margonin, Germany (in what is now Poland) in 1891. His father was a prosperous merchant. In spite of his family’s devoutness, Ascheim had both religious training at home and an education in a German school. In 1903 the family moved to Breslau, where he studied in the gymnasium. When War War I broke out, he was drafted into the German army. In 1918, when the war ended, he began studying art in Breslau, and then in Cracow. In 1939 he made Aliyah to the Land of Israel under the auspices of the Aliyah Bet program. He was caught by the British government and sent to the Atlit detention camp for about seven months. After he was released he settled in Jerusalem and found employment as a lecturer at the “New Bezalel.” In 1946 he married the painter Margot Lange Ascheim. From 1960-1961 he served as director of the “New Bezalel.” Most of Ascheim’s work was in the field of prints. In the 1920s he also produced engravings. Later he specialized in stone printing (lithography), including Biblical subjects, landscapes, and expressionist subjects. In addition, he painted. Education 1919-1923 Art Academy, Breslau, Germany, (now Wroclaw, Poland) with Otto Mueller, an important expressionist painter. Art studies, Professor Pautsch, Academy of Fine Arts, Cracow, Poland Teaching 1943 Bezalel Academy of Art & Design, Jerusalem, was director for some time. 1961-1960 Director, New Bezalel, Jerusalem Collective Annual Exhibition by Palestinian Artists Art Gallery of the ''Habima'' Building, Tel Aviv1944 Artists: Hermann Struck,Moshe Ziffer...

Abstract watercolor composition bearing the influence of the earlier color-block compositions of Paul Klee. Pawel August Kontny, (Polish-German-American artist) He was born in Laurahuette, Poland, in 1923, the son of a wealthy pastry shop owner. In 1939 he began studying architecture in Breslau where he was introduced to the European masters and to the work of some of the German Expressionists, soon afterward banned as "degenerate artists" and removed from museums throughout Germany by the Nazi regime. His studies were interrupted by World War II. Drafted into the German army, traveling in many countries as a soldier, he sketched various landscapes but in 1945, he was captured and held as a prisoner of war in Italy. After the war, he studied at the Union of Nuremberg Architects to help design buildings to replace ones destroyed in the war. He recorded his impressions of the local population and the landscapes through his watercolors and drawings. Pawel Kontny thereafter moved to Nuremberg, Germany, becoming a member of the Union of Nuremberg Architects and helping to rebuild the city's historic center. He soon decided to concentrate on his professional art career. He married Irmgard Laurer, a dancer with the Nuremberg Opera. Pavel Kontny 's career as an artist was launched with his participation in an all German exhibition, held at the Dusseldorf Museum in 1952. He held one-man shows in Germany, Switzerland and the United States. During his trip to the United States in 1960, Kontny became instantly enamored with Colorado, and decided to relocate to Cherry Hills with his wife and two children. He quickly established himself in the local art community, being affiliated for a time with Denver Art Galleries and Saks Galleries. His subject matter became the Southwest. During this time he received the Prestigious Gold Medal of the Art Academy of Rome. His extensive travel provided material for the paintings he did using his hallmark marble dust technique. he also worked equally in pastel, watercolor, charcoal and pencil-and-ink. in a style which merged abstraction and realist styles, influenced by Abstract Expressionist painting and South Western American landscapes. This one bears the influence of Sam Francis. In the early 1960s he was one of only a few European-born professional artists in the state, a select group that included Herbert Bayer (1900-1985), a member of the prewar Bauhaus in Weimar and Dessau, Germany, and Roland Detre (1903-2001), a Hungarian modernist painter. As a Denver, Colorado resident, Pavel Kontny exhibited at galleries and museums throughout the United States, Germany and Japan. There, he was inspired by frequent trips to Native American pueblos in the Southwest, as well as by the study of the Plains Indians of Montana and Wyoming. Over the years Kontny had a number of students and generously helped young artist by hosting exhibitions at his Cherry Hills home. For many years he generously donated his paintings to support charitable causes in Denver. Influences during his European years included German pastelist C.O. Muller, German Informel painter Karl Dahmen and Swiss artist, Hans Erni. In the early 1950s his painting style showed the influence of the Die Brücke (The Bridge), a group of German expressionist artists formed in Dresden in 1905 who had a major impact on the evolution of modern art in the twentieth century in Germany. By the middle of the decade his style incorporated more referential abstraction and total abstraction, resulting in part from his study of Hans Hartung, a German artist based in Paris who exhibited his gestural abstract work in Germany. The American moon landing in 1969 inspired Paul Kontny...

Abstract watercolor composition bearing the influence of the earlier color-block compositions of Paul Klee. Pawel August Kontny, (Polish-German-American artist) He was born in Laurahuette, Poland, in 1923, the son of a wealthy pastry shop owner. In 1939 he began studying architecture in Breslau where he was introduced to the European masters and to the work of some of the German Expressionists, soon afterward banned as "degenerate artists" and removed from museums throughout Germany by the Nazi regime. His studies were interrupted by World War II. Drafted into the German army, traveling in many countries as a soldier, he sketched various landscapes but in 1945, he was captured and held as a prisoner of war in Italy. After the war, he studied at the Union of Nuremberg Architects to help design buildings to replace ones destroyed in the war. He recorded his impressions of the local population and the landscapes through his watercolors and drawings. Pawel Kontny thereafter moved to Nuremberg, Germany, becoming a member of the Union of Nuremberg Architects and helping to rebuild the city's historic center. He soon decided to concentrate on his professional art career. He married Irmgard Laurer, a dancer with the Nuremberg Opera. Pavel Kontny 's career as an artist was launched with his participation in an all German exhibition, held at the Dusseldorf Museum in 1952. He held one-man shows in Germany, Switzerland and the United States. During his trip to the United States in 1960, Kontny became instantly enamored with Colorado, and decided to relocate to Cherry Hills with his wife and two children. He quickly established himself in the local art community, being affiliated for a time with Denver Art Galleries and Saks Galleries. His subject matter became the Southwest. During this time he received the Prestigious Gold Medal of the Art Academy of Rome. His extensive travel provided material for the paintings he did using his hallmark marble dust technique. he also worked equally in pastel, watercolor, charcoal and pencil-and-ink. in a style which merged abstraction and realist styles, influenced by Abstract Expressionist painting and South Western American landscapes. This one bears the influence of Sam Francis. In the early 1960s he was one of only a few European-born professional artists in the state, a select group that included Herbert Bayer (1900-1985), a member of the prewar Bauhaus in Weimar and Dessau, Germany, and Roland Detre (1903-2001), a Hungarian modernist painter. As a Denver, Colorado resident, Pavel Kontny exhibited at galleries and museums throughout the United States, Germany and Japan. There, he was inspired by frequent trips to Native American pueblos in the Southwest, as well as by the study of the Plains Indians of Montana and Wyoming. Over the years Kontny had a number of students and generously helped young artist by hosting exhibitions at his Cherry Hills home. For many years he generously donated his paintings to support charitable causes in Denver. Influences during his European years included German pastelist C.O. Muller, German Informel painter Karl Dahmen and Swiss artist, Hans Erni. In the early 1950s his painting style showed the influence of the Die Brücke (The Bridge), a group of German expressionist artists formed in Dresden in 1905 who had a major impact on the evolution of modern art in the twentieth century in Germany. By the middle of the decade his style incorporated more referential abstraction and total abstraction, resulting in part from his study of Hans Hartung, a German artist based in Paris who exhibited his gestural abstract work in Germany. The American moon landing in 1969 inspired Paul Kontny...

Abstract watercolor composition bearing the influence of the earlier color-block compositions of Paul Klee. Pawel August Kontny, (Polish-German-American artist) He was born in Laurahuette, Poland, in 1923, the son of a wealthy pastry shop owner. In 1939 he began studying architecture in Breslau where he was introduced to the European masters and to the work of some of the German Expressionists, soon afterward banned as "degenerate artists" and removed from museums throughout Germany by the Nazi regime. His studies were interrupted by World War II. Drafted into the German army, traveling in many countries as a soldier, he sketched various landscapes but in 1945, he was captured and held as a prisoner of war in Italy. After the war, he studied at the Union of Nuremberg Architects to help design buildings to replace ones destroyed in the war. He recorded his impressions of the local population and the landscapes through his watercolors and drawings. Pawel Kontny thereafter moved to Nuremberg, Germany, becoming a member of the Union of Nuremberg Architects and helping to rebuild the city's historic center. He soon decided to concentrate on his professional art career. He married Irmgard Laurer, a dancer with the Nuremberg Opera. Pavel Kontny 's career as an artist was launched with his participation in an all German exhibition, held at the Dusseldorf Museum in 1952. He held one-man shows in Germany, Switzerland and the United States. During his trip to the United States in 1960, Kontny became instantly enamored with Colorado, and decided to relocate to Cherry Hills with his wife and two children. He quickly established himself in the local art community, being affiliated for a time with Denver Art Galleries and Saks Galleries. His subject matter became the Southwest. During this time he received the Prestigious Gold Medal of the Art Academy of Rome. His extensive travel provided material for the paintings he did using his hallmark marble dust technique. he also worked equally in pastel, watercolor, charcoal and pencil-and-ink. in a style which merged abstraction and realist styles, influenced by Abstract Expressionist painting and South Western American landscapes. This one is influenced by California Abstract Expressionist artist Sam Francis. In the early 1960s he was one of only a few European-born professional artists in the state, a select group that included Herbert Bayer (1900-1985), a member of the prewar Bauhaus in Weimar and Dessau, Germany, and Roland Detre (1903-2001), a Hungarian modernist painter. As a Denver, Colorado resident, Pavel Kontny exhibited at galleries and museums throughout the United States, Germany and Japan. There, he was inspired by frequent trips to Native American pueblos in the Southwest, as well as by the study of the Plains Indians of Montana and Wyoming. Over the years Kontny had a number of students and generously helped young artist by hosting exhibitions at his Cherry Hills home. For many years he generously donated his paintings to support charitable causes in Denver. Influences during his European years included German pastelist C.O. Muller, German Informel painter Karl Dahmen and Swiss artist, Hans Erni. In the early 1950s his painting style showed the influence of the Die Brücke (The Bridge), a group of German expressionist artists formed in Dresden in 1905 who had a major impact on the evolution of modern art in the twentieth century in Germany. By the middle of the decade his style incorporated more referential abstraction and total abstraction, resulting in part from his study of Hans Hartung, a German artist based in Paris who exhibited his gestural abstract work in Germany. The American moon landing in 1969 inspired Paul Kontny...

Abstract watercolor composition bearing the influence of the earlier color-block compositions of Paul Klee and Abstract Expressionist master Sam Francis. Pawel August Kontny, (Polish-German-American artist) He was born in Laurahuette, Poland, in 1923, the son of a wealthy pastry shop owner. In 1939 he began studying architecture in Breslau where he was introduced to the European masters and to the work of some of the German Expressionists, soon afterward banned as "degenerate artists" and removed from museums throughout Germany by the Nazi regime. His studies were interrupted by World War II. Drafted into the German army, traveling in many countries as a soldier, he sketched various landscapes but in 1945, he was captured and held as a prisoner of war in Italy. After the war, he studied at the Union of Nuremberg Architects to help design buildings to replace ones destroyed in the war. He recorded his impressions of the local population and the landscapes through his watercolors and drawings. Pawel Kontny thereafter moved to Nuremberg, Germany, becoming a member of the Union of Nuremberg Architects and helping to rebuild the city's historic center. He soon decided to concentrate on his professional art career. He married Irmgard Laurer, a dancer with the Nuremberg Opera. Pavel Kontny 's career as an artist was launched with his participation in an all German exhibition, held at the Dusseldorf Museum in 1952. He held one-man shows in Germany, Switzerland and the United States. During his trip to the United States in 1960, Kontny became instantly enamored with Colorado, and decided to relocate to Cherry Hills with his wife and two children. He quickly established himself in the local art community, being affiliated for a time with Denver Art Galleries and Saks Galleries. His subject matter became the Southwest. During this time he received the Prestigious Gold Medal of the Art Academy of Rome. His extensive travel provided material for the paintings he did using his hallmark marble dust technique. he also worked equally in pastel, watercolor, charcoal and pencil-and-ink. in a style which merged abstraction and realist styles, influenced by Abstract Expressionist painting and South Western American landscapes. In the early 1960s he was one of only a few European-born professional artists in the state, a select group that included Herbert Bayer (1900-1985), a member of the prewar Bauhaus in Weimar and Dessau, Germany, and Roland Detre (1903-2001), a Hungarian modernist painter. As a Denver, Colorado resident, Pavel Kontny exhibited at galleries and museums throughout the United States, Germany and Japan. There, he was inspired by frequent trips to Native American pueblos in the Southwest, as well as by the study of the Plains Indians of Montana and Wyoming. Over the years Kontny had a number of students and generously helped young artist by hosting exhibitions at his Cherry Hills home. For many years he generously donated his paintings to support charitable causes in Denver. Influences during his European years included German pastelist C.O. Muller, German Informel painter Karl Dahmen and Swiss artist, Hans Erni. In the early 1950s his painting style showed the influence of the Die Brücke (The Bridge), a group of German expressionist artists formed in Dresden in 1905 who had a major impact on the evolution of modern art in the twentieth century in Germany. By the middle of the decade his style incorporated more referential abstraction and total abstraction, resulting in part from his study of Hans Hartung, a German artist based in Paris who exhibited his gestural abstract work in Germany. The American moon landing in 1969 inspired Paul Kontny...

Abstract watercolor or gouache composition bearing the influence of the earlier color-block compositions of Paul Klee. Pawel August Kontny, (Polish-German-American artist) He was born in Laurahuette, Poland, in 1923, the son of a wealthy pastry shop owner. In 1939 he began studying architecture in Breslau where he was introduced to the European masters and to the work of some of the German Expressionists, soon afterward banned as "degenerate artists" and removed from museums throughout Germany by the Nazi regime. His studies were interrupted by World War II. Drafted into the German army, traveling in many countries as a soldier, he sketched various landscapes but in 1945, he was captured and held as a prisoner of war in Italy. After the war, he studied at the Union of Nuremberg Architects to help design buildings to replace ones destroyed in the war. He recorded his impressions of the local population and the landscapes through his watercolors and drawings. Pawel Kontny thereafter moved to Nuremberg, Germany, becoming a member of the Union of Nuremberg Architects and helping to rebuild the city's historic center. He soon decided to concentrate on his professional art career. He married Irmgard Laurer, a dancer with the Nuremberg Opera. Pavel Kontny 's career as an artist was launched with his participation in an all German exhibition, held at the Dusseldorf Museum in 1952. He held one-man shows in Germany, Switzerland and the United States. During his trip to the United States in 1960, Kontny became instantly enamored with Colorado, and decided to relocate to Cherry Hills with his wife and two children. He quickly established himself in the local art community, being affiliated for a time with Denver Art Galleries and Saks Galleries. His subject matter became the Southwest. During this time he received the Prestigious Gold Medal of the Art Academy of Rome. His extensive travel provided material for the paintings he did using his hallmark marble dust technique. he also worked equally in pastel, watercolor, charcoal and pencil-and-ink. in a style which merged abstraction and realist styles, influenced by Abstract Expressionist painting and South Western American landscapes. In the early 1960s he was one of only a few European-born professional artists in the state, a select group that included Herbert Bayer (1900-1985), a member of the prewar Bauhaus in Weimar and Dessau, Germany, and Roland Detre (1903-2001), a Hungarian modernist painter. As a Denver, Colorado resident, Pavel Kontny exhibited at galleries and museums throughout the United States, Germany and Japan. There, he was inspired by frequent trips to Native American pueblos in the Southwest, as well as by the study of the Plains Indians of Montana and Wyoming. Over the years Kontny had a number of students and generously helped young artist by hosting exhibitions at his Cherry Hills home. For many years he generously donated his paintings to support charitable causes in Denver. Influences during his European years included German pastelist C.O. Muller, German Informel painter Karl Dahmen and Swiss artist, Hans Erni. In the early 1950s his painting style showed the influence of the Die Brücke (The Bridge), a group of German expressionist artists formed in Dresden in 1905 who had a major impact on the evolution of modern art in the twentieth century in Germany. By the middle of the decade his style incorporated more referential abstraction and total abstraction, resulting in part from his study of Hans Hartung, a German artist based in Paris who exhibited his gestural abstract work in Germany. The American moon landing in 1969 inspired Paul Kontny...

Abstract watercolor composition bearing the influence of the earlier color-block compositions of Paul Klee. Pawel August Kontny, (Polish-German-American artist) He was born in Laurahuette, Poland, in 1923, the son of a wealthy pastry shop owner. In 1939 he began studying architecture in Breslau where he was introduced to the European masters and to the work of some of the German Expressionists, soon afterward banned as "degenerate artists" and removed from museums throughout Germany by the Nazi regime. His studies were interrupted by World War II. Drafted into the German army, traveling in many countries as a soldier, he sketched various landscapes but in 1945, he was captured and held as a prisoner of war in Italy. After the war, he studied at the Union of Nuremberg Architects to help design buildings to replace ones destroyed in the war. He recorded his impressions of the local population and the landscapes through his watercolors and drawings. Pawel Kontny thereafter moved to Nuremberg, Germany, becoming a member of the Union of Nuremberg Architects and helping to rebuild the city's historic center. He soon decided to concentrate on his professional art career. He married Irmgard Laurer, a dancer with the Nuremberg Opera. Pavel Kontny 's career as an artist was launched with his participation in an all German exhibition, held at the Dusseldorf Museum in 1952. He held one-man shows in Germany, Switzerland and the United States. During his trip to the United States in 1960, Kontny became instantly enamored with Colorado, and decided to relocate to Cherry Hills with his wife and two children. He quickly established himself in the local art community, being affiliated for a time with Denver Art Galleries and Saks Galleries. His subject matter became the Southwest. During this time he received the Prestigious Gold Medal of the Art Academy of Rome. His extensive travel provided material for the paintings he did using his hallmark marble dust technique. he also worked equally in pastel, watercolor, charcoal and pencil-and-ink. in a style which merged abstraction and realist styles, influenced by Abstract Expressionist painting and South Western American landscapes. In the early 1960s he was one of only a few European-born professional artists in the state, a select group that included Herbert Bayer (1900-1985), a member of the prewar Bauhaus in Weimar and Dessau, Germany, and Roland Detre (1903-2001), a Hungarian modernist painter. As a Denver, Colorado resident, Pavel Kontny exhibited at galleries and museums throughout the United States, Germany and Japan. There, he was inspired by frequent trips to Native American pueblos in the Southwest, as well as by the study of the Plains Indians of Montana and Wyoming. Over the years Kontny had a number of students and generously helped young artist by hosting exhibitions at his Cherry Hills home. For many years he generously donated his paintings to support charitable causes in Denver. Influences during his European years included German pastelist C.O. Muller, German Informel painter Karl Dahmen and Swiss artist, Hans Erni. In the early 1950s his painting style showed the influence of the Die Brücke (The Bridge), a group of German expressionist artists formed in Dresden in 1905 who had a major impact on the evolution of modern art in the twentieth century in Germany. By the middle of the decade his style incorporated more referential abstraction and total abstraction, resulting in part from his study of Hans Hartung, a German artist based in Paris who exhibited his gestural abstract work in Germany. His work also bears the influence of Sam Francis. The American moon landing in 1969 inspired Paul Kontny...